The Essential Billy Bragg Ukulele Song Sheets Uketunes

Total Page:16

File Type:pdf, Size:1020Kb

The Essential Billy Bragg Ukulele Song Sheets Uketunes The Essential Billy Bragg Ukulele Song Sheets UkeTunes Contents A NEW ENGLAND 3 THE MILKMAN OF HUMAN KINDNESS 4 TO HAVE AND TO HAVE NOT 5 A LOVER SPEAKS 6 IT SAYS HERE 7 THE SATURDAY BOY 8 BETWEEN THE WARS 9 THE WORLD TURNED UPSIDE DOWN 10 LEVI STUBBS’ TEARS 11 GREETINGS TO THE NEW BRUNETTE 12 IDEOLOGY 13 THERE IS POWER IN A UNION 14 SHE’S GOT A NEW SPELL 15 THE PRICE I PAY 16 WAITING FOR THE GREAT LEAP FORWARDS 17 SEXUALITY 18 MOVING THE GOALPOSTS 19 TANK PARK SALUTE 20 YOU WOKE UP MY NEIGHBOURHOOD 21 ACCIDENT WAITING TO HAPPEN 22 UPFIELD 23 BRICKBAT 24 THE SPACE RACE IS OVER 25 THE BOY DONE GOOD 26 NO POWER WITHOUT ACCOUNTABILITY 27 ST. MONDAY 28 SOME DAYS I SEE THE POINT 29 TAKE DOWN THE UNION JACK 30 HANDYMAN BLUES 31 A13 TRUNK ROAD TO THE SEA 32 NOTE: All songs and chords assume a GCEA tuned ukulele. Any tab that uses the G string assumes a “low G”. These song sheets are my best attempt at transcribing the songs, but may not be totally accurate. DISCLAIMER: All song sheets in this book are intended for private, educational, and research purposes only and not for financial gain in any form. It is acknowledged that all song copyrights belong to their respective parties. (v1.0) Billy Bragg (https://uketunes.wordpress.com/) Page 2 UkeTunes A New England { 1983 } Intro: [F] / / / | / / / / | / / / / | / / / / | I was [F] twenty-one years when I wrote this song I'm [C] twenty-two now but I [Dm] won't be for long [Bb] People ask me when will you grow [F] up to be a man But all the [C] girls I loved at school are al-[Bb]-ready pushing prams [F] [F] I [F] loved you then as I love you still Though I [C] put you on a pedestal, they [Dm] put you on the pill I [Bb] don't feel bad about [F] letting you go I [C] just feel sad about [Bb] letting you know [Bb] [Bb] I don't want to [Am] change the [F] world I'm not looking for A New [Dm] England I'm just [Bb] looking for another [Am] girl / / / [C] [Csus4] / [C] <Bb> I don't [Bb] want to [Am] change the [F] world I'm not looking for A New [Dm] England I'm just [Bb] looking for a-[C]-nother [F] girl [F] I [F] loved the words you wrote to me But [C] that was bloody [Dm] yesterday I [Bb] can't survive on [F] what you send [C] Every time you [Bb] need a friend [F] [F] I [F] saw two shooting stars last night I [C] wished on them, but [Dm] they were only satellites It’s [Bb] wrong to wish on [F] space hardware I [C] wish, I wish I [Bb] wish you'd care [Bb] [Bb] I don't want to [Am] change the [F] world I'm not looking for A New [Dm] England I'm just [Bb] looking for another [Am] girl / / / [C] [Csus4] / [C] <Bb> I don't [Bb] want to [Am] change the [F] world I'm not looking for A New [Dm] England I'm just [Bb] looking for a-[C]-nother [F] girl [Bb] Looking for a-[C]-nother [F] girl [Bb] Looking for a-[C]-nother [F] girl [Bb] Looking for a-[C]-nother [F] girl / [C] / [Bb] / [C] / [F] / [C] / [Bb] / [C] / [F] / [C] / [Bb] / [C] / [F] / [C] / [Bb] / [C] / <F> <F> <F> <Fmaj7> (v1.0) Billy Bragg (https://uketunes.wordpress.com/) Page 3 UkeTunes The Milkman of Human Kindness { 1983 } Intro: [D] / / / | [D] / / / | [D] / / / | [Bm] / / / | Main riff: [D] If you're lonely …I will [Bm] call [D] If you're poorly … I will send [Bm] poetry [G] / / / | / / [D] / | I [D] love [A] you I am the [D] milkman of [Bm] human kindness, I will [G] leave an extra <D> pint [D] / / / | [D] / / / | [D] / / / | [Bm] / / / | [D] / / / | [D] / / / | [D] / / / | [Bm] / / / | [D] If you are sleeping … I will [Bm] wait [D] If your bed is wet … I will dry your [Bm] tears [G] / / / | / / [D] / | I [D] love [A] you I am the [D] milkman of [Bm] human kindness, I will [G] leave an extra <D> pint [A] Hold my [Bm] hand for me, I'm [G] wa-[Bm]-king [D] up [A] Hold my [Bm] hand for me, I'm [G] wa-[Bm]-king [D] up [A] Hold my [Bm] hand for me, I'm [G] wa-[Bm]-king [D] up [A] Hold my [Bm] hand for me, I'm [G] waaaa-[Bm]-kingggg [D] upppp [D] [D] / / / | [D] / / / | [D] / / / | [Bm] / / / | [D] / / / | [D] / / / | [D] / / / | [Bm] / / / | [D] If you are falling … I will put out my [Bm] hand [D] If you feel bitter … I will under-[Bm]-stand [G] / / / | / / [D] / | I [D] love [A] you I am the [D] milkman of [Bm] human kindness, I will [G] leave an extra <D> pint [D] / [C#] / [Bm] / / / [G] / / / <D> (v1.0) Billy Bragg (https://uketunes.wordpress.com/) Page 4 UkeTunes To Have and to Have Not { 1983 } Intro: [G] / / / | [C] / [G] / | [Em] / / / | [D] / [G] / | (x2) [G] Up in the morning and [C] out to [G] school [Em] Mother says there'll be no [D] work next [G] year [G] Qualifications once the [C] golden [G] rule Are [Em] now just pieces of [D] .. pa-[G]-per [G] Just because you're [C] better than [G] me [Em] Doesn't mean I'm [D] .. la-[G]-zy [G] Just because you're [C] going [G] forwards [Em] Doesn’t mean I'm [D] going [G] backwards [G] / / / | [C] / [G] / | [Em] / / / | [D] / [G] / | (x2) If you [G] look the part, you'll [C] get the [G] job In [Em] last year's trousers and your [D] old school [G] shoes The [G] truth is son, it's a [C] buyer's [G] market [Em] They can afford .. to [D] pick and [G] choose [G] Just because you're [C] better than [G] me [Em] Doesn't mean I'm [D] .. la-[G]-zy [G] Just because I [C] dress like [G] this [Em] Doesn't mean I'm a [D] commu-[G]-nist [G] / / / | [C] / [G] / | [Em] / / / | [D] / [G] / | (x2) The [G] factories are closing and the [C] army's [G] full [Em] I don't know what I'm [D] going to [G] do But I’ve [G] come to see in the [C] land of the [G] free There's [Em] only a future for the [D] chosen [G] few [G] Just because you're [C] better than [G] me [Em] Doesn't mean I'm [D] .. la-[G]-zy [G] Just because you're [C] going [G] forwards [Em] Doesn’t mean I'm [D] going [G] backwards [G] / / / | [C] / [G] / | [Em] / / / | [D] / [G] / | (x2) At [G] twenty-one you're on [C] top of the [G] scrap heap At [Em] sixteen you were [D] top of the [G] class All they [G] taught you in school was how to [C] be a good [G] worker The [Em] system has failed you, don't [D] fail your-[G]-self [G] Just because you're [C] better than [G] me [Em] Doesn't mean I'm [D] .. la-[G]-zy [G] Just because you're [C] going [G] forwards [Em] Doesn’t mean I'm [D] going <G> backwards (v1.0) Billy Bragg (https://uketunes.wordpress.com/) Page 5 UkeTunes A Lover Speaks { 1984 } Intro: [G] / [Em] / | [G] / [Em] / | [G] / [Em] / | [G] / [Em] / | [G] .. You and [Em] I are [G] victims of a [Em] love That lost a [G] lot in [Em] the trans-[G]-la-[Em]-tion [C] When I [Am] think of all the [C] time that I spent [Am] sitting on the edge of your [G] bed in an-[Em]-tici-[G]-pation [Em] <G><D> Of you giving in <D><Em> and us living in sin [G] [Em] [G] [Em] [G] A hot [Em] day, the [G] smell of [Em] hairspray And the [G] sound of a shower [Em] running [G] soft-[Em]-ly [C] It's things like [Am] this that re-[C]-mind me how I [Am] felt The first [G] time you came [Em] back for [G] coffee [Em] <G><D> The way you took it <D><Em> amazed [G] me [Em] [G] [Em] [G] [Em] Walking in the park, [G] [Em] kissing in the dark [G] [Em] And my [G] head against your [Em] pillow [C] [Am] [C] Late at night a [Am] lover [G] sings [Em] [G] [Em] <D> Adam and Eve are [Em] finding out [C] all about [G] love [Em] [G] [Em] I say <D> Adam and Eve are [Em] finding out [C] all about [G] love [Em] [G] [Em] [G] [Em] [G] [Em] [G] [Em] [G] [Em] [G] There is [Em] no real [G] substi-[Em]-tute For a [G] ball struck [Em] squarely and [G] firm-[Em]-ly [C] And you're the [Am] kind of girl who [C] wants to open up the [Am] bottle of pop Too [G] early [Em] in the [G] journey [Em] <G><D> Our love went flat <D><Em> .. just like [G] that [Em] [G] [Em] [G] It doesn't [Em] matter the [G] colour of the [Em] car But what goes [G] on be-[Em]-neath the [G] bonnet [Em] [C] Is there a [Am] flag that [C] flies above your [Am] heart And is my [G] name writ [Em] there u-[G]-pon it [Em] <G><D> Wedding cake and toothache <D><Em> Equals love and [G] pain [Em] [G] [Em] [G] [Em] Walking in the park, [G] [Em] kissing on the carpet [G] [Em] And your [G] tights around your [Em] ankles [C] [Am] And [C] late at night a [Am] lover [G] thinks of these [Em] things [G] [Em] <D> Adam and Eve are [Em] finding out [C] all about [G] love [Em] [G] [Em] I say <D> Adam and Eve are [Em] finding out [C] all about [G] love [Em] [G] [Em] <D> Adam and Eve are [Em] finding out [C] all about <D> Adam and Eve are [Em] finding out [C] all about Te-<D>-resa and Steve are [Em] finding out [C] all about [G] love [Em] [C] / / / [G] / [Em] / | [C] / / / | [G] / [Em] / | [C] / / / | [Am] / [Em] / | <G> (v1.0) Billy Bragg (https://uketunes.wordpress.com/) Page 6 UkeTunes It Says Here { 1984 } Intro: [G] / / / | / / [C] [G] | [D] / / / | / / / / | [G] / / / | / / [C] [G] | [D] / It says [C] here, that the [G] unions will never [D] learn And it says [C] here, that the e-[G]-conomy is on the [D] upturn And it says [C] here, we should be [G] proud that we are [D] free And our free [C] press reflects our de-[G]-mocracy [D] Those [G] braying [Em] voices on the [C] right of the [G] house [G] Echo [Em] down the street of [C] shame [G] Where [G] politics [Em] mix with [C] bingo and [G] tits In a [G] strictly [Em] money and [C] numbers [G] game Where they [D] offer you a feature on [Em] stockings and suspenders Next to a [D] call for stiffer penalties for [Em] sex offenders [G] / / / | / / [C] [G] | [D] / / / | / / / / | [G] / / / | / / [C] [G] | [D] / It says [C] here that [G] this year's prince is [D] born And it says [C] here "d'you ever [G] wish that you were better in-[D]-formed?" And it says [C] here that we can [G] only stop the [D] rot With a large
Recommended publications
  • Full Pamphlet F+B/C@Start
    THE KEY TO DEMOCRATIC REFORM A Genuine Expression of OF THE HOUSE OF LORDS IS SIMPLICITY, VIABILITY AND LEGITIMACY the Will of the People: a viable method of “Following consultation, the government will introduce legislation democratic Lords reform to implement the second phase of the House of Lords reform.” With this single sentence in the 2001 Queen’s Speech, the Labour government gave notice that it was intent on Billy Bragg fulfilling it’s historic commitment to reform the House of Lords. The choice between a democratic second chamber or one which remains predominantly a house of patronage will have to be resolved. Whilst those in favour of the democratic option push for an elected house, supporters of an appointed chamber counter that it would not be sensible for the Commons to legislate so that the House of Lords became a rival chamber. Thus the debate becomes polarised. This pamphlet sets out the case for a viable democratic second chamber that does not challenge the primacy of the House of Commons. BILLY BRAGG is a lifelong supporter of the Labour Party. Songwriter and activist, he was a founder member of RED WEDGE. His recent UK tour was sponsored by the GMB. Born in Essex, he now lives with his family in West Dorset. During the last general election, he set up a tactical voting website which resulted in an end to the Conservative stranglehold in Dorset and the first Labour MP in the county for over 30 years. Published by www.votedorset.net £1.00 A Genuine Expression of the Will of the People A viable method of democratic Lords reform Billy Bragg Published by www.votedorset.net Text ©Billy Bragg 2001 Design & Production: Claire Kendall-Price, Wildcat Publishing (01305 269941) Printed by Friary Press, Dorchester 2 3 It is clear from the commitment batch of peers is created.
    [Show full text]
  • BILLY BRAGG Stereo MC’S Tiggs Da Author Rag ‘N’ Bone Man
    PRESENTS 2016 BILLY BRAGG Stereo MC’s Tiggs Da Author Rag ‘N’ Bone Man Your guide to this year’s festival PLUS Reviews, Interviews and much more! 1 12 ARTIST VILLAGE AND SMALL SCULPTURE SHOW MAP 2016 Queue to buy tickets on the day BOX OFFICE LEIGH-ON-SEA CC CHALKWELL PARK VILLAGE ROOMS BEACH GREEN HUT STAGE IDEA13 PICNIC STAGE STAGE AREA 1 SHOW TENNIS GROUND 2 5 COURTS FIRST AID TEATRO METAL BBC 3 VERDI ART ESSEX 12 MARKET CYCLE WESTCLIFF STAGE SCHOOL OAK VILLAGE 6 -ON-SEA CC POLICE PLACE STAGE SKATE PARK 11 7 GLOBAL INFO VILLAGE POINT 10 4 ESTUARY FIRST AID ART GROUP METAL & LOSTMISSING EXHIBITION ART 8 MINI CHALKWELL HALL SCHOOL CHILDERNPERSONS 9 GREEN (BUILDING) TOILETS RIVERSIDE MINI GREEN 9 JULY 2016 CHALKWELL PARK 11AM - 10PM PRESS & STAGE TO CHALKWELL STATION PRODUCTION STAGE villagegreen16 www.villagegreenfestival.com Twitter: @vg_festival vg16 Instagram: villagegreenfestival Facebook: villagegreenfestival 1 Alexis Zelda Stevens 4 Redhawk Logistica 7 Cool Diabang & Sonja Kandels 10 Josh Langan 2 Cool Diabang 5 Luke Gottelier (performance at 4.15) 11 John Wallbank 8 Julia McKinlay 3 Stuart Bowditch 6 Luke Gottelier 12 Small Sculpture Show 9 Stuart Bowditch VILLAGE GREEN STAGE RIVERSIDE STAGE MIDDLE AGE SPREAD DJs URBAN ALLSTARS DJs This collective of popular DJs sell out every gig The mighty Urban Allstars, spinning all things they do, and they’re bringing their floor-filling skills funky on the decks to get you into the groove. to work the park. BLACK CAT DJs 11.50 - 12.20 PETTY PHASE The band of Soul Brothers will be serving up a All the musical unpredictability and charisma that sexy platter of Rhythm & Blues, Northern Soul, girl punks should have, plus some.
    [Show full text]
  • The Relationship Between Fame and Fortune in Performance Related Careers with A
    International Journal of Health and Economic Development, 6(2), 36-46, July 2020 36 The Relationship between Fame and Fortune in Performance Related Careers with a Shorter Life Expectancy due to Accidents, Addiction, Homicide and Suicide S. Eric Anderson, Ginny Sim La Sierra University, Riverside, California, USA [email protected] Abstract Around 92% of the US population dies from natural causes. However, only 49% of famous musician stars die from natural causes resulting in performance related careers being one of the most dangerous professions in the United States. According to this study, musicians were 20 times more likely to die from an addiction, four times more likely to die from an accident, six times more likely to die of homicide and four times more likely to die of suicide than the general population. Why do dangerous profession lists fail to include musicians in the high risk career list categories? It is not the profession that is dangerous, but primarily the personality type gravitating towards the profession that creates risk. Should certain personality types be directed to non-performance related careers? Probably not, since performing on stage may be a more effective intervention than psychiatric treatment. Keywords: Accidents, Alcohol, Anxiety, depression, homicide, musicians and suicide. Introduction Is there a relationship between fame in performance related careers with the shorter life expectancy due to accidents, drug overdose, homicide and suicide? The number of musicians, Elvis Presley, Janis Joplin, Jimi Hendrix, Keith Moon, Sid Vicious, Kurt Cobain, Amy International Journal of Health and Economic Development, 6(2), 36-46, July 2020 37 Winehouse, Michael Jackson, Whitney Houston and Prince who died of addiction is staggering.
    [Show full text]
  • For Those About to Rock’ Cybersimulcasting Live Music on the Internet
    position the experience of different and purcliasing details are available at: and tests of the misuse of market power. nations in promoting competition in http YAvww.circit. rmit.edu.au/publics/ 5 Extending across: carrier interconnection; information and communications sectors ipm_book.html service provider and content creator access to distribution channels; and end-user access to to provide some guidance and signposts services. through the policy development maze. 1 Nevertheless, the study does recognise national differences. For example, in Australia, legislation targeted the development of a dual network Published by RMIT University Press in Ross Kelso is Senior Research Fellow infrastructure between 1991-1997 and carriers for the International Research on December 1999, The Information Policy have invested significantly in infrastructure Maze: Global Challenges - National development. Similarly, in the UK, policy has Communication and Information Responses is the result of a three-year supported infrastructure duplication. With the Technologies at RMIT. project conducted by the Centre for announcement of the US National Information Infrastructure agenda in 1993 there was a Dianne Northfteld is a Research Fellmv International Research on Communication coincidence of industry investment in and Information Technologies infrastructure and new services. at CIRCIT at RMIT and the Harvard (“CIRCIT”) at RMIT, Melbourne Information Infrastructure 1 Including regulation of horizontal and vertical Project, Kennedy School of Australia, and the Program on Information agreements between firms; control of mergers Resources Policy (“PIRP”), Harvard and acquisitions; regulation of horizontal and/or Government, Harvard University. University, U.S.A, Further information vertical integration activities of individual firms; [email protected] ‘For Those About to Rock’ Cybersimulcasting Live Music on the Internet Therese Catanzariti offers a lively analysis of the intellectual property issues in cybersimulcasting.
    [Show full text]
  • Representation Through Music in a Non-Parliamentary Nation
    MEDIANZ ! VOL 15, NO 1 ! 2015 DOI: 10.11157/medianz-vol15iss1id8 - ARTICLE - Re-Establishing Britishness / Englishness: Representation Through Music in a non-Parliamentary Nation Robert Burns Abstract The absence of a contemporary English identity distinct from right wing political elements has reinforced negative and apathetic perceptions of English folk culture and tradition among populist media. Negative perceptions such as these have to some extent been countered by the emergence of a post–progressive rock–orientated English folk–protest style that has enabled new folk music fusions to establish themselves in a populist performance medium that attracts a new folk audience. In this way, English politicised folk music has facilitated an English cultural identity that is distinct from negative social and political connotations. A significant contemporary national identity for British folk music in general therefore can be found in contemporary English folk as it is presented in a homogenous mix of popular and world music styles, despite a struggle both for and against European identity as the United Kingdom debates ‘Brexit’, the current term for its possible departure from the EU. My mother was half English and I'm half English too I'm a great big bundle of culture tied up in the red, white and blue (Billy Bragg and the Blokes 2002). When the singer and songwriter, Billy Bragg wrote the above song, England, Half English, a friend asked him whether he was being ironic. He replied ‘Do you know what, I’m not’, a statement which shocked his friends. Bragg is a social commentator, political activist and staunch socialist who is proudly English and an outspoken anti–racist, which his opponents may see as arguably diametrically opposed combination.
    [Show full text]
  • Ghost Gig: Redskins Programme
    13th December 2019 marks slick, The Redskins were Chris Dean was not keen the anniversary of the highly your band’ and lead singer on broader pop and politics politically charged band Chris Dean once claimed allegiances. Discussing Red Redskins playing our New that his ambition was to Wedge, the Labour Party SETLIST Cavendish Street site. The have his band ‘sing like affiliated movement, he noted original concert took place the Supremes and walk that ‘if the Labour Party are in 1985, only a week after like the clash’ (from NWNM organising a tour, the one thing Lean on Me (second single on CNT, 1982)* 6.15 New Order played the same reissue sleevenotes). Their you can be sure about is that Reds strike the blues* 4.34 venue, and were the subject first single Lev Bronstein it’ll sell out’. He in fact talked Hold on!* 3.18 of a ghost gig last year. As (Trotsky’s real name) was about setting up a Redder Unionise (b side of Lean on Me) 4.53 we noted then, 1985 was a released in 1982, followed by Wedge. Certainly they would Kick over the statues! (single, Decca/London 1985)* 2.27 curious and eclectic musical Lean on Me (‘a love song to have not been interested in decade. For Redskins though workers’ solidarity’ said the the Live Aid event that took Ninety nine and a half won’t do (reissue NWNM) 4.20 1985 would have been seen NME) before the band signed place earlier that summer. Take no heroes!* 5.33 as the year of the SDP/ for Decca/London Records.
    [Show full text]
  • Attachment and Detachment in Caryl Phillipsâ•Ž a Distant Shore
    Kunapipi Volume 26 Issue 1 Article 16 2004 ‘Of, and not of, this place’: Attachment and detachment in Caryl Phillips’ A distant shore Benedicte Ledent Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Ledent, Benedicte, ‘Of, and not of, this place’: Attachment and detachment in Caryl Phillips’ A distant shore, Kunapipi, 26(1), 2004. Available at:https://ro.uow.edu.au/kunapipi/vol26/iss1/16 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] ‘Of, and not of, this place’: Attachment and detachment in Caryl Phillips’ A distant shore Abstract Interviewed about his novels in 2003, Caryl Phillips declared ‘These all seem to be the same book, part of a continuum’ (Morrison). Obviously, his seventh work of fiction, A Distant Shore (2003), does not disrupt this sense of great cohesion, also acknowledged by his commentators. Although the contemporary setting of A Distant Shore is unusual for a novelist who has occasionally been labelled a chronicler of the African Diaspora, this new book constitutes another memorable stage in Phillips’ subtle, yet dogged fictional exploration of the tension between attachment and detachment, between belonging and unbelonging that has been part of human life since the beginning of times, especially for the migrant. If this concern sticks to Phillips’ novels almost like a second skin, it is addressed more openly in his non- fiction, notably in his ecentr collection of essays A New World Order (2001).
    [Show full text]
  • Electric-Rentbook-5.Pdf
    England 2 Colombia 0 Electric Rentbook Issue 5 - September 2000 Winners 2 Discs I (each) 8 Ashville Terrace, Cross Hills, Keigh/ey, West Yorkshire, 8020 7LQ. Email: e/ectric.rentbook@talk2l .com Electric Rentman: Graham Scaife Contributors: Thomas Ovens Richard Ellis Ross McMichael Printers: Dixon Target, 21-25 Main Street, Cross Hills, Keighley, West Yorkshire BD20 STX. ongratulations to Steve Jones of Camborne in CCornwall and Jonathan Oak/ey from St. Acknowledgements: Neots in Cambridgeshire. Thank you to the following good They were the lucky winners of our competition to win a signed promo copy of England 2 Colombia O. people: Highly collectable, due to the fact that it isn't going Kirsty MacColI without whom to be released commercially. this fanzine would definitely not Thank you to all the people who entered the be possible. competition, once again a terrific response, and Lisa-Jane Musselbrook at Major don't despair if you weren't a winner this time Minor Management, for her because coming up in future issues of Electric Rentbook we'll have more chances to win Kirsty continued support and help above goodies. and beyond the call of duty. Pete Glenister for taking time out The answers to the questions are as follows:- to answer my questions . I. Kirsty's first single, which was successfully covered by Tracey Ullman was They Don't Know. Teletext on Channel 4 for the 2. A New England was a cover of Billy Bragg's reviews of all issues of ER thus far. song. David Hyde for continued use of 3.
    [Show full text]
  • Songs with a Global Conscience Using Songs to Build International Understanding and Solidarity
    Rethinking Schools Online - Teaching About the War Page 1 of 4 Songs with a Global Conscience Using songs to build international understanding and solidarity. By Bob Peterson Songs, like poetry, are powerful tools to build consciousness and solidarity. Every week we have a new "Song of the Week," and we begin every day by playing the song. I distribute the song's lyrics to the students, who keep them in their three-ring binders. The songs generally relate to topics we are studying. I allow students to bring in songs as well, although they must know the lyrics and have a positive reason for sharing the song with their classmates. When I introduce a song, I use our classroom map to go over the geographical connections. I also explain any difficult words. Finally, and most importantly, I give the social context. Depending on whether I use the song at the beginning of a unit of study or in the middle, the amount of "context setting" varies. Following is a list of songs that teachers and organizers might find useful as they teach for justice in an unjust world. THE COLONIAL PAST Ballad of the Soldier's Wife, lyrics by Bertolt Brecht, music by Kurt Weill, sung by PJ Harvey. (September Songs: The Music of Kurt Weill CD, Sony Music, 1997). A telling tale of the human toll of foreign wars. Bury My Heart at Wounded Knee, written by Buffy Sainte-Marie, sung by the Indigo Girls. (1200 Curfews CD, Epic Records Group, 1995.) A folk/rock song that critiques U.S.
    [Show full text]
  • The Muse of Fire: Liberty and War Songs As a Source of American History
    3 7^ A'£?/</ THE MUSE OF FIRE: LIBERTY AND WAR SONGS AS A SOURCE OF AMERICAN HISTORY DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Kent Adam Bowman, B.A., M.A Denton, Texas August, 1984 Bowman, Kent Adam, The Muse of Fire; Liberty and War Songs as a Source of American History. Doctor of Philosophy (History), August, 1984, 337 pp., bibliography, 135 titles. The development of American liberty and war songs from a few themes during the pre-Revolutionary period to a distinct form of American popular music in the Civil War period reflects the growth of many aspects of American culture and thought. This study therefore treats as historical documents the songs published in newspapers, broadsides, and songbooks during the period from 1765 to 1865. Chapter One briefly summarizes the development of American popular music before 1765 and provides other introductory material. Chapter Two examines the origin and development of the first liberty-song themes in the period from 1765 to 1775. Chapters Three and Four cover songs written during the American Revolution. Chapter Three describes battle songs, emphasizing the use of humor, and Chapter Four examines the figures treated in the war song. Chapter Five covers the War of 1812, concentrating on the naval song, and describes the first use of dialect in the American war song. Chapter Six covers the Mexican War (1846-1848) and includes discussion of the aggressive American attitude toward the war as evidenced in song.
    [Show full text]
  • The Heart of Rock and Soul by Dave Marsh
    The Heart of Rock and Soul by Dave Marsh 4 REACH OUT I'LL BE THERE, The Four Tops Produced by Brian Holland and Lamont Dozier; written by Brian Holland, Lamont Dozier, and Eddie Holland Motown 1098 1966 Billboard: #1 (2 weeks) The shibboleth is that pop music -- from jazz to soul to punk -- is better off as a purely expressive vehicle in which feeling overwhelms thinking. But that's a dangerously sentimental delusion. The fact is, working in a strictly defined, even formulaic context, Holland-Dozier-Holland and Levi Stubbs came up with a record that is a match for anything in the history of rock and roll. It was in part the restrictions of Motown and Top 40 pop which made it possible, by establishing the tension that the producers and performers worked against. "Reach Out" is perhaps the truest single of all: Motown has released "Reach Out" dozens of times, on every medium from singles to CDs, but not one of the remasterings comes close to the sheer sonic crunch of the seven-inch 45. (Not just the Motown "map label" original; even reissued singles will put away any LP track or even the digitalized CD.) Unfortunately, in the squinched-up versions most often available, most of the things that make this the greatest Holland-Dozier-Holland record are missing. The sheer size of the sound, its physical impact; the wild echo that makes the countermelody carried by the flute exotic and eerie; equalization that polarizes voice and drums; the producers' use of what must have been about half of the Detroit Symphony as an adjunct rhythm section; whatever the hell it is that establishes the clip-clap rhythm in the intro.
    [Show full text]
  • RIVERS, ENERGY, and the REMAKING of COLONIAL NEW ENGLAND by ZACHARY M
    FLOWING POWER: RIVERS, ENERGY, AND THE REMAKING OF COLONIAL NEW ENGLAND By ZACHARY M. BENNETT A dissertation submitted to the School of Graduate Studies Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in History Written under the direction of James Delbourgo And approved by New Brunswick, New Jersey May, 2019 ABSTRACT OF THE DISSERTATION Flowing Power: Rivers, Energy, and the Remaking of Colonial New England by Zachary M. Bennett Dissertation Director: James Delbourgo This dissertation considers how river energy was a source of authority in colonial New England. The caloric, kinetic, and mechanical energy people derived from rivers was necessary for survival in New England’s forbidding environment. During the initial stages of colonization, both Europeans and Indians struggled to secure strategic positions on waterways because they were the only routes capable of accommodating trade from the coast to the interior. European and Native peoples came into conflict by the late seventeenth century as they overextended the resource base. Exerting dominion in the ensuing wars on New England’s frontiers was directly tied to securing strategic river spaces since the masters of these places determined the flow of communication and food for the surrounding territory. Following British military conquest, colonists aggressively dammed rivers to satisfy the energy demands of their growing population. These dams eviscerated fish runs, shunting access to waterpower away from Native Americans and yeoman farmers. The transformation of New England’s hydrology was a critical factor in the dispossession indigenous peoples before the Revolution and essential in laying the legal groundwork for the region’s industrial future.
    [Show full text]