People's Song Library Collection
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Press Release
PRESS RELEASE Annie Leibovitz: American Music at Jackson Fine Art September 9—October 22, 2005 Traveling from New York to Los Angeles and now coming to the south, portraits of American music legends by the world-renowned photographer Annie Leibovitz will premiere at Jackson Fine Art on Friday, September 9, 2005 from 6 to 8pm. This exhibition will showcase this central theme of American Music highlighting Leibovitz’s long and celebrated career. The show will run until October 22, 2005 and will also feature Leibovitz’s newest book from Random House, American Music. “I started out as a photographer at Rolling Stone more than twenty-five years ago,” Leibovitz says, “and I wanted to go back to the subject of music with a mature eye. Bring my experience to it…make it a real American tapestry.” From juke joints to Graceland, Leibovitz traveled through the landscape of blues, gospel, jazz, country and rock. Her subjects include American icons B.B. King, Johnny Cash, Willie Nelson, Miles Davis, Tony Bennett, Pete Seeger, Dolly Parton, Bob Dylan, Tina Turner, Bruce Springsteen, Patti Smith, Iggy Pop, Eminem, Dr. Dre, Mary J. Blige, and many relatively obscure musicians such as Othar Turner, R.L. Burnside, Jessie Mae Hemphill and Irma Thomas. Although mostly shot between 1999 and 2000, some were taken in the early 1970s when Leibovitz became Rolling Stone magazine’s chief photographer. Leibovitz’s photographs of musicians have become signature images that vividly capture the artists behind the music. Her ability to portray each subject’s personality with her own distinct flair continues to set her work apart from other portrait artists. -
Pete Seegerhas Always Walked the Road Less Traveled. a Tall, Lean Fellow
Pete Seegerhas always walked the road less traveled. A tall, lean fellow with long arms and legs, high energy and a contagious joy of spjrit, he set everything in motion, singing in that magical voice, his head thrown back as though calling to the heavens, makingyou see that you can change the world, risk everything, do your best, cast away stones. “Bells of Rhymney,” “Where Have All the Flowers Gone?,” “ One Grain of Sand,” “ Oh, Had I a Golden Thread” ^ songs Right, from top: Seeger, Bob Dylan, Judy Collins and Arlo Guthrie (from left) at the Woody Guthrie Memorial Concert at Carnegie Hail, 1967; filming “Wasn’t That a Time?," a movie of the Weavers’ 19 8 0 reunion; Seeger with banjo; at Red Above: The Weavers in the early ’50s - Seeger, Lee Hays, Ronnie Gilbert and Fred Hellerman (from left). Left: Seeger singing on a Rocks, in hillside in El Colorado, 1983; Cerrito, C a l|p in singing for the early '60s. Eleanor Roosevelt, et al., at the opening of the Washington Labor Canteen, 1944; aboard the “Clearwater” on his beloved Hudson River; and a recent photo of Seeger sporting skimmer (above), Above: The Almanac Singers in 1 9 4 1 , with Woody Guthrie on the far left, and Seeger playing banjo. Left: Seeger with his mother, the late Constance Seeger. PHOTOGRAPHS FROM THE COLLECTION OF HAROLD LEVENTHAL AND THE WOODY GUTHRIE ARCHIVES scattered along our path made with the Weavers - floor behind the couch as ever, while a retinue of like jewels, from the Ronnie Gilbert, Fred in the New York offices his friends performed present into the past, and Hellerman and Lee Hays - of Harold Leventhal, our “ Turn Turn Turn,” back, along the road to swept into listeners’ mutual manager. -
School May Become Home to Dozens of Families by Cheryl Nowak Port Transformation of the Former County Administrator Steve Um, Locker Rooms and Cafeteria
Circulation 13,000 December 10, 2010 Free Accomack Superintendent To Step Down By Cheryl Nowak Accomack County Superinten- dent of Schools W. Richard Bull Jr. announced to the School Board Tuesday that he will be retiring in June at the end of his third four- year contract. Now 63, Bull said he he decid- ed to step down now, in part, be- cause the commonwealth is look- ing to begin tying teacher evalua- tions to student assessments. “It’s a lot of change ready to occur,” said Bull. He explained that he doesn’t want to leave in the mid- dle of such a transition and he knows he doesn’t want to contin- ue as superintendent for another four-year term. A 42-year veteran of the county school system, Bull has served as Photo by Linda Cicoira superintendent for the past 12 years. “I’ve enjoyed my career,” ‘His Cheeks Were Like Roses, His Nose Like a Cherry!’ Bull commented Wednesday, Taylor Fluhart, daughter of Stephanie Colona and James Fluhart of Bloxom, spends some quality adding that he has no specific time with Santa last weekend at Four Corner Plaza. plans for his retirement. School May Become Home to Dozens of Families By Cheryl Nowak port transformation of the former County Administrator Steve um, locker rooms and cafeteria. At a special meeting Monday, Accomac school into apartments Miner noted that representatives of “If this is worked out with the Accomack County supervisors until he hears from the Mary N. the alumni association have been alumni, it could be a win/win for unanimously agreed to hold a pub- Smith Alumni Association with re- involved in preliminary discussions everyone,” Supervisor Wanda lic hearing to receive comments on spect to its wishes. -
Protest Music As Responsible Citizenship Was a Special Event That
Protest Music As Responsible Citizenship was a special event that studied how music helps to construct the political consciousness of a nation, how songs mobilize thousands of people around issues affecting American life, and how music addresses the role of America in the global context. The event brought together Harry Belafonte, Holly Near, Bernice Johnson Reagon, and Pete Seeger, four musicians who have played key public roles in the past decades, to discuss how citizenship, music, and social change take on greater significance in this time of increasing polarization both at home and globally. Music and social change have been documented through autobiographies and biographies of performers, ethnographic studies of music and cultural performance, and ethnomusicology research on music and revolution. However, little has been documented about the role of public music performances in shaping citizen responses to political events. The musicians participating in the event and conversation--Harry Belafonte, Holly Near, Bernice Johnson Reagon, and Pete Seeger--have challenged the public to consider issues of national security and responsible citizenship. Through their songs, stories, and actions, these musicians have enacted their citizenship by voicing a challenging call. Protest Music as Responsible Citizenship explored how protest music and protest itself can be considered responsible citizenship. The event, which was moderated by James Early of the Smithsonian and Mershon’s Amy Horowitz, included a roundtable that brought together artists and a variety of scholars from Ohio State to discuss the complexities of protest music and other political art in a complicated global society. The event also included an evening performance for the public, where the artists performed songs and discussed their own political and performing histories. -
Music for the People: the Folk Music Revival
MUSIC FOR THE PEOPLE: THE FOLK MUSIC REVIVAL AND AMERICAN IDENTITY, 1930-1970 By Rachel Clare Donaldson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History May, 2011 Nashville, Tennessee Approved Professor Gary Gerstle Professor Sarah Igo Professor David Carlton Professor Larry Isaac Professor Ronald D. Cohen Copyright© 2011 by Rachel Clare Donaldson All Rights Reserved For Mary, Laura, Gertrude, Elizabeth And Domenica ACKNOWLEDGEMENTS I would not have been able to complete this dissertation had not been for the support of many people. Historians David Carlton, Thomas Schwartz, William Caferro, and Yoshikuni Igarashi have helped me to grow academically since my first year of graduate school. From the beginning of my research through the final edits, Katherine Crawford and Sarah Igo have provided constant intellectual and professional support. Gary Gerstle has guided every stage of this project; the time and effort he devoted to reading and editing numerous drafts and his encouragement has made the project what it is today. Through his work and friendship, Ronald Cohen has been an inspiration. The intellectual and emotional help that he provided over dinners, phone calls, and email exchanges have been invaluable. I greatly appreciate Larry Isaac and Holly McCammon for their help with the sociological work in this project. I also thank Jane Anderson, Brenda Hummel, and Heidi Welch for all their help and patience over the years. I thank the staffs at the Smithsonian Center for Folklife and Cultural Heritage, the Kentucky Library and Museum, the Archives at the University of Indiana, and the American Folklife Center at the Library of Congress (particularly Todd Harvey) for their research assistance. -
BLIND FIDDLER © Copyright 1965 Deep Fork Husic
c:l.si THE NATIONAL TOPICAL SONG MAGAZINE JAN. 20, 1965 PRICE -- 50¢ Words & Music: ERIC ANDERSEN BLIND FIDDLER © Copyright 1965 Deep Fork Husic All chords open (omit the 3rd) there concealed my doom, I am a blind fiddler . ar from my home. I went up into Louisville The holes are closing rapidly, to visit Dr. Laine, he cannot understand He operated on one of my eyes A machine has got a bigger arm still it is the same. than him or ~ other man. The Blue Ridge can't support me, Plastic on the ,windows, it just ain't got the room, cardboard for the door, Would a wealthy colliery owner Baby's mouth is twisting like to hear a fiddler's tune? but it'll twist a little more. With politics & threatening tones They need welders in Chicago the owners can control, falls hollow to the floor, And the unions all have left us How many miners have made that trip a long, long time ago. a thousand times before. Machinery ~in scattered, The lights are burning brightly, nCOJ drill sound in the mine, there's laughter in the town, For all the good a collier is But the streets are dark and empty, you might as well be blind. ain I t a miner to be found. Was a time I worked a long 14 They're in some lonesome holler for a short 8 bucks a day. where the sun refuse to shine, You I re lucky if you're workin A baby's cries are muffled that's what the owners say. -
The "Stars for Freedom" Rally
National Park Service U.S. Department of the Interior Selma-to-Montgomery National Historic Trail The "Stars for Freedom" Rally March 24,1965 The "March to Montgomery" held the promise of fulfilling the hopes of many Americans who desired to witness the reality of freedom and liberty for all citizens. It was a movement which drew many luminaries of American society, including internationally-known performers and artists. In a drenching rain, on the fourth day, March 24th, carloads and busloads of participants joined the march as U.S. Highway 80 widened to four lanes, thus allowing a greater volume of participants than the court- imposed 300-person limitation when the roadway was narrower. There were many well-known celebrities among the more than 25,000 persons camped on the 36-acre grounds of the City of St. Jude, a Catholic social services complex which included a school, hospital, and other service facilities, located within the Washington Park neighborhood. This fourth campsite, situated on a rain-soaked playing field, held a flatbed trailer that served as a stage and a host of famous participants that provided the scene for an inspirational performance enjoyed by thousands on the dampened grounds. The event was organized and coordinated by the internationally acclaimed activist and screen star Harry Belafonte, on the evening of March 24, 1965. The night "the Stars" came out in Alabama Mr. Belafonte had been an acquaintance of Dr. Martin Luther King, Jr. since 1956. He later raised thousands of dollars in funding support for the Freedom Riders and to bailout many protesters incarcerated during the era, including Dr. -
PI'spict'r Eulogies for Instructors
University of Texas at El Paso ScholarWorks@UTEP The Prospector Special Collections Department 3-4-1966 The Prospector, March 4, 1966 UTEP Student Publications Follow this and additional works at: https://scholarworks.utep.edu/prospector Comments: This file is atherr large, with many images, so it may take a few minutes to download. Please be patient. THE THE EulogiesEulogies For For InstructorsInstructors PI'SPICT'R PagePage 2 2 PIOIPECTOI..Assayer 01 Student Opinion" "Assayer 01 Student Opinion" VOL. XXXII EL PASO, TEXAS, MARCH 4, 1966 No.No. 19 19 voL. XXXII EL PASO, TEXAS, MARCH 4, 1966 Pop Singer ToPopAppear Singer 1Best Best Is Is Appointed Appointed To Appear March 18 SASA Vice Vice President President popular recording star Glenn John Best has replaced Bob Thomas March 18 replaced Bob Thomasas asvice vice president president of of Yarbrough will appear at Mem- the StudentJohn AssociationBest has and president of the Student Senate, the Student Association and president of the Student Senate, orialp Gymnasiwn0 pular recording Friday, Marchtar Glenn and Galen Starkey was elected president pro-tempore and Galen Starkey was elected president pro-temporere- re- 16Yarbroat 6 up.gh m,will appear at Mem placing Best. orialThe two~hourGymnas performance,ium Friday, March l placingBest was appointedBest. by President Fred Craft after receiv- Best was appointed by President Fred Craft after receiv- sponsoredJS at 8 byp. them SA,. will in- ingI Thomas' resignation p rio r to the Senate meeting on cludeThe comedian two-hour Biff Rose p and ri'ormance, Thursday,ing Thomas' February resignation 24. He was ••-----------~- prior to the Senate meeting on thesponsor Stanyaned Streetby Quartet.the SA, will in approvedThursday, by a majority February vote of24. -
HUI COX [email protected]
HUI COX [email protected] EDUCATIONAL EXPERIENCE Classical guitar studies, Peabody Conservatory Extended studies, Composition, Towson State University Extended studies, Computer Science, Long Island University Private Guitar: Chuck Wayne, Pat Martino, Herb Ellis, Kenny Burrell, John Abercrombie, Bill Connors, Howard Morgan United States Army Musician/ Guitarist, Non-commissioned officer TEACHING EXPERIENCE Manhattan School of Music, New York, NY Guest instructor for jazz lab ensemble. Ziff Davis Technologies, New York, NY Assisted in training outside corporate clients and staff on PC software, coordinated computer training and instruction centers, scheduled classes and instructors, developed course materials. Lawrence Rockefeller and Staff, New York, NY Personal Macintosh trainer, support and consulting. School of Visual Arts/CUNY Designed and taught computer audio recording and editing curriculum for multimedia. The New School, New York, NY Taught music theory, designed and taught advanced guitar techniques curriculum. Computer Factory, New York, NY Managed computer training facility in midtown Manhattan, scheduled classes and instructors, developed course materials, insured all hardware and software was up to date and working properly. Columbia City Junior High School, Howard County, MD Teaching assistant in the Special Education department. AWARDS & HONORS Awarded artist residency at Ucross Foundation Grammy nomination, World Music, Baba Olatunji "Love Drum Talk" N.E.A. Grant, New Dramatists, Composer Librettist Workshop, New Music -
07 – Spinning the Record
VI. THE STEREO ERA In 1954, a timid and uncertain record industry took the plunge to begin investing heav- ily in stereophonic sound. They were not timid and uncertain because they didn’t know if their system would work – as we have seen, they had already been experimenting with and working the kinks out of stereo sound since 1932 – but because they still weren’t sure how to make a home entertainment system that could play a stereo record. Nevertheless, they all had their various equipment in place, and so that year they began tentatively to make recordings using the new medium. RCA started, gingerly, with “alternate” stereo tapes of monophonic recording sessions. Unfortunately, since they were still uncertain how the results would sound on home audio, they often didn’t mark and/or didn’t file the alternate stereo takes properly. As a result, the stereo versions of Charles Munch’s first stereo recordings – Berlioz’ “Roméo et Juliette” and “Symphonie Fanastique” – disappeared while others, such as Fritz Reiner’s first stereo re- cordings (Strauss’ “Also Sprach Zarathustra” and the Brahms Piano Concerto No. 1 with Ar- thur Rubinstein) disappeared for 20 years. Oddly enough, their prize possession, Toscanini, was not recorded in stereo until his very last NBC Symphony performance, at which he suf- fered a mental lapse while conducting. None of the performances captured on that date were even worth preserving, let alone issuing, and so posterity lost an opportunity to hear his last half-season with NBC in the excellent sound his artistry deserved. Columbia was even less willing to pursue stereo. -
FOR IMMEDIATE RELEASE Contact: Media – Leading Edges, 601.483.9810, [email protected] Performance – MSU Riley Center
FOR IMMEDIATE RELEASE Contact: Media – Leading Edges, 601.483.9810, [email protected] Performance – MSU Riley Center Box Office, 601.696.2200, [email protected] ‘Lonesome Traveler: The Concert’ Celebrates Folk Music Roots at MSU Riley Center MERIDIAN, MS –“Lonesome Traveler: The Concert,” with featured guest star Peter Yarrow of Peter, Paul and Mary, will take an MSU Riley Center audience on a musical journey down the many streams of American folk music on Saturday, October 13, at 7:30 p.m. The multimedia concert, based on an acclaimed off-Broadway musical, is the second show in the Riley Center’s 2018-2019 Fall/Winter Performing Arts Series. “Lonesome Traveler” celebrates the music of such great folk and folk-rock artists as Woody Guthrie, Lead Belly, Pete Seeger and The Weavers, The Limeliters, Bob Dylan, The Byrds, Crosby, Stills & Nash, Joan Baez, Joni Mitchell and Simon & Garfunkel. It also includes a special tribute to Leonard Cohen. Charismatic young singers and multi-instrumentalists re-create the sounds and rekindle the idealistic spirit of the 1950s and ’60s folk revival. “Paul, Mary and I owed a great debt to the pioneers of folk who came before us,” Yarrow said. “It’s a joy for me to see a new generation carrying forward the traditions of folk music.” Members of every generation can sing along together on such warmly remembered hits as “If I Had a Hammer,” “Puff, the Magic Dragon,” “This Land Is Your Land,” “Blowin’ in the Wind,” “Turn! Turn! Turn!” “The Times They Are a-Changin’” and “Hallelujah.” It’s all folk music – music of the people, ever evolving, connecting us to our past and shaping our future. -
Pete Seeger, Songwriter and Champion of Folk Music, Dies at 94
Pete Seeger, Songwriter and Champion of Folk Music, Dies at 94 By Jon Pareles, The New York Times, 1/28 Pete Seeger, the singer, folk-song collector and songwriter who spearheaded an American folk revival and spent a long career championing folk music as both a vital heritage and a catalyst for social change, died Monday. He was 94 and lived in Beacon, N.Y. His death was confirmed by his grandson, Kitama Cahill Jackson, who said he died of natural causes at NewYork-Presbyterian Hospital. Mr. Seeger’s career carried him from singing at labor rallies to the Top 10 to college auditoriums to folk festivals, and from a conviction for contempt of Congress (after defying the House Un-American Activities Committee in the 1950s) to performing on the steps of the Lincoln Memorial at an inaugural concert for Barack Obama. 1 / 13 Pete Seeger, Songwriter and Champion of Folk Music, Dies at 94 For Mr. Seeger, folk music and a sense of community were inseparable, and where he saw a community, he saw the possibility of political action. In his hearty tenor, Mr. Seeger, a beanpole of a man who most often played 12-string guitar or five-string banjo, sang topical songs and children’s songs, humorous tunes and earnest anthems, always encouraging listeners to join in. His agenda paralleled the concerns of the American left: He sang for the labor movement in the 1940s and 1950s, for civil rights marches and anti-Vietnam War rallies in the 1960s, and for environmental and antiwar causes in the 1970s and beyond.