How do you survive leaving everything you know to try to reconstruct your life and future in a new way? What do you carry with you on your journey to the new place? Migration looms large as a theme in twentieth-century African American life. Bernice Johnson Reagon uses this theme as a centering structure for four essays that examine different genres of African American sacred music as they manifested themselves throughout the twentieth century and within her own life. The first essay examines the evolution of gospel music by looking at the work of Charles Albert Tindley, Thomas Andrew Dorsey, Reverend Smallwood Williams, Roberta Martin, Pearl William Jones, and Richard Smallwood. In the next essay Reagon relates the story of Deacon William Reardon and the prayer bands that carried the tradition of South Carolina spirituals through the twentieth century in the communities of Washington DC, and Baltimore. The concert spiritual tradition is the subject of the third essay, and the final essay explores how stories about African American women of the nineteenth century became a source of strength for Reagon in her development as an African American woman, singer, fighter, and scholar. Bernice Johnson Reagon is the dynamic founder of Sweet Honey in the Rock, a Grammy Award-winning African American female a cappella ensemble. She is Distinguished Professor of History at American University and curator emeritus at the National Museum of American History, and she has worked at the Smithsonian Institution for many years. She is the editor of We'll Understand It Better By and By: Pioneering African American Gospel Composers and other works.
Selected for contests and adjudications around the country, this incredible volume includes 11 favorite folk songs expertly crafted for solo voice and piano. Arranged by Alfred Music's finest writers, such as Philip Kern, Jay Althouse, Don Besig, Ruth Elaine Schram, and Carl Strommen. Titles: Amazing Grace * Danny Boy * 'Liza Jane * Greensleeves * Farewell, Lad (Ad u, Donzellet) * To the Sky * Scarborough Fair * She's Like the Swallow * Angels Through the Night (All Through the Night/All Night, All Day) * Homeward Bound * 'Cross the Wide Missouri. This title is available in SmartMusic.
This is the first study of "hard" country music as well as the first comprehensive application of contemporary cultural theory to country music. Barbara Ching begins by defining the features that make certain country songs and artists "hard." She compares hard country music to "high" American culture, arguing that hard country deliberately focuses on its low position in the American cultural hierarchy, comically singing of failures to live up to American standards of affluence, while mainstream country music focuses on nostalgia, romance, and patriotism of regular folk.
With chapters on Hank Williams Sr. and Jr., Merle Haggard, George Jones, David Allan Coe, Buck Owens, Dwight Yoakam, and the Outlaw Movement, this book is written in a jargon-free, engaging style that will interest both academic as well as general readers.
A biography of the legendary folk and blues singer discusses his influences, his close relationships with folk greats Woody Guthrie and Pete Seeger, and his involvement in left-wing politics and the labor movement
What does the 'country' in country music mean? Most interpret country as a regional or folk music that belongs to people in the hills and in honky-tonks, but Cecelia Tichi argues that it is in fact a national music form, one that belongs to all Americans. In High Lonesome, she shows that country music is strongly linked to our nation's literature and art. Country music, Tichi argues, explores the same themes that have intrigued this country's premier writers and artists over three centuries: the American road, the meaning of home, class struggle, spiritual travail, and the persistent loneliness of the American character. These are obsessions that country music artists like Dolly Parton, Hank Williams, Rodney Crowell, Merle Haggard, and Emmylou Harris share with artists not thought of as 'pop'--Ralph Waldo Emerson, Harriet Beecher Stowe, Mark Twain, Thomas Cole, Edward Hopper, and Georgia O'Keefe. Generously illustrated with photographs of country music artists and images of American art, High Lonesome uses interviews and biographical profiles to provide an insider's look at the schooling, customs, demands, and discipline of country music--an art form that Tichi maintains is emphatically part of mainstream American culture. from the book When the poetry of Walt Whitman links up with the country music of Hank Williams, when Dolly Parton and Ralph Waldo Emerson pair up and Mark Twain and Emmylou Harris are found to have a common ground, and the vacationing traveler is also involved, then new ideas about cultural relations become possible. It is not a trivia question to ask, What does country music have in common with Thomas Jefferson, Walt Whitman, American painters Thomas Cole and Edward Hopper, and twentieth-century writers John Steinbeck and Jack Kerouac? Songs and partial songs found on the High Lonesome CD * indicates partial songs Dolly Parton, 'My Tennessee Mountain Home' Barry and Holly Tashian, 'Home' Emmylou Harris, 'Hickory Wind'* Steve Earle, 'Guitar Town' Robin and Linda Williams, 'Rolling and Rambling' Merle Haggard, 'Ramblin' Fever' Emmylou Harris, 'Lonely Street'* Emmylou Harris, 'A River for Him'* Hank Williams, 'I'm So Lonesome I Could Cry' Laurie Lewis, 'The Cowgirl's Song' Tex Ritter, 'High Noon' Dolly Parton, 'Wildflowers'* Eddy Arnold, 'Bouquet of Roses' Emmylou Harris, 'Roses in the Snow'* Emmylou Harris, 'Timberline'* Emmylou Harris, 'Red, Red Rose'* Emmylou Harris, 'Wayfaring Stranger'* Peter Rowan, 'Trail of Tears' Barry and Holly Tashian, 'Let Me See the Light' Kathy Chiavola, 'I Am a Pilgrim/We Are Pilgrims' Laurie Lewis, 'The Maple's Lament' Cody Kilby, 'Bill Cheatham' Rodney Crowell, 'Many a Long and Lonesome Highway'
A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.
During the Great Depression, Lee Hays, the son of a Southern Methodist minister, used his music to life the hearts of sharecroppers and miners and union organizers. He helped bring black music to America's consciousness. He could make people laugh in times when there seemed little to laugh about. An Arkansas traveler and radical minstrel, he commented wryly on events and impaled reactionary southern congressmen on their own words. A kind of Mark Twain of the left, people said. But Lee Hays, for all his great size and talents and humor, was also a difficult man, plagued by self-doubts and a driving need to discombobulate any person or group that struck him as self-satisfied. Lonesome Traveler is the story of a prodigious talent with a zeal for changing the world. With Pete Seeger he formed the popular folksinging group the Weavers, which sang songs of social justice just as a tidal wave of red-hunting hit America. The rest of his legendary story will anger, touch, and delight. Doris Willens, a former newspaper columnist, lyricist, and playwright, divides her time between New York City and Northport, Long Island.
A leader in the development of state and federal programs supporting traditional arts and folk cultures, Bess Lomax Hawes grew up with her father John Lomax and brother Alan in the first family of American folk music. Her compelling account of the folk music boom of the mid-twentieth century and the development of "public-sector" folklore includes family friends Ruth Crawford Seeger and Carl Sandburg, fellow Almanac Singers Woody Guthrie and Pete Seeger, and other musicians and artists. Her own creative endeavors as producer of American folk culture films, author of academic papers and books, and coauthor of the Kingston Trio's hit "MTA Song" (adapted from a local political campaign jingle) unfold alongside her legacy of teaching guitar and American folk music to thousands of adults in Los Angeles. Whether teaching anthropology to college students, learning singing games from the Georgia Sea Island Singers, or directing the Folk and Traditional Arts Program at the National Endowment for the Arts, Hawes remains dedicated to preserving and appreciating the traditional cultures of America.
The story of how four young bohemians on the make - Bob Dylan, Joan Baez, Mimi Baez, and Richard Farina - converged in Greenwich Village, fell into love, and invented a sound and a style that are one of the most lasting legacies of the 1960s
When Bob Dylan, age twenty-five, wrecked his motorcycle on the side of a road near Woodstock in 1966 and dropped out of the public eye, he was recognized as a genius, a youth idol, and the authentic voice of the counterculture: and Greenwich Village, where he first made his mark as a protest singer with an acid wit and a barbwire throat, was unquestionably the center of youth culture.
So embedded are Dylan and the Village in the legend of the Sixties--one of the most powerful legends we have these days--that it is easy to forget how it all came about. In "Positively Fourth Street," David Hajdu, whose 1995 biography of jazz composer Billy Strayhorn was the best and most popular music book in many seasons, tells the story of the emergence of folk music from cult practice to popular and enduring art form as the story of a colorful foursome: not only Dylan but his part-time lover Joan Baez - the first voice of the new generation; her sister Mimi - beautiful, haunted, and an artist in her own right; and her husband Richard Farina, a comic novelist ("Been Down So Long It Looks Like Up To Me") who invented the worldliwise bohemian persona that Dylan adopted--some say stole--and made as his own.
The story begins in the plain Baez split-level house in a Boston suburb, moves to the Cambridge folk scene, Cornell University (where Farina ran with Thomas Pynchon), and the University of Minnesota (where Robert Zimmerman christened himself Bob Dylan and swapped his electric guitar for an acoustic and a harmonica rack) before the four protagonists converge in New York.
Based on extensive new interviews and full of surprising revelations, "Positively Fourth Street" is that rare book with a new story to tell about the 1960s. It is, in a sense, a book about the Sixties before they were the Sixties--about how the decade and all that it is now associated with it were created in a fit of collective inspiration, with an energy and creativity that David Hajdu captures on the page as if for the first time.