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.
Ruth Crawford Seeger (1901-1953) is frequently considered the most significant American female composer in this century. Joining Aaron Copland and Henry Cowell as a key member of the 1920s musical avant-garde, she went on to study with modernist theorist and future husband Charles Seeger, writing her masterpiece, String Quartet 1931, not long after. But her legacy extends far beyond the cutting edge of modern music. Collaborating with poet Carl Sandburg on folk song arrangements in the twenties, and with the famous folk-song collectors John and Alan Lomax in the 1930s, she emerged as a central figure in the American folk music revival, issuing several important books of transcriptions and arrangements and pioneering the use of American folk songs in children's music education. Radicalized by the Depression, she spent much of the ensuing two decades working aggressively for social change with her husband and stepson, the folksinger Pete Seeger.This engrossing new biography emphasizes the choices Crawford Seeger made in her roles as composer, activist, teacher, wife and mother. The first woman to win a Guggenheim Foundation Fellowship in music composition, Crawford Seeger nearly gave up writing music as the demands of family, politics, and the folk song movement intervened. It was only at the very end of her life, with cancer sapping her strength, that she returned to composing. Written with unique insight and compassion, this book offers the definitive treatment of a fascinating twentieth-century figure.
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.
To its millions of fans, country music is America's music, offering a window on the sweet dreams and cruel disappointments of ordinary American lives. Now the renowned Country Music Foundation, custodian of Nashville's legendary Country Music Hall of Fame and Museum, has compiled a fascinating and infinitely useful guide to this beloved musical genre--The Encyclopedia of Country Music.
Nearly 1,300 complete and up-to-the-minute alphabetical entries put eight decades of country music at readers' fingertips, from the earliest '20s recordings of the Carter Family and Jimmie Rodgers to the '90s chart-topping albums of LeAnn Rimes and Garth Brooks. A distinguished field of 137 contributors provides an eminently readable and reliable guide to the singers, songwriters, record companies, and industry movers and shakers who have made country music the increasingly popular--and profitable--juggernaut it is today. There are entries for influential radio and television programs, and for key country landmarks from Nashville's Music Row to Bakersfield's Blackboard nightclub. Ten longer essays probe the historical, cultural, religious, artistic, and financial forces shaping country music. Hundreds of photographs, some never before published, accompany the text, including 75 color photographs from the CMF Library's record collection, surveying the history of the country music album cover. Twelve appendices provide lists of country's all-time best-selling albums, country music stations nationwide, all the country music awards won over the years, and much more.
Authoritative, accessible, and unerringly accurate, The Encyclopedia of Country Music will delight fans. It is an essential reference for libraries, radio stations, and the entertainment industry.
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.
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.
Willie Nelson, Joe Ely, Marcia Ball, Tish Hinojosa, Stevie Ray Vaughan, Lyle Lovett . . . the list of popular songwriters from Texas just goes on and on. In this collection of thirty-four interviews with these and other songwriters, Kathleen Hudson pursues the stories behind the songs, letting the singers' own words describe where their songs come from and how the diverse, eclectic cultures, landscapes, and musical traditions of Texas inspire the creative process. Conducted in dance halls, dressing rooms, parking lots, clubs-wherever the musicians could take time to tell their stories-the interviews are refreshingly spontaneous and vivid. Hudson draws out the songwriters on such topics as the sources of their songs, the influence of other musicians on their work, the progress of their careers, and the nature of Texas music. Many common threads emerge from these stories, while the uniqueness of each songwriter becomes equally apparent. To round out the collection, Hudson interviews Larry McMurtry and Darrell Royal for their perspectives as longtime friends and fans of Texas musicians. She also includes a brief biography and discography of each songwriter.
A wonderful collection of 20 popular, beautiful and fun-to-play songs for beginning to intermediate guitar students. The melody, an easy strumming pattern, chord diagrams and complete lyrics are provided with each song, so students can choose to either pl