Friday, November 22, 2013

S&P Show and Song Night--with notes for end of semester‏

 
A Quilt by Harriet Powers (1837-1910), rural Georgia





















S&P Show and Song night
potluck and song night
thursday december 5
plan to pin-up at 6pm sharp-- we'll open the show and have a toast at 7!
invite friends and relations!

IT"S IMPORTANT THAT EVERYONE SHOW UP AT 6PM. If we can get the room earlier (before 6), I'll let you know that week.

wine-- tony
cups, plates, utensils-- tony
food-- potluck  Aimée will organize email list and keep tabs with you
song sheets (and instruments)
invite friends who will enjoy doing the songs with us. that's the focus of the evening (along with some good food and libation!) It works best when the guests are into the music!!!

work--
bring several of your favorite projects--this is a "look-back" over the semester
give some thought to layout ahead of time so that you come ready to pin up.
class has 13 people with visual work--there are 14 panels, plus free-standing panels and south wall. that should be plenty of space.
I've asked joe gouig to stop in and help arrange the lights for even coverage of the walls
there will be a monitor for kouros' new film--and a "half-time show" for some songs by baylor and noor (A Stairwell Special)
if you need stands, pedestals, etc. see joe gouig in 103 BEFORE thursday evening

sing-along night  DO OUR SONGS
friends yes--but I need to know ahead of time on guest performers

evaluations--we'll fit these in, too

your digital notebookswe decided that everyone will re-work any "done too quick" posts--remember, the blogs are public--and your work reflects the class as a whole! good writing and good photos!
Also, I want you to add a last entry--write something about Songs & Places--what the course (the songs, the places, the history, the stories) have meant to you--how you feel you engaged them, how they changed you (or did you change them?) and maybe where they'll take you as we all "head down this long dusty road..."

Use this as your opportunity to put what you've done into perspective!

Due date: Tuesday, December 17.
Earlier is better for me, but take till the 17th if you need to. Semester ends December 20. Send me an email when your digital notebook is complete so that I'll know when to look.

Wednesday, November 20, 2013

...and Goodnight Irene


Albert York























Well, a Tin Pan Alley melody--from an Irish tune, originally--distributed all over the US in sheet music form--the parlor piano, early 20th century, and maybe even a  guitar--could be as far as Caddo County, Louisiana... We'll never know just where Leadbelly began with it, but the song--in all its mixtures and variables--certainly became his own. And thereby ours as well... And we bless him for it...

So, here are some versions to close with... (And if one of these is down, you'll no doubt find lots more!)

Roots of Blues -- Lead Belly „ Goodnight Irene" - YouTube
Weavers - Goodnight Irene - YouTube
Rainbow Quest: Mississippi John Hurt - Goodnight Irene - YouTube
YouTube - Dr. John plays 'Goodnight Irene'
Mississippi John Hurt - Goodnight Irene - YouTube
 Ry Cooder - Goodnight Irene - YouTube  
 Dr. John - Goodnight Irene - YouTube   (good recording, no video, but some are posted)
 
Leadbelly--Goodnight Irene - YouTube Leadbelly & Martha Promise   (recording)

Sunday, November 17, 2013

Students' Individual Digital Notebooks for the Class LINKS

 
Kouros Alaghband, still from a short film, Brother John














Here are links to each student's Digital Notebook site:

Kouros Alaghband  (Senior, Architecture)  http://theboreoftitles.blogspot.com/ 
Kyra  Baldwin (Junior, Landscape Architecture)  http://kyrajb.blogspot.com/
Helen Butler  (England, L&S limited)     http://helenbutler185x.blogspot.com
Wendy Kay Ho (Sophomore, Sustainable Design)    http://wendy-kayho-vs185x.blogspot.com/
Baylor Odabashian (Sophomore, undeclared)   http://inumerablelotuslands.blogspot.com/
Aimee Louise Daniels  (Senior, Architecture)  http://placesaimeegoes.blogspot.com/
Noor Al-Samarrai  (Senior,  L&S)    http://thinkinbouttoes.blogspot.com/ 
Walker Hart (Senior, Architecture)    http://songandplacebywalker.blogspot.com/  
Beth Estelle Shephard   (Senior, Urban Studies)   http://bethshephardvs185x.blogspot.com/
Alon Daks   (Sophomore, Computer Science)   http://alondaks.blogspot.com/
Feiya Ma     (Senior, Urban Design)   http://feiyama.blogspot.com/  
Arami Matevosyan   (Junior, Architecture)   http://aramiesme.blogspot.com
Valdemar Díaz Hinojosa   (auditor, México)  http://170wurster.blogspot.com/

An earlier version of this post has Tony's comments included (see Blog Archive, Week 4 post: Students' Digital Notebooks LINKS with comments)

Sunday, November 10, 2013

Weeks 12-13: Sailors & Cowhands


Sailors and Cowhands, that's the Music Download selection I'm posting for you on Box. Should be perfect for the two remaining Thursdays between now and our last regular class meeting on December 5. They fit together, so it makes sense to present them to you back to back, over two weeks. You can listen to the selections at one go, of course--but remember that we'll emphasize Shanties for Week 12 and Cowboy Songs for Week 13 following (after Thanksgiving)--our last regular class meeting. See below for Download link, Reading, and Primary Songs.


Clipper Ship





 .
The Shanties cover a wide range--both British and American, with many different singing styles. There are nice concertina parts tucked away in there, too! I want each of you to listen to these carefully--and choose one or two on which to focus your visual projects. For this week, the download tracks are your point of departure, rather than video posts on YouTube (I've included a few below--but I want you to concentrate on the download). The shanties (or chanties or chanteys)  began as work songs aboard ship in the days of sail--in a way related to the field hollers we listened to earlier in the term. They reflect life at sea and the experience of being a forecastle hand--where much of the  work was done by group effort. You hear this in the cadence of the songs--the lead call, and then the response of the crew. Many of them come from the days of whaling.


Cattle Drive
 
Cowboy songs reflect the reality of life on the Great Plains in the 19th century. Following the Civil War, with the economy of the South in disarray, cattle drives from Texas up into the Midwest and Chicago were an immediate way of producing income. (The cows sold for  much more in the north, and could be shipped by recently established railway lines to points east.) The attendant folklore is an important party of the American past--including the songs, of course. (Get Along Little Doggie and The Old Chisolm Trail are two we can do--they're in your tan songsheets. Also listen to Willie Nelson's reprise, The Last Cowboy, on YouTube, below.) Several of the download selections come from the Harry Smith Anthology--plus four tracks from a contemporary interpreter, Skip Gorman--whose versions are wonderful, but can seem a little too nicely rounded off. To counter this, I went straight to Hank Williams--who's of course not a "cowboy" singer at all--but remains one of the greats--he could be included almost anywhere in Songs & Places (Note that Log Train is autobiographical on his part--and that Singing Waterfall is the Hank Williams song that John Fahey talks about in the chapter provided in the Reader, below. Lost Highway and Lonesome Whistle are simply two great songs...)

Home Ranch, Thomas Eakins (painted in 1888)

























Cowboy songs (and cowboy life in general) became of course an ongoing source for the popular culture industry--with singers like Tex Ritter, Gene Autry, Roy Rogers  and Dale Evans all popularizing them, along with "horse opera" Westerns (movies) and later television shows--so that over time it became very difficult to distinguish historical occurrence from its commercial representation. Or better said, the representations came to stand in for an imagined reality. (For the extreme here, see Sergio Leone's  always engaging "Italian" versions, like The Good, The Bad and the Ugly. A short (and rare) video interview with Leone is included below.) Or any period film with John Wayne in one of his cowboy roles. The same popular treatments happened, but to a much lesser degree, with Sea Shanties (Johnny Depp notwithstanding). You might consider why this is so. Cattle drives are a thing of the past (soon enough the South recovered and Texas had its own railway hubs), whereas whaling (and commercial fishing in general) are ongoing issues. And consider this: trucker songs as the cowboy songs of today.

Gene Autry (publicity photo, 1940s)
John Wayne in Rio Bravo (1959)






































In any case, the important thing is for you to listen to the songs, and to use them as a bridge into the worlds they come from--and to let this be reflected in your own projects.

______

 READING: For Weeks 12-13, read Nicholas Dawidoff, In the Country of Country, Reader pps. 165-86 and Greil Marcus' essay, "Envoi," Reader pps. 94-99 (from the edited collection, The Rose and the Briar). For a musician's take,  read the selection from John Fahey's (very personal) book, How Bluegrass Music Destroyed My Life, Reader pps. 205-230. The three readings together are intended to extend your understanding of the American folk tradition--a way of understanding where we've been, where we're going--and where you'll take your connections with this music beyond the Songs & Places class...

DOWNLOAD LINK: Sailors & Cowhands --  https://berkeley.box.com/s/ef8tq6bturwsyflrts7l

PRIMARY SONGS: Here are the songs from our primary S&P list, in your tan songsheets. (The ones I want you to know by heart--so sing them more--in the shower and on the road!)  Recorded versions are on you original S&P CD download from beginning of the semester.

Sea Shanties (for Week 12):
Greenland Whale Fishery
Blow Ye winds, Heigh Ho

Cowboy Songs
  (for Week 13)
Streets of Laredo
I Ride an Old Paint
The Old Chisolm Trail 

Get Along Little Dogies)
_______

Here, for reference, are the song titles from the download for the remainder of the semester:

Sea Shanties (on your download):

Greenland Whale Fishery
Blow Ye Winds Heigh Ho
The Wild Goose  (in Louis Killen's unique version)
Paddy Doyle
The Banks Of Newfoundland
The Hog-Eye Man
The Black Ball Line
The Dark Eyed Sailor
In Scarborough Town
The Flying Cloud
The Coast of Peru
Lowlands Low
Jolly Roving Tar
Leave Her, Johnny
The Black Ball Line

Cowboy Songs (on your download):

Streets Of Loredo
I Ride an Old Paint  (Carl Sandburg's version)
A Cowboy's Wild Song To His Herd
Bandit Cole Younger
The Wild Wagoner
Cowboy Love Song
Little Joe The Wrangler's Sister Nell
The Lone Star Trail
Indian War Whoop
Amarillo Walt
Buffalo Gals

Hank Williams (on your download):

Lonesome Whistle (I Heard That Lonesome Whistle)
Lost Highway
The Log Train
Singing Waterfall

Hank Williams takes into the realm of Country Music (formerly known as Country and Western)--important it own right, but a commercial form more than a branch of folk music. (The distinction can be difficult, because Country songs reflect a world that in itself has very strong folk traditions. (Look carefully at Willie Nelson's face when he sings Blue Eyes Cryin' in the Rain...)

Chuckwagon






















________________

FOLLOWUPS--this is supplemental material for Weeks 12-13. If you look under performers' names, on YouTube, you'll find a wealth of material for both Cowboy Songs and for Sea Shanties (or Chanties or Chanteys). I recommend doing some of this. When you look under "cowboy" see also Gene Autry and Tex Ritter...and maybe even Roy Rogers and Dale Evans...but remember that "real" cowboy songs morphed pretty easily into "real imitation" cowboy songs. So, what else is new? That's why I gave you poet Carl Sandburg singing I Ride an Old Paint on our primary S&P CD. He CARED about the originals (even though he wasn't a cowboy either...)

For the Shanties, if you poke about (particularly with the English material) it's easier to find good contemporary versions.  Not as much money involved, for one thing (there was no "sea shanty" recording industry as with cowboy material--which went hand in hand with cowboy movies. ) Therefore, less kitsch. (Is this a valid equation?) There have always been pirate movies, too--but they've never been presented as the "essence" of the American spirit. (Again, images of John Wayne versus images of Johnny Depp.)

Some particular YouTubes to ampify the above:

Cowboy Songs:
Don Edwards - Barbara Allen - YouTube
(we watched this in class--what's important here is Edwards' interpretation of the song)
Alan Lomax - The Wild Rippling Water (western folk song) (Alan Lomax himself doing this one!)
THE OLD CHISHOLM TRAIL by Harry MAC McClintock - YouTube (audio only--the first "cowboy song" recording)
Tex Ritter - The Old Chisholm Trail - YouTube  (American television--Grand Ol'Opry)
Mike Seeger - "Old Chisholm Trail" - YouTube (a classic folk revival version)
Roy Rogers : Git Along Little Dogies ( 1940 ) - YouTube

▶The American West 06 - The Cattle Trail (1879) - from Timelines.tv - YouTube  (From a documentary, with character--or with a character)

▶ The Last Cowboy Song - Ed Bruce & Willie Nelson - YouTube
▶ Willie Nelson-The Last Cowboy **RARE** **Official Video** - YouTube  
and a  Very Rare Interview with Sergio Leone in 1984 - YouTube

And moving into Country:
Hank Williams - I Hear That Lonesome Whistle Blow - live with The Drifting Cowboys - YouTube
Willie Nelson - Blue Eyes Crying In The Rain

▶ Buck Owens & His Buckaroos - Crying Time - YouTube
▶ Cryin' Time by BUCK OWENS Original Version 1964 - YouTube 
George Jones & Tammy Wynette - Crying Time - YouTube 
George Jones - White Lightning (1959) - YouTube

Some Sea Shanties: 
Mobile Bay shanty audio alan lomax recording  (This is a wonderful song, hard to find--its in the Lomax songbooks.) 
▶ Way Down on Mobile Bay (CHANTY, WORK-SONG) - YouTube
Mobile Bay · Bob Walser (lyrics)
Sea shanty on anglo concertina - YouTube


Storm at Sea (video)


Wildcards:

By the way,  storm videos (YouTube posts) will give you a very good sense of the extremes of life at sea. I'll include one here (note that the titles always use words like "huge" and "awesome.")
YouTube - Boat in a huge storm at sea

And at the opposite end of the scale, an extraneous wildcard--but also delightful:
▶ What's My Line? Gene Autry (1953) - YouTube
 

Gene Autry, What's My Line, television, 1953


 

Sunday, November 3, 2013

Week 11: City Blues: Chicago


Junior Wells performing at Theresa's Lounge (Marc PoKempener photo)



















Key CHICAGO BLUES people include Muddy Waters (who arrived in Chicago in the 1940s), Howlin' Wolf, and John Lee Hooker (Hooker is associated with Detroit, but like Muddy Waters, was born in the South). And Willie Dixon, Little Walter, Magic Sam, Otis Rush, Buddy Guy, Johnny Shines... Otis Spann, Junior Wells plus many many more... It's important that you understand the dynamic between the two regions--the Mississippi Delta (Country Blues in general) and Chicago (Urban Blues in general)--and why the music sounds the way it does.

A rainy night outside Theresa's, MPK photo (late 1960s)


















The important theme to concentrate on is this Mississippi-Chicago axis. (See Robert Palmer's book, Deep Blues).) Many of the "city" players had their start in the south (Muddy Waters and Howlin' Wolf, for eample.) They took their downhome music north. Sometimes it worked the other way around. Johnny Shines, the Chicago blues artist  (who as a young man was influenced by and had travelled and played with Robert Johnson) is included here on a track called Too Wet To Plow--recorded later in his life, but at the same time a beautiful return to his southern roots.

Here's where it all started: 

Muddy Waters: Feel Like Goin' Home (Aristocrat, 1946)

Muddy Waters, Chicago,  late1940s

























Reading.  Last week's reading continued to apply. And again, for a very different view of music made by Black Americans, see Albert Murray's Stomping the Blues (which treats a much wider musical panorama, with attendant ideas as to how we should understand "the blues...")

Download (same as last week):  https://berkeley.box.com/s/gwamo1pfjmeelmauzkm
Last week's download includes songs for both weeks 10 and 11. Here are the tracks especially for this week:

CHICAGO
Long Distance Call    Muddy Waters   (1913-1983)
Rollin' & Tumblin', Part Part 1   Muddy Waters
Honey Bee    Muddy Waters
Blues With A Feeling   Little Walter   (1930-1968)
Too Wet To Plow   Johnny Shines   (1915-1992)
I'm The Wolf    Howlin' Wolf   (1910-1976)
The Red Rooster (With False Start And Dialogue) Howlin' Wolf & English Rock musicians Eric Clapton, Steve Winwood, Bill Wyman, Charlie Watts)

Theresa's Lounge, Lost & Found, MPK photo




















You can also refer back these selections mentioned in last week's post:

How Long, How Long Blues  Leroy Carr (1905-1935)  (Nashville, originally)
Jet Black Snake    Roosevelt Sykes   (1906-1983)
Hoodoo Lady    Memphis Minnie   (1897-1983)
Black Snake Blues    Victoria Spivey   (1906-1976)

and these two more recent tracks:

J.T. Blues   Big Joe Turner   (1911-1985)  (Kansas City "blues shouter")
Sad Street    Bobby "Blue" Bland   (b. 1930)  (Memphis, originally)

Chicago, MPK photo


There are myriad blues styles and blues players. Concentrate on Muddy Waters and Howlin' Wolf--then move on to some of the other tracks (Roosevelt Sykes, Victoria Spivey).

Also included, back-to-back, Joe Turner, originally a "blues shouter" from Kansas City, in a late-great performance (J.T. Blues)--and (also wonderful)  Bobby "Blue" Bland singing Sad Streets...


Big Joe Turner (Kansas City)




















Plus one track from The Wild Tchoupitoulas (pure New Orleans), one from Sleepy LaBeef (of rockabilly fame), and one from the immensely curious (and powerful) Bahamian player, Joseph Spence. But Joseph Spence's music would be another story in itself...

There's also a good back-and-forth between traditional black blues musician Howlin' Wolf and a group of young English blues players. (Howlin' Wolf is basically teaching them how to play Little Red Rooster.)  I included this as a track on your download under Little Red Rooster.

Howlin' Wolf at Silvio's, Chicago (Hubert Sumlin on lead guitar, next to drummer)



















Another cut on your download, Too Wet To Plow, by Johnny Shines--a beautiful song by a southern blues musician--Johnny Shines--who moved to Chicago to make his career, but later in life again recorded some of the Mississippi Blues songs he knew from his youth. Johnny Shines as a young man traveled with Robert Johnson--and learned his style. You'll hear it in the way he plays the song, recorded decades later.

Johnny Shines, Too Wet to Plow












Hey, there are many many good traditional blues players. The download gives you a mini cross section. But here I kept the list here simple so that you could concentrate on the Mississippi Delta / Chicago (rural blue/city blues) dynamic. Which is also an acoustic instrument/electric instrument dynamic.


Muddy Waters, 1960s




















Some related YouTubes with video:

MUDDY WATERS -hoochie coochie man (1960) - YouTube