Posts filed under 'Music'

This Land Is Your Land in Washington Square Park

An Amazing scene in Washington Square Park before last night’s arrests. Of interest is the difference between the decency of the rank and file police officer who just wants to go home and his superiors, in white shirts, who can’t resist a bit of petty obnoxiousness. Also note their efforts to avoid any press witnessing or recording of the arrests. Freedom of the Press is as contingent as Freedom of Speech and Assembly in Bloomberg’s New York:

[This was shot by Josh Harkinson of Mother Jones]

October 16th, 2011

Music: Jeff Rowe — “A Thousand Ways” for Occupy Boston

Musician Jeff Rowe wrote a song called “A Thousand Ways” for Occupy Boston, and left this note on his website:

Hey guys… as you may know, I’ve been getting involved with the Occupy Boston movement… to me this is the most important social movement of our generation and I want very much to help in any way possible… which brings me to this.

I wrote a quirky little song and recorded it this morning to sell for one dollar via bandcamp… It’s totally exclusive and will never be recorded again… 100% of the download money will go to support the basic needs of the hundred of people that are now living in Dewey Square in Boston… water, food, winter clothing etc…

I could use your help to tweet,post and whatever other avenue you could use to help me make some loot for a cause that is much greater than ourselves…

love you guys!!
here it is…
—-Jeff

You can buy it to donate to the cause, or just listen to its awesomeness over and over again here.

October 13th, 2011

Music: David Rovics — Occupy Wall Street

October 11th, 2011

Amanda Palmer sings at Occupy Boston

October 9th, 2011

The Jewish-Arab Peace Song

How do you make this song a reality? To be sure, singing songs about peace will not bring peace. But reading about the Israeli-Palestinian conflict, visiting the conflict area and talking to the people on the ground are concrete steps that can make a difference.

In this song, Jewish-Israeli and Palestinian singers and musicians joined together to perform the Hebrew-Arabic song “Hevenu Shalom Aleinu” (We Brought Peace Upon Us) – “Ma Ana Ajmal Min Salam” (There is Nothing More Beautiful Than Peace). Sung in both Hebrew and Arabic, this Middle Eastern, Sepharadic-style, jazzy and inspiring song challenges us to rise above the propaganda, renounce hatred, supremacy, violence, and terrorism, and “rock the boat” until Israelis and Palestinians understand there is only one path to security and peace, and that is through sharing the land and upholding the human rights of all inhabitants of the Holy Land.

This song is dedicated to the thousands of ordinary people around the world, including many Jews, who are helping to promote human rights, equality and justice.

Thank you for listening! Shamai Leibowitz

PERFORMERS (in order of appearance):
Israeli Jews:
Leah Shabat
Shlomo Gronich
Zehavah Ben
Eli Luzon

Palestinians:
Sahmir Shukri
Nivine Jaabri
Elias Julianos
Lubna Salame

TRANSLITERATION OF SONG
(Hebrew)
yesh beneynu hiburim
she’horeynu lo halmu
yesh beneynu diburim
she’ad koh lo nishme’u.

anahnu kan bishvil koolam
anahnu gesher ve’soolam
bishvil mi she’holem
bishvil mi she’halam.

ve’od be’hayeynu
ve’od be’yameynu
nashir be’koleynu:

HEVENU SHALOM ALEINU…

(Arabic)
idak lou yib’a idi
imanak wil’ahlam
minamar dinya jdidi
danya mahbi wa’salam

wilama ‘niya titsafa
kool inas biyib’ku nas
minsir eylet hub
eyli tishrab min kas.

min kas i’salam
min kas i’salam
kas i’salam:

MA ANA AJMAL MIN SALAM…

(Hebrew)
ken, horeynu kvar akhlu
boser ad etmol shilshom
akh shineynu titpal’u
lo tikhena od hayom.

(Arabic)
sawiyeh minwahed al’kaloob
sawiyeh minawer al’kool
ma awlad i’salam
ma awlad al-ahlam

(Arabic and Hebrew)
min kas i’salam ve’od be’hayeynu
min kas i’salam ve’od be’yameynu
kas i’salam nashir be’koleynu

Hevenu Shalom Aleinu…
Ma Ana Ajmal Min Salam…

September 28th, 2011

Extraordinary Scots singer Ray Fisher passed away

A friend has sent me the incredibly sad news that the great Scots traditional singer Ray Fisher has died at the age of 70.

Here is two songs sung by Fisher. First is The Pride Of Glencoe. It still gives me the goosebumps I had when I first heard Fisher.

And here is Night Visiting Song.

Here is an obituary from the Independent.

Ray Fisher: Singer who established herself as one of the most important figures in the British folk revival

By Ken Hunt

Scots, not to be confused with Gaelic, groans with rich and redolent expressions. The best word to describe Ray Fisher, who has died of cancer, was kenspeckle, not in its sense of “conspicuous”, but in the sense of “standing out from, or standing apart from the multitude”.

She was among the British folk revival’s most important singers and interpreters, the drollest of parodists and an all-too-modest authority on our folk traditions. No wonder then that, deep in his Hollywood fame period, Billy Connolly drove hundreds of Californian miles to a distant folk club to see Ray and her sister Cilla sing the family brand of folk-song-and-beyond songs, a repertoire irrigated by their love of language and Scots idioms.

Born in Glasgow in 1940, Fisher was one of six daughters and a token son in a family with catholic musical tastes embracing light operatic and parlour fare, Scots and, through their mother, Gaelic songs. In receptive company, Fisher could unleash an impressively exaggerated Count John McCormack impersonation. Topic’s The Fisher Family (1966), long out of print though reissued in Japan in 2002, captures the feistiness of the family singing together. Ray’s lead vocal on “Joy of My Heart” and “Come All Ye Fisher Lassies” are defining performances.

For Fisher, like many of her generation, the skiffle movement was a conduit to folk music. Her brother Archie’s and Bobby Campbell’s skiffle group, The Wayfarers, landed an opening spot for Pete Seeger in their hometown, as well as in Edinburgh and Aberdeen (Archie was a year older than Ray). The group Seeger co-founded, The Weavers, and especially its female vocalist, Ronnie Gilbert, proved monumental inspirations. Of their 1957 LP, The Weavers at Carnegie Hall, Fisher admitted, “At one time I could start from the very beginning and go right through. Introductions word-for-word. Everything.” Cliff Stanton, a local record shop owner, organiser of Cliff Stanton’s Pan Club and under-acknowledged legend of the Glasgow folk scene, lent Fisher’s fellow singer Hamish Imlach what were then prohibitively expensive US import LPs by the likes of Woody Guthrie and Leadbelly. It was, Fisher explained, “part of the upgrading of our education.”

In her final school year Fisher met the Scottish Traveller Jeannie Robertson, yet to receive her 1968 MBE for services to traditional music. Norman Buchan, then a teacher and, with his wife, Janey, a stalwart of Glasgow’s budding folk scene, invited a number of rising young singers to their Partick home. There Fisher sang “Jeannie My Dear, Will You Marry Me?” It was a Robertson morsel. She told Howard Glasser in a 1974 Sing Out! interview: “Jeannie sang the entire song after I’d sung it… talk about upstaging!”

Robertson saw potential, however, and invited Fisher to visit. Ignoring prejudices about the Traveller community, the teenager stayed at Robertson’s Aberdeen home for some six weeks during the summer holidays. “She’d say, ‘You’ve got a good voice. I’ll give you these songs’. She didnae have to do that,” Fisher told me. “She had a daughter of her own, [the superlative traditional singer] Lizzie Higgins.”

Ray and Archie Fisher were one of the folk acts to gain greatly from television exposure. Opportunity knocked with Here and Now, the Scottish regional variant of BBC TV’s Tonight magazine programme. Following the runaway success of Cy Grant, Rory & Alex McEwen and, especially, Robin Hall & Jimmie Macgregor, television embraced folk, topical song and calypso. Television’s voracious appetite for new material schooled them in new disciplines and standards of professionalism. Watching the duo on television provided a steer for the Leith-raised folk singer and guitarist Dick Gaughan to perform professionally.

Her commercial recording debut came in 1961 with the duo’s “Far over the Forth” EP, but she also recorded on a non-commercial basis for Edinburgh’s School of Scottish Studies. The EP’s natural expression of regional idioms and identity impressed many, including Gaughan and Anne Briggs.

Further direction for Fisher came through politics, whether singing for Labour Party, pro-CND and anti-Polaris events or attempting to go on Aldermaston marches. “Underneath all of what was going on within Scotland,” she told me, “there was a realisation that there was strength in the music as a vehicle for politics. There was a left-wing stream and there was a Scottish nationalist stream. Folk music was just tailor-made for that.”

In 1962, the year she married Colin Ross, the fiddler, piper and future mainstay of the High Level Ranters, and settled in Tyneside, she toured England with the Centre 42 project. An outgrowth of the TUC’s resolution that unions support the arts and decentralise them from London, the folkies formed ranks alongside Shelagh Delaney, Christopher Logue and Arnold Wesker. Performing on Centre 42 stages led to Fisher contributing to Bert Lloyd’s The Iron Muse (1963) and the radio ballads created by Ewan MacColl, Peggy Seeger and Charles Parker, On the Edge (1963).

Never fond of the studio, she managed to avoid recording her solo debut until 1972. Produced by Ashley Hutchings, The Bonny Birdy teamed her with accompanists of the calibre of Martin Carthy, Tim Hart, Hutchings and Peter Knight from Steeleye Span, Alistair Anderson and Colin Ross from the High Level Ranters, as well as Liz and Stefan Sobell and Bobby Campbell. They made an album with folk-rock credentials that did not swamp her distinctive singing style.

Better was to come with Willie’s Lady (1982) which, in style and delivery, was truer to her live act. The title track is one of the Scots language’s finest texts about the ancient belief system, and outwitting malice and witchcraft. Also typical of what made her unique was her interpretation of Alan Rogerson’s version of, as she wrote, “one of the great parting songs”, “When Fortune Turns the Wheel”. Her third solo album, Traditional Songs of Scotland, emerged quietly in 1991.

Fisher was fond of humour and parodies, deconstructing with Cilla the Beverley Sisters’ “Sisters” as “Twisters”, or refashioning the Scots feminist anthem, “I’m a W.O.M.A.N.”. As a writer Fisher contributed to The Singing Kettle, the children’s entertainment ensemble fronted by Cilla, Artie Trezise and Gary Coupland; her story “Christmas Holiday Time” is preserved on The Singing Kettle’s Christmas Crackers video.

Ray Galbraith Fisher, folk singer: born Glasgow 26 November 1940; married 1962 Colin Ross (two sons, one daughter); died North Shields 31 August 2011.

 

September 15th, 2011

Joe Hill framed, new book reveals

The New York Times reports on a new book offers evidence that Joe Hill was innocent of the murder for which he was executed.

On November 19, 1915, the famed radical labor songwriter Joe Hill was executed by firing squad in the state of Utah for a murder for which there was absolutely no evidence he had committed. Every year since then, members of Hill’s union, the Industrial Workers of the World (IWW), or Wobblies, write the governor of Utah on November 19 saying “We never forget!” In addition to be a lover of Hill’s songs, I have always felt connected with him as November 19 is my birthday. For decades I played Hill’s songs on my birthday.

Just before his execution, Hill penned his will:

My will is easy to decide
For there is nothing to divide
My kin don’t need to fuss and moan
“Moss does not cling to a rolling stone”
My body? Ah, If I could choose
I would to ashes it reduce
And let the merry breezes blow
My dust to where some flowers grow
Perhaps some fading flower then
Would come to life and bloom again
This is my last and final will
Good luck to all of you, Joe Hill

Here are two songs about Joe Hill, working class martyr:

Luke Kelly

Phil Ochs (sorry for poor quality, but its a classic):

And Wobbly songwriter  Bruce “Utah” Phillips and Ani DiFrancosing Joe Hill’s most famous song, The Preacher and the Slave:

The Times article:

Examining a Labor Hero’s Death

Steven Greenhouse

At Woodstock, Joan Baez sang a famous folk ballad celebrating Joe Hill, the itinerant miner, songwriter and union activist who was executed by a Utah firing squad in 1915. “I never died, said he” is the song’s refrain.

Hill’s status as a labor icon and the debate about his conviction certainly never died. And now a new biography makes the strongest case yet that Hill was wrongfully convicted of murdering a local grocer, the charge that led to his execution at age 36.

The book’s author, William M. Adler, argues that Hill was a victim of authorities and a jury eager to deal a blow to his radical labor union, as well as his own desire to protect the identity of his sweetheart.

A Salt Lake City jury convicted Hill largely because of one piece of circumstantial evidence: he had suffered a gunshot wound to the chest on the same night — Jan. 10, 1914 — that the grocer and his son were killed. At the trial, prosecutors argued that he had been shot by the grocer’s son, and Hill refused to offer any alternative explanation.

Mr. Adler uncovered a long-forgotten letter from Hill’s sweetheart that said that he had been shot by a rival for her affections, undermining the prosecution’s key assertion. The book, “The Man Who Never Died,” also offers extensive evidence suggesting that an early suspect in the case, a violent career criminal, was the murderer.

Hill, who bounced around the West as a miner, longshoreman and union organizer, was the leading songwriter for the Industrial Workers of the World, also known as the Wobblies, a prominent union that was widely feared and deplored for its militant tactics. He penned dozens of songs that excoriated bosses and capitalism and wrote the well-known lyric “You’ll get pie in the sky when you die.”

His conviction was so controversial that President Woodrow Wilson twice wrote to Utah’s governor to urge him to spare Hill’s life, and unions as far away as Australia protested on his behalf.

After his death, Hill was immortalized in poetry and song, including the 1936 ballad embraced by Ms. Baez, Pete Seeger, Paul Robeson and others: “I Dreamed I Saw Joe Hill Last Night.”

In the letter found by Mr. Adler, Hill’s sweetheart, Hilda Erickson, wrote that Hill had told her he had been shot by her former fiancé, Otto Appelquist — someone she had broken off with a week earlier and who had asked her “if I liked Joe better than him.” In her letter, she added, “I heard Joe tease Otto once that he was going to take me away from him.”

Historians say the letter is groundbreaking because it is apparently the first time anyone has stepped forward to explain exactly how and why Hill was shot. Neither Hill nor Ms. Erickson testified at his trial, although Hill did tell the doctor who treated his wound that a rival suitor had shot him.

The prosecution maintained that Hill had been shot by the grocer’s son, even though the police never found any bullet cartridges or traces of blood, other than the victims’, at the murder scene. Prosecutors used Hill’s silence to persuade jurors that he must have murdered the grocer.

Ms. Erickson wrote the letter in 1949 to Aubrey Haan, a professor who was researching a book on Hill. The book was never published, and Mr. Adler found the letter in papers stored in the professor’s daughter’s attic.

“When I first read the letter, it was a ‘holy cow’ moment because all these years people wondered about what happened that night,” Mr. Adler said in an interview.

In his book, which Bloomsbury will publish on Tuesday, Mr. Adler also lays out what historians say is highly incriminating new information about the person police originally suspected of the two murders, Frank Z. Wilson.

The police arrested Mr. Wilson the night of the murders after they found him walking without an overcoat near the grocery. They also found a bloody handkerchief on him.

Mr. Adler said Mr. Wilson had lied repeatedly to the authorities after they arrested him, but they soon released him for reasons that remain unclear. Mr. Adler also discovered that Mr. Wilson had used at least 16 aliases during his many arrests and convictions, several for robbing trains. He was later involved in the St. Valentine’s Day Massacre in Chicago in 1929, with a getaway car registered under an alias he often used.

“His research is just incredible — it expands what we know in really dramatic ways,” said John R. Sillito, co-author of a new book on radicalism in Utah and a retired archivist at Weber State University in Ogden. “It builds a strong case that Wilson should have been the prime suspect.”

Hill declined to testify at his trial, standing on the principle that he should not have to prove his innocence, especially when he believed that the prosecution could not possibly prove he was guilty with the limited evidence it had.

Mr. Adler’s book suggests that Hill also did not testify partly because he wanted to safeguard Ms. Erickson’s privacy. She was in her early 20s at the time, the niece of the two Swedish brothers he was boarding with.

Rolf Hagglund, a grandnephew of Hill’s who lives in Stockholm, has read galleys of the new book and welcomed its findings.

“From the start, people knew he was set up,” Mr. Hagglund said in a telephone interview. “This book presents the strongest case so far that there was an alternative shooter and how Joe was shot and why he was shot.” (Hill immigrated to the United States from Sweden in 1902, changing his name from the original, Joel Hagglund.)

But John Arling Morrison, a grandson of the murdered grocer, put little stock in Mr. Adler’s findings. “Joe Hill was the one who murdered our grandfather and destroyed the economy of our family,” said Mr. Morrison.

Mr. Adler, a Denver resident, decided to write about Hill after reading Bob Dylan’s “Chronicles,” which argued that the Hill case was a miscarriage of justice.

“Initially I saw the book as a murder mystery, and I saw myself in the role of gumshoe,” Mr. Adler said. “I also wanted to explore how Hill went from being an anonymous worker to finding his voice as a songwriter to becoming a working-class hero to becoming, ultimately, a martyr.”

Like many historians, Gibbs M. Smith, author of a Hill biography, said the trial was unfair. “Under today’s laws of evidence, he never would have been convicted and executed,” Mr. Smith said. Historians have observed that the judge unjustifiably ruled against Hill on evidentiary questions and that the prosecution coached witnesses to say they saw Hill near the grocery that night.

Some students of the case say one reason for Hill’s silence may have been a belief that he could do more for labor’s cause as a martyr than alive. At the time, the I.W.W. had fewer than 20,000 members, but it was detested by business leaders because it pushed miners, lumberjacks and railway workers to use strikes, slowdowns and sabotage to pressure employers to improve pay and conditions.

Shortly before his execution, Hill wrote supporters an emotional note, saying, “Don’t waste time mourning, organize,” which later became the union catchphrase, “Don’t Mourn, Organize.”

 

August 28th, 2011

Ugh! Ewan MacColl’s Ballad of Stalin

I have been a fan of Ewan MacColl’s singing for decades. I knew he had been a member of the Communist Party. But it was still a shock when my son just showed me The Ballad of Stalin, written by MacColl. Equally disturbing was Peggy Seeger’s recent partial defense of mass murder Stalin:

THE BALLAD OF STALIN
(Ewan MacColl)

Joe Stalin was a mighty man, a mighty man was he,
He led the Soviet people on the road to victory.
All through the revolution he fought at Lenin’s side,
And they made a combination till the day that Lenin died.

He said, “Come all you people, we will work with brain and hand.”
And then one day the Nazis came into the Soviet land,
They plundered to the Volga, to Stalingrad, and then
Joe Stalin said, Come on, me boys!” and he kicked them out again.

Joe Stalin was a southerner, in Georgia he was born
Where the oranges grow thick and fast and fields of waving corn;
And Joe he was a farmer, his fingers they were green
And he has planted the biggest crop the world has ever seen.

One day he looked upon his map and frowned and shook his head,
“There’s too much brown and not enough green,” these are the words he said;
“We’ll have to change the weather, boys,” he said and then he smiled,
“So let’s begin by planting trees along three thousand miles.”

Joe Stalin rolled his sleeves up and he said, “Come on, let’s start!
The Volga river and the Don they are too far apart.
I think we’d better join them, so come and help me, pal,
And we’ll build a mighty waterway, the Volga-Don Canal.”

One day he went into the North and there saw rivers three
All emptying their waters into the Polar Sea;
“Now that’s not right,” Joe Stalin said, “these rivers they are ours,
We’ll turn ‘em ’round and make ‘em work to give electric power.”

There was a range of mountains that was standing in the way
So Stalin put his hand out and he smoothed them all away;
For Joe he was determined to make the land all green
And that’s the biggest project that the world has ever seen.

Joe Stalin was a mighty man and he made a mighty plan;
He harnessed nature to the plough to work for the good of man;
He’s hammered out the future, the forgeman he has been
And he’s made the workers’ state the best the world has ever seen.

The blog The Mudcat Cafe, on which this appears, has this comment:

It is a pity that the date when this song was written is not given, but the mention of the Volga-Don Canal makes 1952 the earliest probable date and assuming that Krushev’s denouncing of Stalin in 1956 has reached MacColl’s ears this year (1956) should be the last possible date (I hope).

Peggy Seeger calls the song “a sample of his early work, highly dogmatic and low on finesse”, but she still insists that “there is no doubt that Joseph Stalin was a brilliant wartime leader and that many of his reforms (notably his collectivisation programme) were correct and productive.”

How a person could be so partially blind is a mystery to me. He must have believed that just everything he could read in the bourgeois press was wrong. Peggy Seeger’s use of the word ‘productive’ also puzzles me. If she still thinks collectivisation was correct that’s fine, but ‘productive’. I thought it was now fairly well known that the productivity dropped by the collectivisation. WH

Again, it goes to show that artistic talent or moral fervor is no protection from moral blindness. Alas, we still have those who project fantasies of wonderful leadership onto Hugo Chavez, Fidel Castro, Gadaffi or other “revolutionary” leaders. The wish for the firm, but all wise father who will bring liberation seems never to die.

UPDATE: A close friend sent this comment:

Depressing post re MacColl. I liked your comments except that I thought the shot at Chavez  — of whom I’m not a fan and who has lots of problems — was unfair, given that he, unlike Castro and Qaddafi, not to mention Uncle Joe, was elected.

I would argue that the uncritical adulation of some of the Western left toward Chavez is what I was commenting on, not necessarily Chavez’s policies.

 

 

August 19th, 2011

Portishead: How Can It Feel This Wrong?

[H/t Paul Krugman.]

August 1st, 2011

Music: Annalivia

Annalivia is Liz Simmons (vocals), Flynn Cohen (acoustic guitar, vocals), Brendan Carey Block (fiddle), and Emerald Rae (fiddle, vocal, stepdancing). First two filmed at the Peterborough, NH 2009 fall festival.

Reynardine:

Murphy’s Shadow:

A Soldier Traveling from the North:

May 21st, 2011

Next Posts Previous Posts


Pages

Calendar

June 2013
M T W T F S S
« Jun    
 12
3456789
10111213141516
17181920212223
24252627282930

Posts by Month

Posts by Category