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For voice and piano, with chord symbols and guitar chord diagrams.
(Fake Book). Melody, lyrics, and chords, for over 220 acoustic favorites! Songs include: American Pie * Big Yellow Taxi * Cat's in the Cradle * Closing Time * Don't Know Why * Dust in the Wind * Everything I Own * Fast Car * Give a Little Bit * Hallelujah * Ho Hey * I Got You Babe * I'll Be * The Lazy Song * Leaving on a Jet Plane * Meet Virginia * More Than Words * Norwegian Wood (This Bird Has Flown) * Peaceful Easy Feeling * Put Your Records On * Running on Empty * Summer Breeze * Sunny Came Home * Tom's Diner * Walking in Memphis * Yellow * You've Got a Friend * and many more.
For voice and piano, with chord symbols and guitar chord diagrams.
Poetic Song Verse: Blues-Based Popular Music and Poetry invokes and critiques the relationship between blues-based popular music and poetry in the twentieth and twenty-first centuries. The volume is anchored in music from the 1960s, when a concentration of artists transformed modes of popular music from entertainment to art-that-entertains. Musician Mike Mattison and literary historian Ernest Suarez synthesize a wide range of writing about blues and rock—biographies, histories, articles in popular magazines, personal reminiscences, and a selective smattering of academic studies—to examine the development of a relatively new literary genre dubbed by the authors as “poetic song verse.” They argue that poetic song verse was nurtured in the fifties and early sixties by the blues and in Beat coffee houses, and matured in the mid-to-late sixties in the art of Bob Dylan, the Beatles, the Rolling Stones, the Doors, Jimi Hendrix, Joni Mitchell, Leonard Cohen, Gil Scott-Heron, Van Morrison, and others who used voice, instrumentation, arrangement, and production to foreground semantically textured, often allusive, and evocative lyrics that resembled and engaged poetry. Among the questions asked in Poetic Song Verse are: What, exactly, is this new genre? What were its origins? And how has it developed? How do we study and assess it? To answer these questions, Mattison and Suarez engage in an extended discussion of the roots of the relationship between blues-based music and poetry and address how it developed into a distinct literary genre. Unlocking the combination of richly textured lyrics wedded to recorded music reveals a dynamism at the core of poetic song verse that can often go unrealized in what often has been considered merely popular entertainment. This volume balances historical details and analysis of particular songs with accessibility to create a lively, intelligent, and cohesive narrative that provides scholars, teachers, students, music influencers, and devoted fans with an overarching perspective on the poetic power and blues roots of this new literary genre.
Drawing on fieldwork conducted at eight women's music festivals, Eileen M. Hayes shows how studying these festivals--attended by predominately white lesbians--provides critical insight into the role of music and lesbian community formation. She argues that the women's music festival is a significant institutional site for the emergence of black feminist consciousness in the contemporary period. Hayes also offers sage perspectives on black women's involvement in the women's music festival scene, the ramifications of their performances as drag kings in those environments, and the challenges and joys of a black lesbian retreat based on the feminist festival model. With acuity and candor, longtime feminist activist Hayes elucidates why this music scene matters. Veteran vocalist, percussionist, producer, and cultural historian Linda Tillery provides a foreword.
What induced the British to adopt foreign coffee-drinking customs in the seventeenth century? Why did an entirely new social institution, the coffeehouse, emerge as the primary place for consumption of this new drink? In this lively book, Brian Cowan locates the answers to these questions in the particularly British combination of curiosity, commerce, and civil society. Cowan provides the definitive account of the origins of coffee drinking and coffeehouse society, and in so doing he reshapes our understanding of the commercial and consumer revolutions in Britain during the long Stuart century. Britain’s virtuosi, gentlemanly patrons of the arts and sciences, were profoundly interested in things strange and exotic. Cowan explores how such virtuosi spurred initial consumer interest in coffee and invented the social template for the first coffeehouses. As the coffeehouse evolved, rising to take a central role in British commercial and civil society, the virtuosi were also transformed by their own invention.
Taking an interdisciplinary approach to the study of Southern sexuality,Sex and Sexuality in Modern Southern Culture offers twelve essays that explore the history of the expression and embodiment of sexuality in the context of the broad cultural and social changes the South underwent in the decades following World War II. Contributors examine prostitution networks in the region, interracial sex in the civil rights movement, Freaknik and black male sexuality, queer Florida, conservative women and sexuality in the 1980s and 1990s, and the fiction of Larry Brown. No other collection of essays or narrative history attempts an overview of sex and sexualities in the American South in recent decades. More than simply an overview, however, this volume also seeks to provide models for further scholarship.
These essays provide bandmember lists, complete discographies, lists of awards, artist-website addresses, biographies of the artists, and reviews of their work."--BOOK JACKET.
(Piano/Vocal/Guitar Songbook). 45 roots favorites in arrangements for piano, voice and guitar. Includes: Broken Halos (Chris Stapleton) * Copperhead Road (Steve Earle) * Hurricane (The Band of Heathens) * If I Had a Boat (Lyle Lovett) * If We Were Vampires (Jason Isbell and the 400 Unit) * Live and Die (The Avett Brothers) * Mykonos (Fleet Foxes) * Pancho & Lefty (Merle Haggard & Willie Nelson) * The Story (Brandi Carlile) * Wagon Wheel (Old Crow Medicine Show) * and many more.
Nomad Girl is a memoir, it is about the 60s, the decade that wanted to change the world, and it did. It is about 'The Finjan', a folk/blues music club I ran with my partner in Montreal — the coffee house/music club culture being at the heart of the 'changing times'.