Che Guevara Song (Hasta Siempre Comandante) - Traditional Version

Szomorú, amikor az embernek egy pénztől izzadó, ráadásul "csalárdja" elleni küzdelemre szólította fel baráti társasága. A bizonyítékok birtokában még én is azt mondtam, ez túlzás. 

MI ORVOSOK ISMERJÜK A BOSSZÜT. MONDOM EZT MINDENKINEK, AKI AZ UTAMBA ÁLL, S IGAZTALANUL BÁNT, VÁDOL. ENNYI. 
Szomorú vég a sunyiknak, gonoszoknak, igaztalanoknak. 
Nővérem, Szekeres Veronika, Sógorom, Basics Ferenc, a gonosz megtestesítője Besnyi Tiborné, fia Besnyi Tamás.
Reszkessetek-hidegen fújnak a szelek!!!!!!!!

Banjo Heroes

Kellemes ünnepeket, boldog új évet!!!!!

Melanie-Woodstock egyik legendája

Melanie Safka

From Wikipedia, the free encyclopedia

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (November 2007)

Melanie
Birth name	Melanie Anne Safka
Born	February 3, 1947 (age 64)
Origin	Astoria, Queens, New York, United States
Genres	Folk, pop, country
Occupations	Singer, songwriter, musician
Instruments	Vocals, guitar
Years active	1967–present
Website	www.melaniesafka.com

Melanie Anne Safka-Schekeryk (born February 3, 1947) is an American singer-songwriter.^[1] Known professionally as simply Melanie, she is best known for her hits "Brand New Key", "Ruby Tuesday" and "Lay Down (Candles in the Rain)".^[2][3]

Contents  [hide]  1 Early career 2 Later career 3 Personal 4 Cover versions 5 Discography 5.1 Albums 5.2 Singles 6 Other credits 7 References 8 External links

[edit] Early career

Melanie grew up in the Astoria neighborhood of Queens, New York City, New York.^[4] After school, her parents insisted she go to college, so she studied acting at the American Academy of Dramatic Arts in New York.^[5]
She married Peter Schekeryk in about 1970 and they had three children.^[6]
She made her first public appearance at age four on the radio show Live Like A Millionaire, performing the song "Gimme a Little Kiss". She attended Red Bank High School in Red Bank, New Jersey, graduating in 1966. Melanie was a student at New York's American Academy of Dramatic Arts when she began singing in the folk clubs of Greenwich Village and signed her first recording contract.
Initially signed to Columbia Records in the United States, Melanie released two singles on the label. Subsequently she signed with Buddah Records and first found chart success in Europe when her 1969 song, "Bobo's Party", reached Number 1 in France. Her debut album received rave reviews from Billboard which heralded her voice as "... wise beyond her years. Her non-conformist approach to the selections on this LP make her a new talent to be reckoned with."
Later in 1969, Melanie had a hit in the Netherlands with "Beautiful People", before performing at the Woodstock Festival. The inspiration for her signature song, "Lay Down (Candles in the Rain)", apparently arose from the Woodstock audience lighting candles during her set. The recording became a hit in Europe, Australia, Canada, and the United States in the spring and summer of 1970. The B-side of the single featured Melanie's spoken-word track "Candles in the Rain". "Lay Down" became Melanie's first Top Ten hit in America, peaking at #6 on the Billboard singles chart, and achieving worldwide success. Later hits included "Peace Will Come (According To Plan)" and a cover of the Rolling Stones' "Ruby Tuesday".

Melanie on the "Mr Softee" free stage.

In 1970, Melanie was the only artist to brave the court injunction banning the Powder Ridge Rock Festival, playing for the crowd on a homemade stage powered by Mister Softee trucks. Shortly following this performance, Melanie played at the Strawberry Fields Festival, held from August 7 to 9, 1970, at Mosport Park, Ontario. She also performed at the Isle of Wight Festival in 1970 where she was introduced by Keith Moon and received four standing ovations (she also appeared 40 years later at the 2010 Isle of Wight festival). Melanie was also the artist who sang to herald in the summer solstice at Glastonbury Fayre (later the Glastonbury Festival) in England in June 1971. She performed again at Glastonbury in 2011, the fortieth anniversary of the original festival.^[7]
Melanie left Buddah Records when they insisted that she produce albums on demand. In 1971 she formed her own label, Neighborhood Records, with Peter Schekeryk, who was both her producer and husband.
Melanie had her biggest American hit on the Neighborhood label: the novelty-sounding 1972 number one "Brand New Key" (often referred to as "The Roller Skate Song"). "Brand New Key" sold over three million copies worldwide^{[citation needed]} and was featured in the 1997 movie Boogie Nights.
When first released, "Brand New Key" was banned by some radio stations because some saw sexual innuendo in the lyrics:

I got a brand new pair of roller skates,

You got a brand new key.

I think that we should get together and try them out, to see...

I been looking around awhile,

You got something for me

Oh! I got a brand new pair of roller skates,

You got a brand new key.

I ride my bike, I roller skate, don't drive no car,

Don't go too fast, but I go pretty far.

For somebody who don't drive

I been all around the world

Some people say I've done alright for a girl...

The follow-up single to "Brand New Key" was "Ring the Living Bell". To compete with this release, Melanie's former record company released "The Nickel Song", which she had recorded while still signed to Buddah Records. Both songs were simultaneous Top 40 hits while "Brand New Key" was still on the charts — setting a record for the first female performer to have three Top 40 hits concurrently.^{[citation needed]} Melanie was awarded Billboard's #1 Top Female Vocalist for 1972.
Melanie had another Top 40 hit single in 1973 with "Bitter Bad", a song that marked a slight departure from the hippie sentiments of earlier hits (with lyrics such as "If you do me wrong I'll put your first and last name in my rock n' roll song"). Other chart hits during this period were the self-penned "Together Alone" and a cover of "Will You Love Me Tomorrow".
Melanie has been awarded two gold albums (and a gold single for "Brand New Key") and three of her compositions were hits for The New Seekers. She is also well-known for her musical adaptations of children's songs, including "Alexander Beetle" and "Christopher Robin".
In 1973, Melanie started to retreat from the spotlight to begin a family. Her daughter Leilah was born that same year. When she became an official UNICEF ambassador in 1972, she agreed to forgo a world tour in favour of raising money for the organization.

[edit] Later career

In 1976, Melanie released one album on Atlantic Records, Photograph, which was overseen by Ahmet Ertegün. The album was praised by the New York Times as one of the year's best, although it was largely ignored by the public. It was re-issued on CD in 2005 with an additional disc of unreleased material.
In the 1980s, the Quaker Oats Company used a version of "What Have They Done to My Song Ma" in their commercials for Instant Oatmeal with the revised lyrics "Look what they've done to my oatmeal".
In 1983, she wrote the music and lyrics for a theatrical musical, Ace of Diamonds, with a book by Ed Kelleher and Seymour Vall, based on a series of letters written by Annie Oakley. Though never fully produced, several staged readings were performed at Lincoln Center starring Melanie as the narrator and pop singer/actress Annie Golden as Oakley.^[8]
In 1989, she won an Emmy Award for writing the lyrics to "The First Time I Loved Forever", the theme song for the TV series Beauty and the Beast.
With one exception her albums were produced by her husband, Peter Schekeryk, who died suddenly in 2010.^[9] Her three children — Leilah, Jeordie and Beau-Jarred — are also musicians. Beau-Jarred is a guitarist and accompanies his mother on tour.

Melanie Safka in concert, February 2005.

Melanie's most recent album, Paled By Dimmer Light, was released in 2004. It was co-produced by Peter and Beau-Jarred Schekeryk and includes the songs "To Be The One", "Extraordinary", "Make It Work" and "I Tried To Die Young". In early 2005 most of Melanie's back-catalogue was re-released on the internet-only music label ItsAboutMusic.com. After a series of disagreements the relationship between the artist and the label was severed.
In 2007, Melanie was invited by Jarvis Cocker to perform at the Meltdown Festival at the Royal Festival Hall in London. Her sold-out performance received critical acclaim with The Independent claiming "it was hard to disagree that Melanie has earned her place alongside Joan Baez, Judy Collins, Joni Mitchell and Marianne Faithfull in the pantheon of iconic female singers. Meltdown was all the better for her presence".^{[citation needed]} The concert was filmed for a DVD entitled Melanie: For One Night Only which was released in October 2007.
Melanie also recorded a song called "Psychotherapy", sung to the tune of the "Battle Hymn of the Republic", which parodies aspects of Freudian psychoanalysis. It has been played on The Dr. Demento Show.

Melanie - Birthday of the Sun

Melanie Safka - Peace Will Come

Melanie Safka - Hallelujah

Melanie - What Have They Done To My Song, Ma (Live)

Kellemes Mikulást, sok ajándékot és egyéb. Az enyém egy fractál.és egy clip

Fractalanalysis, generálás, alapvető fogalmak

Fraktálok, multifraktálok és a bonyolultság tudománya

M.K. Hassan

Department of Physics, Brunel University
Uxbridge, Middlesex, UB8 3PH, United Kingdom
BRPHAB::PHPGMDH@ph.brunel.ac.uk

A természetben található tárgyak geometriai leírása olyan régi, mint maga a tudomány. Ezen leíráshoz hagyományosan az euklideszi vonalakat, téglalapokat, kockákat, gömböket, stb. használják. De a természetben nemcsak euklideszi idomok vannak. Több mint húsz évvel ezelôtt jelentette ki Mandelbrot, hogy "A felhôk nem gömbök, a hegyek nem kúpok, a partvonalak nem körívek, a fakéreg nem sima, és a villám sem terjed egyenes vonalban." A legtöbb természeti objektum olyan bonyolult alakú, hogy megérdemlik, hogy geometriailag kaotikusnak hívjuk ôket. Lehetetlennek tûnt a matematikai leírásuk, ezért a "matematika szörnyetegeinek" nevezték ôket.
1975-ben Mandelbrot ezeknek a szörnyetegeknek a leírására bevezette a fraktál fogalmát, amely a számszerû leíráson kívül az ezekben az objektumokban rejlô szabályosság felismerésében is segít bennünket. [1]. A fraktálok nemcsak színes, számítógéppel alkotott ábrák. Egy sziget partvonala, egy folyó hálózata, a káposzta vagy a brokkoli szerkezete, vagy az erek és az idegek hálózata az emberi retinában - mind-mind leírhatók fraktálként. Mégis, több mint húsz évvel a fogalom bevezetése után még mindig nincs általánosan elfogadott fraktál-definíció, bár mondhatjuk azt, hogy a fraktálok olyan alakzatok, amelyek valamiképpen hasonló részekbôl épülnek fel.
A fraktálkészítésnek az a legegyszerûbb módja, ha egy mûveletet újra és újra elvégzünk. A klasszikus Cantor-halmaz - a fraktálok egy tankönyvi példája - is ilyen. Úgy készül, hogy egy szakaszt n egyenlô részre osztanak, majd ezen részek közül (n-m)-et eltávolítanak, és ezt az eljárást megismétlik a megmaradt m darabbal ad infinitum [1,2]. Azonban a természetben elôforduló fraktálok folyamatos kinetika vagy véletlen események hatására alakulnak ki. Ha felismertük ezt az egyszerû természeti törvényt, akkor megváltoztathatjuk a képzési módszerünket úgy, hogy például a vonalakat adott gyakorisággal véletlenszerûen választjuk ki és osztjuk fel. Tovább finomíthatjuk a modellt úgy, hogy meghatározzuk, mennyire véletlen a véletlen. Ha egy végtelen hosszúságú vonalból indulunk ki, akkor végtelen számú ponthoz jutunk, amelyek elhelyezkedését a kezdeti vonal és az intervallumok kiválasztásának véletlensége határozza meg. Ezen pontok tulajdonságai statisztikailag önhasonlóak és egy fraktáldimenzióval jellemezhetôek, amely dimenzió a rendezettséggel együtt növekszik és a tökéletesen rendezett alakzatnál éri el a maximumot.
Ezt az elgondolást mostanában kiterjesztették két dimenzióra, hogy jobban megértsék a természetben elôforduló, kiterjedéssel és alakkal is bíró fraktálokat. Osszunk fel egy négyzetet négy egyenlô részre és távolítsuk el véletlenszerûen az egyik darabkát. Folytassuk az eljárást a megmaradt részekkel ad infinitum. Ebben az esetben úgy tûnik, a jelenség nem írható le egyetlen egy fraktáldimenzióval - végtelen számúra lesz szükségünk [3]. Ez a jelenség - amit multifraktalitásnak neveznek - igen hasznossá vált sok tudományterületen. Fizikailag ez azt jelenti, hogy a kapott rendszer felosztható olyan alrendszerekre, amelyek mind fraktálok, saját fraktáldimenzióval. Ebben az eljárásban egy új jelenséggel találkozhatunk: az a tartó, amelyen az alrendszerek megoszlanak, önmaga is egy fraktál, amelynek egy, a végtelen sok lehetôség közül kiválasztott fraktáldimenziója van. Így egy hosszú idejû kísérlet nem ad jó átlagértéket, hanem nagyszámú, független kísérletre van szükség. Multifraktalitás általában az olyan rendszereknél lép fel, amelyek távol vannak az egyensúlytól és ezért nincs minimális energiájú konfigurációjuk, mint pl. a diffúzió-limitált aggregáció, vagy az elektrokémiai fémleválás.
A fraktálokkal kapcsolatos tudásunk nagyrészt számítógépes szimulációkból származik, de az elôbbiekben is bemutatott felosztásos fraktálkészítés egyszerû és analitikusan is nyomon követhetô. Az ilyen modellekkel leírhatjuk azokat az alakzatokat, amelyek folytonos méreteloszlású részecskekeverékek véges alapra való véletlenszerû lerakódásakor keletkeznek. Meghatározott méretû részecskék lerakódásakor a rendszer nyilvánvalóan eléri a zavarási határt, amikor az erôs nem-markovi és nem-ergodikus hatások miatt már nem helyezhetünk el több részecskét átfedés nélkül. Ha a méreteloszlás folytonos, akkor a rendszer nem éri el ezt a zavarási határt, hanem a rendszer ergodikus volta miatt skálainvariáns alakzatokat hoz létre, amelyek fraktálként írhatók le [4,5].
Megjósolható-e, hogy mikor kapunk olyan rendszert, amelyik véletlenszerû fraktál-tulajdonságokat mutat? Egyelôre erre a kérdésre nincs világos válasz. Azonban úgy tûnik, hogyha azonos kezdeti feltételek mellett nem tudunk mindig pontosan ugyanolyan rendszert létrehozni, de minden egyes másolatban van valami általános hasonlóság, akkor fraktál lesz a végeredmény. Nincs két egyforma hópehely, de jellegzetes alakjuk miatt egy gyermek is azonnal felismeri ôket. Végezetül megállapíthatjuk, hogy a komplex alakzatok létrehozása egyszerûbb, mint amilyennek elsô pillantásra tûnik.

Irodalomjegyzék

1. Mandelbrot B B, The Fractal Geometry of Nature (Freeman, San Francisco 1982)
2. Hassan M K and Rodgers G J Physics Letters A 208 95
3. Hassan M K and Rodgers G J (to appear in Physics letters A, 1996)
4. Brilliantov N V Andrienko Y A Krapivsky P L and Kurths J 1996 Phys. Rev. Lett. 76 4058
5. Hassan M K Comment on Ref. [4] submitted to Phys. Rev. Lett.
6. Translation: Prof.Andras Szekeres Oxford University (2004)

Azt gondolom, hogy ennyi ismeret feltétlenül kell egy fractálvizeken szörföző netesnek!

Cisco Houston - The Preacher and the Slave (Pie in the Sky)

Egy elfelejtett Legenda, aki a blues atyjai közé tartozik

El Cancion Del Mariachi Banjo Todd Taylor Writer Antonio Banderas.wmv

Todd Taylor csodás improviációval.

Paul Robson

Paul Leroy Robeson (April 9, 1898 -- January 23, 1976) was an American concert singer (bass-baritone), recording artist, athlete and actor who became noted for his political radicalism and activism in the civil rights movement. Robeson was the first major concert star to popularize the performance of Negro spirituals. He was the first black actor of the 20th century to portray Shakespeare's Othello in a production with an otherwise all-white cast. A nationally renowned football player from 1917 to the early 1920s, Robeson was an All-American athlete, and Phi Beta Kappa Society laureate during his years at Rutgers University. In 1923, Robeson drifted into amateur theater work, and within a decade he had become an international star of stage, screen, radio and film. Robeson was awarded the NAACP's Spingarn Medal, the Stalin Peace Prize and honorary memberships in over half a dozen trade unions.

Paul Robeson - Shenandoah

Paul Robeson - Old Man River

Egy legenda ismét a néger Gospel világából

Shenandoah - Arlo Guthrie

Pete Seeger az igért mester (kezdőknek

Egy szép fraktálom 2007-ből

Brother Oswald and Earl Scruggs "Late Last Night"

Banjo történelem ez a javából.

Brother Oswald Marty Stuart Charlie Collins "Mountain Dew" 1995

Grandpa Jone és Stringman mellett a legjobb Clouwhammer banjos

Brother Oswald "Foggy Mountain Top"

A talpalávaló

Individual | Solo Dancing

The buck dance, flat footing, hoedown, jigging, sure footing, and stepping are all traditional Appalachian solo dances. These names are often interchanged and dancers do not always agree on their use.

Most of these dances rely on a fiddle player.

Flatfoot dancing is mostly dancing with the feet low-to-the-floor. It is a relaxed style that can make the dance look almost effortless.

Buck dancing was popularized in America by minstrel performers in the late nineteenth century. Now days, many dancing clubs perform buck dance and regular clogging at folk festivals and fairs.

Table of Contents

1. Jay Bland Doing Some Buck Dancing
2. What is Buck Dancing?
3. There's Usually a Fiddle Player
4. Thomas Maupin rehearsing Buck Dancing
5. Demonstrating Flat Footing
6. Flat Foot Dancing
7. Flatfooting - Basic Course
8. Flatfoot Dancing on the Street
9. 
   
10. 
    

Jay Bland Doing Some Buck Dancing

Jay Bland of Kennesaw GA does some buck dancing at the Soda Pop Junction in Lynnville Tennessee. Music by the Rockdale Ridge Runners. 2007

Jay Bland - Buck Dancer

by Buckdance | video info

14 ratings | 8,876 views

curated content from YouTube

What is Buck Dancing?

The term "Buck Dancing" is often used to describe any solo freestyle dancing, and Flatfooting is often referred to as buck dancing.

Buck dancing emphasizes percussive rhythms with a greater use of the heel and toe. A buck dancer keeps his weight on the balls of the feet. The heel and toe movements produces clicks, which some people describe as a "patter" sound. The style uses a greater bent leg position that distinguishes it from "shuffle" clogging.

In clogging circles, there's some controversy about whether the arms should be used as you dance. Many of the oldtime buck dancers kept their upper bodies almost immobile as they danced, but some dancers find that arm movements help them both keep their balance.

Dancing with a partner is known as a "buck and wing" dance.

BUCK DANCING TERMS

BALL
The transfer of the body weight in a stepping motion to the ball of the foot with the knee bent slightly.

BOUNCE
The same as BALL, but with a hopping motion instead of a stepping motion. You may BOUNCE on the same foot or use it to change from one foot to another .

DIG
A step (transfer of body weight) onto the hack edge of the heel.

FLANGE
A term used to indicate that the dancer has completely turned the foot over and outward to bring the area of the shoe which covers the last two toes flush with the floor. The heel is aimed upward and weight is borne by the other foot

FLICK
A short back BRUSH of the toe tap (usually following a heel sound from the same foot)

HIT
A touch of the back edge of the heel tap to the floor without any transfer of weight to the floor

POINT
A touch of the tip of the shoe (NOT the ball of the foot) to the floor behind the body (or across in front or in back of the opposite foot, etc.)

SKUFF
A short forward brush with the heel tap striking the floor. Normally, the front portion of the heel tap is the area which produces the click.

SKUFFLE
A short forward and back brush which produces two sounds from the heel tap in one beat of music.

SLIP
A forward chug on the ball of the foot only -no heel tap sound is produced.

SNAP
From a foot flat on the floor (normally done as a part of the DRAG on the same foot), the toe of the foot is raised slightly and then immediately dropped again to produce a sound of the toe tap.

The BUCK DANCING terms are from the Dance.Net website

There's Usually a Fiddle Player

What's the Difference Between a Fiddle and a Violin?

Not much, if anything.

They both look alike and have four strings. There might be a slight difference with American fiddling. Sometimes the bridge may be slightly less curved.

A violin is called a fiddle when playing folk music. Fiddle playing, or fiddling, is a style of music.

A fiddle may have gut or synthetic strings while a violin has steel strings.

Traditionally you sit to play the violin and stand to play the fiddle.

The violin player is usually more formal in style and dress. The fiddle player plays exuberantly and wears common, every-day clothes.

Violin players most often play classical music and fiddle players play folk music for dancing.

Violin music is for listening and fiddle music is for dancing.

Fiddle players most often play solo. The violin is often played solo, too, but may be part of a choir.

The fiddle player doesn't usually have formal training. The violinist does require training since violin music is harder to learn.

Thomas Maupin rehearsing Buck Dancing

Thomas Maupin rehearsing with a string band before their recording session in Rutherford County, TN. Musicians: Daniel Rothwell - Banjo, Danny Rothwell - Guitar, John Nicholson - Bass, Thomas Maupin - Buck Dancing. Song performed - Shortnin' Bread/Down Yonder

Thomas Maupin & Band Rehearsal

by Buckdance | video info

19 ratings | 9,116 views

curated content from YouTube

Demonstrating Flat Footing

Flat Footing

by kessingland | video info

180 ratings | 77,149 views

curated content from YouTube

Flat Foot Dancing

Flat Footing

People have different definitions of flat footing because of their own experiences.

Some people say your foot can't come off the ground more than five inches, or if they can see the soles of your feet, it's not flat footing.

But flat footing, like buck dancing is a free style dance, so there are no rules.

Flat foot dancing is a rhythmic individual percussive step dance. Chugs, steps, brushes, and scuffs are used to produce sounds that are in time with the music, often old time fiddle tunes. Flat footing is closely related to Buck dancing and often goes by other names such as Appalachian Clogging, Clogging, or Back Stepping.

Flat-footers can be found at almost any fiddle convention, music jams, and dances throughout the Appalachian Mountains.

The simplicity of the dance makes it enjoyable to perform and watch. It looks like the average Joe out there dancing just for the fun of it.

Flat Foot dancers often perform during clogging events. While they all appear to be clogging, you'll never see so much variety in a dance step. The flat foot step has less of a shuffle and is more irregular than the basic clog step, with none of the hopping or springing cloggers often do. It's really interesting just to sit and watch the flat footers, and observe the variations in each individual's step.

Flatfooting - Basic Course

Flatfooting - basic course

by kr0bo | video info

Hillbilly Days Clog Dancing 2007

Kellő mennyiségű rozspálinka utáni vonaglás

Appalachian cloggers

És egy hagyományos "appalachian polka"

Spank the Planks Appalachian Dance Team

Elég keveset beszéltünk a speciális, főleg ír, skót hagyományokra épülő "hillbily dance" ról. Ime egy példa.

Appalachian Bluegrass Mountain Dulcimer

Egy még nem bemutatott szám, Black Jack Davy, John Lomex gyűjtés.

Peggy Seeger - Snippet of a traditional ballad

Peggy Seeger hűen bátyjához, "long neck, open back" banjoval

Coon Creek Girls - Banjo Pickin Girl (1944)

Egy kuriózum a 40-s évekből. Női "Old Time Folk" zenekar

cseh tamás - most lenne időben

Pete Seeger Obama beiktatásánál Bruce Sprengsteennel és unokájával Martinez Sergiaval

90 év álma vált valóra Seegernek. Egy szinesbőrű tehetséges fiatal ember lett az USA első embere. És Ő elénekelhette beavatási ünnepén a "trubadur-hobo-protest songerek" himnuszát, a This Land is Your Land..c.dalt Woody Guthrie barátja "nemzeti hitvallását" Nem volt hiábavaló a washingtoni Nagy Menetelés Martin Luther King oldalán, a sorozatos FBI, CIA macera a seggregació ellenessége miatt, győztesen ő került ki. Dylan Baez és a többiek társaságában, akik ezen a blogon mind számtalan csodát adnak elő. 4 év után és a 10 DVD mellékletes kötetem megjelenését követően, amit követően a The NewYork Times a Lomaxek közé sorol, mint népdalgyűjtőt, azt gondolom nem magyartalanság, hogy ezt az utat választottam. Nekem ez volt megírva.

És amíg a szívem ver, mégha néha össze vissza is, ez a blog élni fog, mert minden vészterhesebb időkben kellenek az igazságot felvállaló "szegény, kisemmizett lúzerek", az igazak.

Ez a klip már saját, a Lincoln Continental előtti koncert után egy "Bruce nevű ember"♠ küldeményének része volt.

Leo Kottke - Airproofing

Leo Cottke az egyik Dylan korabeli legjobb gitáros saját stílussal.

Flowers & Wine - Bluegrass Fesztivál, Abaliget

Magyarok a Bluegrass ban. Az ujj már jó, még a szív nem az igazi.

Nota bene

Az eddigi klippekből azért még mindíg kitűnik, a szeretet, a béke, a tisztaság, a szabadság eszméinek megvalósítására való szüntelen akarat, és ellenállás. (Amelyek ennek a blognak is sarkalatos eszméi a seggregatió ellenességgel együtt) Pedig egy életünk van, s ezekben a nehéz időkben is egymással "Hand in Hand" kellene előre haladni, kevesebb búval, keservvel, szenvedéssel ellenségeskedéssel. 

Ez az üzenete a blognak, s jó magamnak, amit a mottó szerint csak az igazak tudhatnak magukénak.

Összetartozunk

Az első szám, amikor a Bojtorjánban énekelt Várkonyi Eszti, Savanya Pista felesége.

Uncle Joe

Seeger testvére, Mike Seeger és Peggy Seeger

End of Summary by Blogger

♠Kedves blogászok!

Egy különösen sz@r ember kissé megzilálta a sorrendet, de így jobb is, hisz minden rész önmagában is külön egység stílusban, időben, előadók szintjén.

Jó szórakozást--MINDEN BLOGÁSZNAK!!!

The Story Of American Folk Music 11

The Story Of American Folk Music 10

The Story Of American Folk Music 07

♠♠♠

Summary

Azt gondolom, hogy ezzel a sorozattal a legautentikusabb és leghozzáértőbb, megélők, zenészek, írók fogalmazzák meg azt , amit ez a blog már 2007 óta apránként adagol. Büszke vagyok, hogy ebből az összefoglalóból nem maradt ki a saját anyagom prezentáciájából semmi. Kellemes szórakozást ehhez az anyaghoz is.

Természetesen a blog folytatódik, hiszen a művek és feldolgozásaik számtalanok. És a teljes számok. nagyobb élvezetet biztosítanak.

Jó éjt barátaim.

The Story Of American Folk Music 12

The Story Of American Folk Music 09

The Story Of American Folk Music 08

The Story Of American Folk Music 06

The Story Of American Folk Music 05

The Story Of American Folk Music 04

The Story Of American Folk Music 03

The Story Of American Folk Music 02

The Story Of American Folk Music 01

Hogy látják a helyi szakértők

Pete Seeger & Margot Mayo's American Square Dance Group - Old Joe Clark ...

Egy archív felvétel a jellegzetes texasi tánc és a 25 éves Pete Seeger

Tony Rice, Sam Bush, Jerry Douglas, Mark O'Connor at Merlefest 1993

A legnagyobb dobros, mandolinos és Rice, a gitáros.

Mark O'Connor, Bela Fleck, Jerry Douglas - Spain

Egy nagy trió.

PATRIOTIC MEDLEY -TODD TAYLOR

Train-45 Todd Taylor

Newgrass Troubadours at Hot Strings - song 11

The Newgrass Troubadours - Lady be Good

The Newgrass Troubadours - You Know It Ain't Right

Egy fiatal Newgrass banda.

Peter Paul & Mary - Early Morning Rain (1966)

Peter Paul and Mary 1966-ban.

JOAN BAEZ & MARY TRAVERS ~ Lonesome Valley ~

Két gyönyörű hang, az egyik két éve elnémúlt. Mint írtam Mary Travers meghalt.

Irish love song "An Ciarraíoch Mallaithe"

A már említett sajátos ír duda, ami lényegesen különbözik a skóthoz hasonlító társától

Lonesome River Band - Them Blues

Bob Dylan Screen Test 1965

Nem senkik találkoztak szinte gyerekként

Jimmy Martin - Freeborn man

Szintén egy nagy legenda, sajátos énekstílusával.

Lonesome Riber Band

RB

September 2011 marks the 30th Anniversary of the Lonesome River Band as they continue their reputation as one of the most respected names in bluegrass music. Longtime band member and multi-award winning banjo picker, Sammy Shelor has put together a wealth of talent that includes: Brandon Rickman (lead vocals and rhythm guitar); Mike Hartgrove (fiddle); Barry Reed (bass); and newest member, Randy Jones (mandolin and vocals) all performing the distinctive LRB sound fans love.

Rural Rhythm Records released the band’s current album June 13, 2010 titled STILL LEARNING. The album has hit numerous album charts including Bluegrass Unlimited Magazine’s (BU) Top 15, Bluegrass Music Profiles (BMP) Top 10, Cashbox Magazine’s Top 20, plus many more. The first single, “Record Time Machine” along with “Jack Up the Jail” and other tracks appear on numerous single charts including Bluegrass Unlimited’s Top 30 Song chart.

Lonesome River Band’s 2008 #1 chart album, NO TURNING BACK (the first CD on the Rural Rhythm label and their 12th career album) received rave reviews and multiple #1 chart singles. The album made its debut at #11 on Billboard’s™ Top 50 Bluegrass Album Chart; hit #1 on Bluegrass Unlimited Magazine’s Top 15 Album Chart where it remained for an impressive three months (May, June and July 2009); and the single, “Them Blues” reached number #1 on both the Bluegrass Unlimited Top 30 Singles chart (July and August 2009) and the Bluegrass Music Profiles Top 30 Singles (July 2009). Just those two publications alone –LRB garnered SEVEN #1s in 2009! The album also hit #1 spot on numerous other charts including Cashbox Magazine’s Top 25 Albums.

Lonesome River Band’s long career is obviously filled with a multitude of Awards and Recognitions including the International Bluegrass Music Association (IBMA) honoring the group with numerous awards for Album of the Year and topping it off with an amazing four-time award wins for Shelor as IBMA Banjo Performer of the Year. The group has also received recognition by SPBGMA for numerous Bluegrass Band of Year wins, Vocal Group of the Year, Song of the Year and Shelor as Banjo Player of the Year.

In 2010, Shelor was again nominated the IBMA Banjo Performer of the Year award. The previous year, the band received numerous recognitions including: nomination for the 2009 Instrumental Performance of the Year (Struttin to Ferrum); 2009 nomination for Gospel Performance of the Year (Darkness Wept); and Sammy Shelor’s 2009 nomination for Banjo Performer of the Year. LRB opened the 2009 IBMA Awards Show at the Ryman Auditorium with a tremendous and extremely well received performance. In 2008, they were chosen as an IBMA Showcase Artist and the band regularly performs at the popular IBMA Fan Fest at the yearly convention.

Members of the Lonesome River Band have five 2011 IBMA nominations, including Album of the Year for their participation on The All-Star Jam: Live At Graves Mountain on the Rural Rhythm label (released in 2010). They received two nods for Instrumental Recorded performance of the Year for “Pretty Little Girl,” on the album, Still Learning (Rural Rhythm), and also for band members Sammy Shelor, Brandon Rickman and Mike Hartgrove’s work on “Ground Speed,” by The Rural Rhythm All-Stars (Rural Rhythm). LRB has a Recorded Event of the Year nomination for the song, “Graves Mountain Memories,” recorded by the Rural Rhythm All-Stars (including Sammy Shelor and Mike Hartgrove) on The All-Star Jam: Live at Graves Mountain album; and band leader Sammy Shelor is nominated for Banjo Player of the Year, an award he received four consecutive years from 1995-1998,” International Bluegrass Association. 

THE ALL-STAR JAM – LIVE AT GRAVES MOUNTAIN album was recorded June 2010 during the Graves Mountain Festival of Music in celebration of Rural Rhythm’s 55th Anniversary. Also included in the album were fellow label-mates, Russell Moore & IIIrd Tyme Out, Audie Blaylock & Redline, Lou Reid and Carolina, Carrie Hassler,  Crowe Brothers, and Brand New Strings.  Two songs from that album have hit the radio charts including “Graves Mountain Memories” (Carl Jackson, Sammy Shelor, Mark Newton, Russell Moore, Lou Reid, Audie Blaylock, Carrie Hassler, Mike Hargrove) and “Head Over Heels” (Carrie Hassler, Brandon Rickman, and Brand New Strings).

Read more of The Lonesome River Band’s history below the musician bios.

SAMMY SHELOR – BIO

When Sammy Shelor joined Lonesome River Band in 1990, he never envisioned himself leading the band only ten years later. Fresh off a six year stint with the popular Virginia Squires, Sam came on board along with Ronnie Bowman and before long, had recorded the landmark LRB CD, Carrying The Tradition with Dan Tyminski and Tim Austin. This recording quickly moved the band to headliner status, where they have remained ever since. When founder Tim Austin left in 1995 to focus on his studio, Sammy and Ronnie Bowman took over band management, and when Ronnie left in 2000, Sam found himself in charge, leading the band that had hired him fifteen years earlier.

Through changes in vocalists and rhythm sections, the constant in the wildly popular LRB sound has been Shelor’s insistent, driving banjo style. His peers in the International Bluegrass Music Association have voted him Banjo Player Of The Year on four separate occasions, and banjo pickers all over the world have studied Sammy’s tab books and instructional DVD from AcuTab.

Sammy got an early start with the banjo, when his grandfather fashioned him a banjo from an old pressure cooker lid when Sam was only four years old. His other grandfather then issued a challenge, promising to buy him a real banjo if the young Shelor would learn to play two songs. Sam met that mark in short order, and with the help of a family devoted both to him and to bluegrass music, he soon found himself entered in contests at fiddler’s conventions near his home in southwestern VA.

By age ten, he was performing in local bands and became a full time professional musician when he graduated from high school, joining The Heights Of Grass at age 19. That band eventually morphed into The Virginia Squires, and brought Sammy into contact with banjo legend Sonny Osborne, who helped shape the young picker’s approach to working as a pro banjo player. Sonny also showed Sam the importance of using a quality instrument, and introduced him to the sound of the pre-war flathead Gibson banjos that are now so highly prized by banjo players all over the world.

Since becoming a member of Lonesome River Band, Sammy has been featured on dozens of successful recordings, both with LRB and as a guest player. His solo project, Leading Roll, is still a popular title in the Sugar Hill Records catalog and his work onKnee Deep In Bluegrass for Rebel Records helped that project earn the Instrumental Album Of The Year award from the IBMA in 2001.

As a testament to Sammy’s prominence and influence in the banjo world, he has his own signature Sammy Shelor banjo fingerpicks, and a signature model banjo produced by Huber Banjos. His influence on amateur and semi-pro pickers can be demonstrated by a casual walk through the parking lots or jam sessions at any bluegrass event, where licks and phrases which Sam has added to the repertoire are heard alongside those contributed by Earl Scruggs and JD Crowe.

Sammy has received a multitude of awards and recognitions during his impressive career including his induction into the 2009 Virginia Country Music Hall of Fame and in 2011 won the 2nd Annual Steve Martin Prize for Excellence in Banjo and Bluegrass.

BRANDON RICKMAN – BIOFor more info, please visit BrandonRickman.com

Now in his second stint with Lonesome River band, guitarist and lead singer Brandon Rickman hails from the state of Missouri. A product of a musical family, Brandon grew up playing guitar, but picked up the upright bass just hours before playing his first show as a member of the esteemed bluegrass gospel group, New Tradition.

His distinctive singing and sturdy songwriting graced two previous LRB releases (Window Of Time and Head On Into Heartache) before he left to pursue songwriting full time in the fall of 2005. The lure of the road must have been too strong, as Brandon is now back with Lonesome River Band full time.

“Rickman’s a compelling singer, and framing himself in stripped down arrangements not only differentiates these tracks from those of the Lonesome River Band, but truly highlights the qualities of his voice as an individual.” Hyperbolium

Before first joining the Lonesome River Band, he spent the 2001 season appearing with the award-winning bluegrass singer and songwriter Larry Cordle and Lonesome Standard Time.

June 30, 2009, Rural Rhythm Records released Brandon’s solo album, YOUNG MAN, OLD SOUL. This successful album appeared in WNCW Radio’s Top 50 CDs of the Year (2010) and received numerous other honors. Two singles, “Always Have Always Will” and “I Bought Her a Dog” appeared on the Bluegrass Unlimited Top 30 Song chart; and the track, “Wearin Her Knees Out Over Me” won the Strictly Country Magazine’s Song of the Year in 2010.

MIKE HARTGROVE – BIO

Mike Hartgrove is back for his second stint with LRB. He was a member of the band from ’02-’05, and rejoined the band in December 2008.

“Grove” is among the most experienced fiddlers in bluegrass music, having spent time with The Bluegrass Cardinals and Doyle Lawson & Quicksilver. He was also a founding member of IIIrd Tyme Out, with whom he toured and recorded for 11 years before joining Lonesome River Band in 2002.  Mike has also performed with George Jones and Moe Bandy.

“Originally from Shelbina, Mo., and now living in Albemarle, N.C., where he has a full schedule of fiddle students, perhaps no fiddler in bluegrass has as long a history of playing behind great vocalists and harmony trios as Mike,” says Bluegrass Unlimited Magazine.  

BARRY REED – BIO

“We are excited about the addition of Barry Reed to the Lonesome River Band. He is a great acoustic bass player and singer and adds greatly to the LRB sound,” says band leader and this year’s IBMA Banjo Performer of the year’s nominee, Sammy Shelor.

Barry Reed, from Seymour, Tennessee, previously toured with Michael Cleveland & Flamekeeper before taking some time off to start his family. “I’m really exited about joining LRB. These guys are great to work with and it has been a lot of fun already,” said Barry.

RANDY JONES – BIO

Randy lives in Strunk, Kentucky and began playing mandolin at age 8 with his Dad’s band, The Southfork Gentlemen.   In 1986, Randy had a year-long stint with LARRY SPARKS and recorded a few cuts on his “Silver Reflections” album.  He then exited the bluegrass scene for several years, performing in a rock band and later with a country group.  Randy re-entered the bluegrass scene in 2003 as guitarist with Kentucky Wind. 

He has owned and operated his own recording studio since 2001 called Southfork Recording Company working primarily with bluegrass and gospel projects.

HISTORY OF THE LONESOME RIVER BAND

Lonesome River Band has been one of the most popular and influential acts on the bluegrass festival and concert circuit since the release of their breakout CD, Carrying The Tradition, back in 1991. That band line-up included current LRB band leader Sammy Shelor, as well as Dan Tyminski, Ronnie Bowman and Lonesome River Band founder, Tim Austin. They recorded a second project for Rebel Records, Old Country Town, before Tyminski accepted a gig with Alison Krauss & Union Station, and Austin decided to leave the road to focus on his recording studio, Doobie Shea.

During his years with LRB, Sammy Shelor has enjoyed performing with such stellar musicians as Kenny Smith, Don Rigsby, Ron Stewart, Rickie Simpkins and Mike Hartgrove (who returned in 2005) – each of whom had moved on to pursue other musical endeavors. With each personnel change, Shelor looked for new musicians who could not only fill a spot that had been left vacant, but also bring in an artist with talents of their own.

The year 2001 brought a lot of new changes with the addition of Brandon Rickman and Jeff Parker along with fiddler Mike Hartgrove who had just left IIIrd Tyme Out, along with bassist Irl Hees.  The band was rewarded rave reviews for Window of Time, the first recording with that band configuration. John Wade soon replaced Hees on bass, and the group the recorded Head On Into Heartache CD.

In 2005, Hartgrove left to join Doyle Lawson & Quicksilver, and Rickman chose to give up touring to spend more time focusing on songwriting, but more importantly much needed time with his family.  With Jeff Parker’s contributions on mandolin and tenor vocals, this took LRB into the next generation returning to the bands aggressive, four piece sound that had brought them to prominence years earlier.  Shelor brought on a strong picker and a distinctive singer, Barry Berrier on bass who had made a name singing lead and playing guitar with The Lost & Found.  Shannon Slaughter then came onboard after initially being hired to fill in during the search for a new guitar man.

When this newest version of Lonesome River Band, you can be assured their prominence as one of the most influential acts in bluegrass music is here to stay.

For a more press material, please contact Hope River Entertainment via email or call 678.377.3298 .

Lonesome River Band "Mary Ann" at The Station Inn, Nashville, TN 9/28/11

Friss szerzemények a YouTub-on ismerőseimtől. Ezek az IBMA fresztiválján játszanak, nem kezdők.

Lonesome River Band "Any Ole Time" at The Station Inn, Nashville, TN 9/2...

Cocaine Blues - Woody Guthrie

Bruce Springsteen-O Mary don't You Weep With subtitles

Ralph Stanley II - Little Darling Pal Of Mine

Hard, Ain't It Hard - Woody Guthrie

Egy nagy zenész nagy száma.

Country Gazette Wikipedia

The Country Gazette

From Wikipedia, the free encyclopedia

The Country Gazette is a weekly newspaper serving the Massachusetts towns of Bellingham, Foxborough, Franklin, Medway, Millis,Norfolk, Plainville and Wrentham. The free paper is distributed to residents of these towns located along the Interstate 495 corridor on Fridays.

The Country Gazette is owned by GateHouse Media Inc. and falls under the umbrella of Community Newspaper Company which runs weekly and daily newspapers in Massachusetts including The MetroWest Daily News and The Milford Daily News.

Information that appears in the Country Gazette is also posted to eight Web sites hosted on http://www.wickedlocal.com dedicated to each of the eight towns.

Bellingham at http://www.wickedlocal.com/bellingham

Foxborough at http://www.wickedlocal.com/foxborough

Franklin at http://www.wickedlocal.com/franklin

Medway at http://www.wickedlocal.com/medway

Millis at http://www.wickedlocal.com/millis

Norfolk at http://www.wickedlocal.com/norfolk

Plainville at http://www.wickedlocal.com/plainville

Wrentham at http://www.wickedlocal.com/wrentham

The Country Gazette office is in Milford at 159 S. Main St., 01757.

The Country Gazette was founded by William and Doris Baldwin in 1981. The free bi-weekly newspaper launched its first edition at the 1981 Franklin Trade Show. In the 80s, the Gazette was direct mailed each Wednesday to the towns of Franklin, Wrentham, Bellingham, Medway, Millis, Norfolk and Plainville. Ellen Albanese soon joined the staff as Editor and within a few years the paper grew to semi-weekly editions, with the advent of the Gazette's Weekender edition on Saturdays.

[edit]References

This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.(April 2009)

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