Bøger om Folk

"The story of the Minneapolis musicians who were unexpectedly summoned to re-record half of the songs on Bob Dylan's most acclaimed album When Bob Dylan recorded Blood on the Tracks in New York in September 1974, it was a great album. But it was not the album now ranked by Rolling Stone as one of the ten best of all time. "When something's not right, it's wrong," as Dylan puts it in "You're Going to Make Me Lonesome When You Go"-and something about that original recording led him to a studio in his native Minnesota to re-record five of the songs on that landmark album, including "Idiot Wind" and "Tangled Up in Blue." Six Minnesota musicians sat in on that two-night recording session at Sound 80, bringing their unique sound to some of Dylan's best-known songs-only to have their names left off the album and their contribution unacknowledged for more than forty years. This book tells the story of those two nights in Minneapolis, of the musicians who gave the album so much of its ultimate form and sound, and of their decades-long fight for recognition. Blood in the Tracks takes readers behind the scenes with these "mystery" Minnesota musicians: twenty-one-year-old mandolin virtuoso Peter Ostroushko; drummer Bill Berg and bass player Billy Peterson, the house rhythm section at Sound 80; progressive rock keyboardist Gregg Inhofer; guitarist Chris Weber, who owned The Podium guitar shop in Dinkytown; and Kevin Odegard, whose own career as a singer-songwriter had paralleled Dylan's until he had to take a job as a railroad brakeman to make ends meet. Through in-depth interviews and assiduous research, Paul Metsa and Rick Shefchik trace the twists of fate that brought these musicians together and set them on different paths in its wake: their musical experiences leading up to the December 1974 recording session, the divergent careers that followed, and the painstaking work it took to finally get the official credit that was their due. A rare look at the making-or remaking-of an all-time-great album, and a long overdue acknowledgment of the musicians who helped make it happen, Blood in the Tracks brings to life a transformative moment in the history of rock and roll, for the first time in its true context and with its complete cast of players"--

Folk song refers to the songs sung by people living in rural areas in their daily life, during working hours in industries, and during festivals. They also play a role in creating harmony among employees during joint work such as climbing. These often reflect the national opinion on the events of the respective period. Although such songs have been handed down as an oral tradition, they are often preserved without much change. At the same time, they come into use in general practice in such a way that no one can be identified as their authors.

Discover the beauty of traditional Japanese craftsmanship with Japanese Folk Art Coloring book.

A reassessment of self-taught artist William Edmondson, exploring the enduring relevance of his work

"Chicago is recognized around the world for its place in the history of jazz, gospel, and the blues. Far less known is the surprisingly important role Chicago played in country music and the folk revival. Drawing on hundreds of interviews and deep archival research, Mark Guarino tells a forgotten story of music in Chicago and reveals how the city's institutions and personalities influenced sounds we today associate with regions further south. It is a story of migration and of the ways that rural communities became tied to growing urban centers through radio, the automobile, and the railroad. As the biggest city in the agricultural Midwest, Chicago became a place where rural folk could reinvent themselves and shape their music for the new commercial possibilities the city offered. Years before Nashville emerged as the commercial and spiritual center of country music, Chicago was the most active city for the genre's musicians and record labels. In the mid-1920s, the stars of WLS radio's Barn Dance modernized the sounds of country fiddlers and polished the mountain tunes of Appalachia for contemporary ears. By the 1940s, Chicago had the greatest concentration of country musicians in the US. Bill Monroe, The Carter Family, and Gene Autry all recorded some of their most legendary music in Chicago. When the larger recording industry drifted to the coasts after World War II, Chicago became known for working folk musicians who could freely experiment, collaborate, and perform at a distance from the sometimes stifling star structure of Nashville's Music Row. Guarino tells the stories of the Chicago hustlers who evolved new strains of country music in the city's bars, punk clubs, classrooms, and auditoriums. The College of Complexes, The Gate of Horn, the Earl of Old Town, the Old Town School of Folk Music, Club Lower Links, and Lounge Ax served as creative incubators for different generations of music. Country and Midwestern is a story as vital as the city itself, a celebration of the colorful characters who kept country and folk moving forward, and of the music itself, which even today is still kicking down doors"--

Adopted as a child from the Masonic Home for Children at Oxford, Tommy Malboeuf grew up in Troutman, North Carolina before enlisting in the Navy in the early 1950s. After his military service, Tommy found occasional work surveying and operating heavy equipment, and he also found a personal passion in bluegrass fiddling. He performed and recorded with A.L. Wood and the Smokey Ridge Boys, Roy McMillan's High Country Boys, the Border Mountain Boys, L.W. Lambert and the Blue River Boys, C.E. Ward and his band, Garland Shuping, and Wild Country, among others. In the late 1990s, Tommy began teaching fiddle, maintaining a steady stream of students until at least the early 2000s. He continued to perform as a fiddler, filling in for a variety of local bands and recording cuts on records for bands such as Big Country Bluegrass. This text documents Tommy's life, from his humble beginnings to his lengthy fiddle career. Contextualizing Tommy's work within the Statesville-Troutman bluegrass "scene," chapters also explore the local bluegrass culture of the time. Tommy's extensive repertoire is also listed, including his spectacular fiddle contest wins, band recordings, local jam field recordings, and songs recorded for students, all of which highlight his talent and expertise as a fiddler.

When a war ends provisionally, the agreement is called a ceasefire. But when peace ends, there is only war. War and peace are co-dependent. Perhaps it is now time for a "Peacefire."  In Maintenant 17: A Journal of Contemporary Dada Writing and Art, nearly 250 artists from more than 40 countries explore the concept of the end of both war and peace, exploring provocative outsider ideas as dada has done since its inception. With searing cover art by Uta Kaxniashvili, this issue of the renowned journal elaborates on dada's original premise as an antiwar movement. The Maintenant series, established in 2008, explores themes of politics, humanity, philosophy, and current concerns from an antiwar, anarchic (and often eye-opening) perspective. Past issues include work by artists Mark Kostabi, Raymond Pettibon, Joel Hubaut, Heide Hatry, Avelino de Araujo, Pawel Kuczynski, Inas Al-Soqi, Giovanni Fontana, Nicole Eisenmann, Syporca Whandal, and Kazunori Murakami; past writers have included Gerard Malanga, Charles Plymell, Andrei Codrescu, Harry E. Northup, Malik Crumpler, Maw Shein Win, and more, with a strong contingent of artist-writers from the world of punk rock, including Thurston Moore, Mike Watt, Bibbe Hanson and more. Critics have praised the series since its inception. Seattle Book Review calls Maintenant, "A smorgasbord for those who are sick and tired of it." Tribe LA dubs the journal, "A compilation of leading Dada-influenced artists from around the world that is timely and relevant." Serbia's Madjan Magazine proclaims that the Maintenant series proves "Dada is not dead." The Maintenant series is archived in leading institutions worldwide, including Museum of Modern Art New York. Contributors to Maintenant 17 include: Derek Adams ¿ Mariam Ahmed ¿ Jamika Ajalon ¿ Youssef Alaoui ¿ Linda J. Albertano ¿ Austin Alexis ¿ Joel Allegretti ¿ Daina Almario-Kopp ¿ Hala Alyan ¿ Jim Andrews ¿ Wayne Atherton ¿ Liz Axelrod ¿ Mahnaz Badihian ¿ David Barnes ¿ Amy Barone ¿ Vittore Baroni ¿ Tchello d' Barros ¿ Gaby Bedetti ¿ Regina Lafay Bellamy ¿ C. Mehrl Bennett ¿ Volodymyr Bilyk ¿ Mark Blickley ¿ Clemente Botelho ¿ Gedley Belchior Braga ¿ Michael Georg Bregel ¿ Kathy A. Bruce ¿ Imanol Buisan ¿ Fork Burke ¿ Billy Cancel ¿ Peter Carlaftes ¿ Wendy Cascade ¿ Nick Cash ¿ Mutes César ¿ Sarah M. Chen ¿ Nguy?n Bá Chung ¿ Hal Citron ¿ Lynette Clennell ¿ Andrei Codrescu ¿ William Cody ¿ Chuck Connelley ¿ Roger Conover ¿ Anothony Cox ¿ Malik Ameer Crumpler ¿ Raf Cruz ¿ Tchello d'Barros ¿ Wer Da ¿ Steve Dalachinsky ¿ Allison A. Davis ¿ Holly Day ¿ Avelino De Araujo ¿ Francesca Dharmakan-Bremner ¿ Natalie DiFusco ¿ Dario Roberto Dioli ¿ Rachel Dixon ¿ Sam Dodson ¿ Carol Dorf ¿ Eric Drooker ¿ Robert Duncan ¿ Salvatore Esposito ¿ Fong Fai ¿ Agenta Falk ¿ Massimo Fantuzzi ¿ Jeff Farr ¿ Becky Fawcett ¿ Rich Ferguson ¿ Maria Filek ¿ Cheryl J. Fish ¿ Kathleen Florence ¿ Robert C. Ford ¿ Dorothy Friedman ¿ Thomas Fucaloro ¿ Ignacio Galilea ¿ Sandra Gea ¿ Kat Georges ¿ Christian Georgescu ¿ Robert Gibbons ¿ Gordon Gilbert ¿ James J. Gleeson ¿ Mark Glista ¿ Ed Go ¿ Gemma Goette ¿ John Goodby ¿ Odeon Grace ¿ S.A. Griffin ¿ Fausto Grossi ¿ Meghan Grupposo ¿ Egon Guenther ¿ Genco Gülan ¿ Ana Maria Guta ¿ Bibbe Hansen ¿ Jesper Hasseltoft ¿ Heide Hatry ¿ Jeffrey Hecker ¿ László 2 Hegedus ¿ Aimee Herman ¿ Robert Hieger ¿ Karen Hildebrand ¿ Mark Hoefer ¿ Juleigh Howard-Hobson ¿ Matthew Hupert ¿ Frie J. Jacobs ¿ Annaliese Jakimides ¿ Marta Janik ¿ Mathias Jansson ¿ Lisa Marie Jarlborn ¿ Debra Jenks ¿ Dale Jensen ¿ Jerry Johnson ¿ Boni Joi ¿ Milana Juventa ¿ Jerry Kamstra ¿ Suzi Kaplan Olmsted ¿ Christine Karapetian ¿ Adeena Karasick ¿ Uta Kaxniashvili ¿ Marina Kazakova ¿ Oladipo Kehinde ¿ Tr?n Ðang Khoa ¿ Doug Knott ¿ Kollasch ¿ Daniel Kolm ¿ Gregory Kolm ¿ Ron Kolm ¿ Daina Kopp ¿ Mark Kostabi ¿ Paul Kostabi ¿ Inna Krasnoper ¿ Pawel Kuczynski ¿ Béné Kusendila ¿ Wang Lan ¿ Gary Lawless ¿ Mercedes Lawry ¿ David Lawton ¿ Jane LeCroy ¿ Sarah Legow ¿ Patricia Leonard ¿ Linda Lerner ¿ Martin H. Levinson ¿ Alexander Limarev ¿ Frédéric Lipczynski ¿ Richard Loranger ¿ Mina Loy ¿ Ruggero Maggi ¿ Sara Maino ¿ Gerald Malanga ¿ Jaan Malin ¿ Jessica Manack ¿ Fred Marchant ¿ Marronage ¿ Bronwyn Mauldin ¿ Jesse McCloskey ¿ Pierre Merejkowsky ¿ Ashley Miller ¿ Lois Kagan Mingus ¿ Charles Mingus III ¿ Richard Modiano ¿ Mike M. Mollett ¿ Thurston Moore ¿ Luiz Morgadinho ¿ Karen Neuberg ¿ James B. Nicola ¿ Gerald Nicosia ¿ Lance Nizami ¿ Harry E. Northup ¿ Anna O'Meara ¿ Ruth Oisteanu ¿ Valery Oisteanu ¿ Marc Olmsted ¿ John Olson ¿ Jane Ormerod ¿ Yuko Otomo ¿ Bibiana Padilla Maltos ¿ Csaba Pál ¿ Erzsébet Palásti ¿ Lisa Panepinto ¿ Gay Pasley ¿ John S. Paul ¿ Giorgia Pavlidou ¿ James Penha ¿ Puma Perl ¿ Robert Petrick ¿ Raymond Pettibon ¿ Charles Plymell ¿ Kai Pohl ¿ Leslie Prosterman ¿ Renaat Ramon ¿ Nicca Ray ¿ Mado Reznik ¿ D.M. Rice ¿ Travis Richardson ¿ Wes Rickert ¿ Benjamin Robinson ¿ Bruce Robinson ¿ Edel Rodriguez ¿ Mykyta Ryzhykh ¿ Martina Salisbury ¿ Paulo Sanches ¿ Kellie Scott-Reed ¿ Beatriz Seelaender ¿ Jack Seiei ¿ Silvio Severino ¿ Sheree Shatsky ¿ Susan Shup ¿ Jeff Shutt ¿ Bertholdus Sibum ¿ Denise Silk-Martelli ¿ Zoltán Simon ¿ Angela Sloan ¿ Katherine R. Sloan ¿ Phil Demise Smith ¿ Valerie Sofranko ¿ Paul Sohar ¿ J. R. Solonche ¿ Pere Sousa ¿ Orchid Spangiafora ¿ Dd. Spungin ¿ Marilyn Stablein ¿ Alex Starr ¿ Laurie Steelink ¿ Eva Helene Stern*** ¿ Christine Stoddard ¿ Thomas Stolmar ¿ Rich Stone ¿ W.K. Stratton ¿ Belinda Subraman ¿ Neal Skooter Taylor ¿ Robin Tomens ¿ Zev Torres ¿ John J. Trause ¿ Ann Firestone Ungar ¿ Yrik Max Valentonis ¿ Anoek Van Praag ¿ Nico Vassilakis ¿ Maggs Vibo ¿ Lynnea Villanova ¿ Voxx Voltair ¿ Barbara Vos ¿ Silvia Wagensberg ¿ George Wallace ¿ Scott Wannberg ¿ Mike Watt ¿ Poul R. Weile ¿ Ingrid Wendt ¿ Benjamin B. White ¿ Brenda Whiteway ¿ A. D. Winans ¿ Francine Witte ¿ Yaryan ¿ Gerald Yelle ¿ Andrena Zawinski ¿ Larry Zdeb ¿ Nina Zivancevic ¿ Lorene Zarou-Zouzounis ¿ Joanie HF Zosike

Self Taught is a collection of toy camera photos of Visionary Environments that Tim and his wife have been to in the last 10 years. There are also portraits that Tim has painted of their creators. The work is an expression of the spirit of DIY and creating for creation's sake. Kerr has always rejected the impulse to define art or music by categorizing it into a specific genre and throughout his music and visual art career, has preferred to color outside the lines rather than adhere to any one definition of art or, for that matter, punk. Tim Kerr is a musician and artist known for his lifelong contributions to the DIY and punk scenes, as a member of the Texas Music Hall of Fame, hailing from Austin, and for having played in The Big Boys, Poison 13, Monkeywrench, Bad Mutha Goose, Lord High Fixers, etc... Kerr is a visual artist and photographer, and currently releases music with his, and his friend Jerry Haggins, project Up Around The Sun.

The Greek folk songs "Dimotika Tragoudia in Greek" are songs of the Greek countryside, from island towns to mountain villages. They have been passed down from generation to generation in a centuries-long oral tradition, lasting until the present. They are songs of every aspect of old Greek life: from love songs and ballads, to laments for the dead, to songs of travel and brigands. Written down at the start of the nineteenth century, they are the first works of modern Greek poetry, playing a crucial role in forming the country's modern language and literature. Still known and sung today, they are the Homer of modern Greece. This new translation brings the songs to an English readership for the first time in over a century, capturing the lyricism of the Greek in modern English verse. Foreword by A.E. Stallings, American poet and translator.

PAPERBACK A5-Sized Journal: Standard A5 size (5.75 x 8.25 inches) allows for easily transporting in a handbag, backpack or tote. 144 BLANK PAGES: Perfect for drawing, taking notes or writing daily journal entries. INNER BACK POCKET: This paperback journal has a back pocket to offer a safe place to keep receipts, treasured notes or mementos. ACID-FREE PAPER: More difficult to decompose than regular paper and has a longer shelf-life. It is commonly used when someone wants to archive notes, daily journal entries or sketches for several years without the pages deteriorating or yellowing. FEATURED ART: In many traditional Minhwa (folk art paintings based on a popular folktale) the tiger symbolizes aristocratic authority and is given a somewhat silly appearance, while the dignified magpie in the pine tree symbolizes the common man. These paintings are therefore intended to be satirical in nature. They also symbolize the expulsion of bad spirits and are often hung up in the home during the Korean New Year festivities.

In an abandoned storage unit in Philadelphia, a collector discovered more than 150 works on paper by a presumably self-taught artist. The works fall into distinct groups—pencil drawings that are often sexual jokes, explicit watercolor scenes, and drawings on mimeograph paper.Clues to the identity of the artist and the timeframe in which the works were made are embedded in the materials. The ledger paper and safety protocol forms that presumably he used as a support bear the letterhead of the well-known Philadelphia chemical manufacturing company Rohm & Haas, established in 1909. A partially affixed mailing label on the back of one of the drawings gives a Philadelphia address and indicates “foreman” as the addressee. The date 1955 is written on the back of another drawing. The clothing and hairstyles depicted seem to date from the 1940s and 1950s. A search in the company’s archives turns up a staff photograph from 1931 listing numerous foremen who might be the author of this erotic cache.Almost certainly made for his own personal amusement and titillation, the Philadelphia Foreman’s erotic drawings are a rare and fascinating time capsule of American folk porn.-Excerpt from Mousse Magazine Folk Porn, Sexual Anxiety and American Masculinity: The Philadelphia Foreman by Alison M. Gingeras

The Landscapes of the Gypsy Heart, a Dance in Poetry, emerged out of a mystical spell that was cast upon me when I first started to hear flamenco music and saw the dance expression that came out of people's souls and hearts.Touching the heart of this musical experience comes when you finally let go of yourself and let the spirit within speak. We call it the "Duende."When the curtain opens, the heart has a chance to express this duende. Then a fiery passion from within can be ignited. It is like dancing as the bullfighter, facing the moment of truth.The poetry and photographs in this book reveal the flamenco dances I performed. They are expressions of the duende that sprang up within my own heart.

The first comprehensive monograph on the paintings of Carrie Ann Baade. Showcasing approximately 100 paintings from 2002 to the present, this is a vivid exploration of Baade's investigation into surreal self-portraits. Introduction by curator Anna Wall. Art historian Susan Aberth provides insight into Baade's working method with collage. Fiction author Selena Chambers offers a guided tour of an imagined metaverse exhibition of Baade's works. Baade herself provides an enlightening view into her own creative process. Carrie Ann Baade's oil paintings dialogue with the past through complex iconography and imagery quoted from Renaissance and Baroque canvases. She constructs layered narratives that resemble fantastical parables as her compositions interlace the strange beauty in the unexpected, the uncanny, the disregarded, and the unconventional. Her compositions, feminist and autobiographical, weave personal and classical symbology into narratives on mortality, sexuality, personal transformation, and the darker side of human nature.