Podcasts about libba cotten

This week in 1973, the premiere of Schoolhouse Rock! We'll explain how this show got kids singing and learning every Saturday morning. Plus: today in 1893, the birthday of folk great Elizabeth "Libba" Cotten, who only started performing in her 60s but wrote her signature song decades before. Happy Anniversary “Schoolhouse Rock!” (Library of Congress) Syracuse folk legend Libba Cotten to be inducted into Rock and Roll Hall of Fame (Syracuse.com) Let's make more great music together, back our show on Patreon! --- Send in a voice message: https://podcasters.spotify.com/pod/show/coolweirdawesome/message Support this podcast: https://podcasters.spotify.com/pod/show/coolweirdawesome/support

"Jamming at Borderland: Goose, Trey Anastasio, and More Shine Bright"Larry Mishkin welcomes the Deadhead Cannabis Show's sound editor, Jamie Humiston to discuss his experience at the Borderland Music and Arts Festival. Jamie highlights various bands that performed, including Goose, Trey Anastasio's Classic Tab, and The Infamous Stringdusters. Jamie shares their impressions of the festival's atmosphere, mentions a cannabis-infused hot sauce that he discovered, and provides insights into the different musical acts. The conversation touches on the evolving jam band scene and the unique charm of festivals..Produced by PodConx  Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast Going with a hot one, September 25, 1980Grateful Dead Live at Warfield Theater on 1980-09-25 : Free Borrow & Streaming : Internet Archive Opening night of the Grateful Dead's Warfield/Radio City acoustic/electric runs, recorded every night and best wound up on Reckoning (acoustic) and Dead Set (electric) Warfield Run – September 25, 1980 – October 14, 1980Radio City Run – October 22, 1980 – October 31, 1980 Prior to these shows, had not played a full acoustic set in concert since 1970 or maybe early 1971.  As a result, a good number of songs that the Dead liked to play acoustic had not been heard in a number of years before this show. first "Ain't No Lie" - last "All Around This World": 02-14-70 [706] - last "Bird Song": 09-15-73 [382] - last "Dark Hollow": 04-29-71 [550] - last "Monkey & Engineer": 12-31-70 [589] - last "Ripple": 04-29-71 [550] - last "Rosalie McFall": 11-08-70 [609] - last "Roses": 01-12-79 [118] INTRO:                Birdsong                           Track No. 1                           1:00 – 2:13               From Jerry's first solo album, “Garcia” released Jan 20, 1972.              Robert Hunter lyrics:  Robert Hunter originally wrote the song as a tribute for Janis Joplin. Phil Lesh now sings "All I know is something like a bird within him sang", transfering it Jerry Garcia instead.            First played Feb. 19, 1971 Capitol Theater Port Chester           Last played June 30, 1995 Three Rivers Stadium, Pittsburgh           Played by the Dead 300 times in concert This was the first time played since 9.15.73 (382 shows) This version is amazing both because it is acoustic and Jerry's voice is so strong.  Makes you fall in love with the song all over again, or, as One Armed Lary would say, “taste it again for the first time” although I don't think he was talking about this song, or any song, when he said it (Deer Creek 1989). SHOW  #1:         I've Been All Around This World                           Track No. 2                           1:23 – 2:16               The origins of I've Been All Around This World are not easy to trace. It possibly derives from a number of different songs. The 'Hang Me, Oh Hang Me' verse is thought to derive from the traditional song My Father Was A Gambler, a US ballad, which is thought to be about a murderer who was hanged in 1870. The song has also been collected under such titles as "Diggin' on the New Railroad", “The Gambler, ” “My Father Was a Gambler,” “The New Railroad,” “The Hobo's Lament,” “The Hobo's Blues” and "Hang Me, Oh Hang Me". In 1930, George Milburn published a book entitled the Hobo's Hornbook that included a version of “I've Been All Round this World”. It was also found in Henry Marvin Belden's "Ballads and Songs Collected by the Missouri Folk-Lore Society". The book was printed in 1940 but the song was "secured by Miss Frances Barbour in 1917 from the singing of Minnie Doyle of Arlington, Phelps County [MO]". Dead's version is “Traditional, arranged by the Grateful Dead and they all get credit (Pig Pen days)Released on History of the Grateful Dead, Vol. ! Bear's Choice (a live album by the Grateful Dead. It is their fourth live album and their ninth album overall. Released in July 1973 on Warner Bros. Records, it offers concert highlights recorded February 13 and 14, 1970 at the Fillmore East in New York City. Often known simply as Bear's Choice, the title references band soundman Owsley "Bear" Stanley. It was originally intended to be the first volume of a series.)                                                      First played by the Dead on December 19, 1969 at the Fillmore West              Last played by the Dead on December 31, 1980 Oakland Civic Auditorium              Played a total of 19 times in concert This was the first time played by the Dead since Feb. 14, 1970 (706 shows) I really love the acoustic guitar in this version.  Jerry can pick with the best of them. BORDERLAND  SEPT. 15, 16 AND 17EAST AURORA, NY (JUST OUTSIDE OF BUFFALO)5th year The Borderland Music + Arts Festival celebrates the rich history and renaissance of the region with a three-day music and cultural festival set in one of the most scenic and storied grounds in all of New York State, Knox Farm State Park. Great lineup with headliners:              Goose              TAB              Moe.Also featuring:   Infamous String Dusters                           Dawes                           Sammy Rae and Friends                           Neal Francis                           Not Fade Awa Band (Dead and Zeppelin covers)                           Eric Krasno                           Brandford Marsalis                           Anders Osborne                           Etc. Jamie Humiston was there.Jamie – discuss festival, highs, favorite acts, etc. SHOW #2:          SONG FROM BORDERLAND                           GOOSE SHOW #3:          SONG FROM BORDERLAND                           TREY AND DAWES Back to the Dead from 9.25.1980 SHOW #4:          Oh Babe It Ain't No Lie                           Track No. 8                           :10 – 1:35               By Elizabeth “Libba” Cotton January 5, 1893 – June 29, 1987)[1][2][3] was an American folk and bluesmusician. She was a self-taught left-handed guitarist who played a guitar strung for a right-handed player, but played it upside down.[4] This position meant that she would play the bass lines with her fingers and the melody with her thumb. Her signature alternating bass style has become known as "Cotten picking".[5]NPR stated "her influence has reverberated through the generations, permeating every genre of music."[6]Her album Folksongs and Instrumentals with Guitar (1958), was placed into the National Recording Registry by the Library of Congress, and was deemed as "culturally, historically, or aesthetically significant". The album included her signature recording "Freight Train", a song she wrote in her early teens.[7] In 1984, her live album Elizabeth Cotten Live!, won her a Grammy Award for Best Ethnic or Traditional Folk Recording, at the age of 90.[8] That same year, Cotten was recognized as a National Heritage Fellow by the National Endowment for the Arts.[9] In 2022, she was posthumously inducted into the Rock and Roll Hall of Fame, as an early influence.[10]               David Dodd:  The song debuted in the Dead's repertoire during their Warfield run on September 25, 1980, and was then played ten times over the course of the acoustic shows at the Warfield and Radio City Music Hall runs. After that, it made three more appearances, in one-off situations such as an acoustic set at the Mill Valley Recreation Center, or in the Netherlands for an acoustic set, and finally at Marin Vets, on March 28, 1984, in a performance that kicked off the second set, without Weir and Mydland onstage.However, I know the song had been “around” for much longer than that. It appears on the studio outtakes from Garcia's Reflections album, as released in the All Good Things box set. And personal interviews with Garcia's circle of acquaintances in Palo Alto in the early 1960s make it explicitly clear that he was familiar with the work of Libba Cotten. So I expect Garcia had performed the song many times during his folkie period, and it may have been in the Jug Band repertoire. Dodd:  An avid Grateful Dead concertgoer for more than two decades, David Dodd is a librarian who brings to the work a detective's love of following a clue as far as it will take him. Author of:The Annotated Grateful Dead Lyrics OUTRO:            Ripple                           Track No. 9                           3:04 – 4:30               From American Beauty  (Released Nov. 1970)               Robert Hunter wrote this song in 1970 in London on the same afternoon he wrote "Brokedown Palace" and "To Lay Me Down" (reputedly drinking half a bottle of retsina in the process [3]). The song debuted August 18, 1970 at Fillmore West in San Francisco. Jerry Garcia wrote the music to this song.[3]                       Between 1970 and 1971 the Grateful Dead played the gorgeous Garcia/Hunter tune “Ripple” a number of times both electric and acoustic before putting the song in mothballs until 1980. Though the Dead performed “Ripple” a whopping 27 times acoustically in 1980 and then once again unplugged in 1981, it disappeared from the repertoire for the final 14 years of the band's career with one exception. On September 3, 1988 the Grateful Dead busted out an electric “Ripple” for the first time in 17 years for what would be the final performance of the tune.As the story goes, which is unconfirmed, the band was approached by the Make-A-Wish Foundation with a request from a young fan dying of cancer. The Grateful Dead were asked to perform “Ripple” at their September 3, 1988 show in Landover, Maryland. Jerry Garcia & Co. honored the request by ending the evening with the tender ballad. “Ripple” hadn't been played in any form in 459 shows and it had been 1,113 performances since the last electric version of the American Beauty stunner which took place at New York City's Fillmore East. As you can imagine, the crowd went absolutely ape shit the moment the “Ripple” bust out begins.That was also the night of the rehearsal dinner for my wedding weekend in Chicago.  A number of my good Deadhead friends were in town celebrating with my wife and me and much later that night (remember, no cell phones or internet or on-line set lists.  Had to wait for the 800 RUN DEAD line to be updated and then be able to get through.  Somehow even by those standares word got around very fast and my buddies were not at all pleased since many of them would have undoubtedly been at that show (although, since it was a second encore a number of fans had already walked out of the Cap Center and then desperately tried to get back in.No better way to end any show, including this one. Music Stories:Neil Young & Crazy Horse Deliver ‘Tonight's The Night' and ‘Everybody Knows This is Nowhere' in Full Bobby Weir & Wolf Bros Announces Three-Night New Year's Eve Stand in Fort Lauderdale Phish to Bring Four-Night New Year's Run Back to Madison Square Garden

Okay, up front let's just get this out of the way. We don't know what “sugaree” is, or why you would want to shake it, or what'd happen if you did.And apparently nobody else knows either.Our Story Begins…Let's start our story in the mid-1960s, when folk music legend Elizabeth Cotten recorded her new album, Shake Sugaree.“That's more my grandchildren's song,” Libba Cotten later told Mike Seeger about the title tune. “They made the verses and I played the music. The first verse my oldest grandson, he made that himself, and from that each child would say a word and add to it.”Apparently it was Cotten herself who added that memorable — if enigmatic — chorus (Oh, lordy me / Didn't I shake sugaree? / Everything I got is done and pawned), though “to tell the truth,” she added, “I don't know what got it started. “That's practically how all my songs, I pick up,” she said. “There's somebody'll say something or something done and then... something will come into your mind.” Enter Fred NeilA couple years later, singer/songwriter Fred Neil revisited the song, but in a radically different way. While Cotten's original was a jaunty tune, Fred framed her lyrics with his own slow and positively pensive melody, transforming it from something playful into a poignant meditation on loneliness and loss.The arrangement was so different from Cotten's, in fact, that Capitol Records felt justified in giving Neil co-credit for the composition. Of course, that decision led to further confusion about the song. For instance, when Pat Boone (uh-huh, Pat Boone … !) recorded the song in 1969 on his Departure album, Fred Neil was listed as its only composer, with Cotten nowhere to be found in the credits.But What Is Sugaree?Apparently, nobody bothered to ask Elizabeth Cotten to define “sugaree.” They didn't ask Fred Neil either. Nor Jerry Garcia when he and The Grateful Dead recorded a completely different song with the same name in 1972. (Maybe Pat Boone knows sugaree's secret, but he ain't saying.)All this mystery has led data detectives on a great what-is-sugaree scavenger hunt on the Internet, producing some wildly weird theories. An African-American dance featuring sugar spread on the floor? A variation on a native America word or perhaps an ancient tribe's name? A Gullah term from Cotten's native Carolinas? A corruption of the word shivaree (itself a corruption of the French charivari.)Or Maybe the Question is WHO is Sugaree?Wait. Let's add to the puzzle. What if Sugaree is a person? That's what one prominent early rock ‘n' roll singer/songwriter thought.A decade before Elizabeth Cotten and her grandchildren created their tune, Marty Robbins — yes, Marty (Out in the West Texas town of El Paso) Robbins — wrote a song called “Sugaree” that was released by The Jordanaires.Its lyrics made it clear that for Marty and the boys “Sugaree” was a girl (I got a letter from my baby, Sugaree, wrote me today. / It was the first one that she wrote me, first one since she went away.) And that bit of business prompts an intriguing theory. Could be it be that the Marty Robbins song — which was recorded by several other groups besides The Jordanaires and got wide airplay in the late 1950s on radio and TV — was a favorite of Libba's grandkids? (After all, it was a catchy number … and of course, “sugar” does have famously universal kid appeal.) Maybe that the reason the kids worked it into the song that they were creating with Grandma. If that's the case, it would mean that “sugaree” was simply a cool sound. Cotten and her kids might have just liked the ear tickle they got from the alliteration when they let “shake” shimmy up next to “sugaree.” Our Take on the Tune “Folk progress” is a term that Charles Seeger — folksinger Pete's pop — came up with about a hundred years ago to describe the tendency of melodies and lyrics to change, a little or a lot, as they pass from person to person and generation to generation.It's a process that greatly pleases us in The Flood. From our earliest days, we've done everything we can to carry it on by putting our own stamp on every song we do.This particular number grew out of a recent Flood jam at which a riff Charlie started noodling with on his new resonator guitar had him remembering that old Fred Neil take on the Libba Cotten song. In a flash, Dan and Sam were bringing their own magic to the moment. Here's the result. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

 “The folk process” is a term that Charles Seeger came up with to describe the tendency of songs to change a little — or a lot — as they are passed from person to person over the years. It's a process that greatly pleases us in The Flood, because we've always done everything we can to put our own stamp on every song we do. Here, for instance, it's no real secret that our version of this tune has only a nodding acquaintance with the original that the great Elizabeth Cotten wrote with her grandchildren some 60 years old. It grew out of a recent Flood jam at which a riff Charlie started noodling with on his new resonator guitar had him remembering that old Fred Neil take on the Libba Cotten song. In a flash, Dan and Sam were bringing their own magic to the moment.

Carrboro Mayor Damon Seils spoke with 97.9 The Hill's Andrew Stuckey on Friday, January 6th.  He discussed Carrboro's designation as bicycle friendly town, the proclamation of Libba Cotten Day, and more. The post Carrboro: Bike Friendly Town, Libba Cotten Day, and More appeared first on Chapelboro.com.

11/06/2022 Matthew 13:44, 51-58 Chris Breslin   Slides from November 6, 2022 Music for Sunday’s worship gathering Freight Train / Time to Stop Your Idling by Cotten Woke Up this Morning by Staples/Tweedy No Not One by Oatman/Zach The Hope of the Poor by Kimbrough I Need Thee Every Hour by Lowry Canticle of the Turning by Cooney

Curator of History at the Onondaga Historical Association, Robert Searing joins Joe & Kristen to talk about the incredible life, work, and influence of folk singer-songwriter-guitarist Elizabeth "Libba" Cotten, 2022 Early Influence Rock Hall inductee. This show is part of Pantheon Podcasts.

Carrboro mayor Damon Seils joins 97.9 The Hill's Brighton McConnell on Friday, May 6.  Seils discussed groundbreaking of the 203 project, repaving of downtown streets, Libba Cotten, and more. The post Carrboro: Groundbreaking, Repaving, Planning appeared first on Chapelboro.com.

Bob speaks with David Stutzman of Stutzman Guitars on his interactions with Libba Cotten.

Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we’ll dive into the story behind one woman listeners may or may not know -- but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Leading Ladies, Activists, STEMinists,  Local Legends, and many more. Encyclopedia Womannica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures.Encyclopedia Womannica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Liz Smith, Cinthia Pimentel, Grace Lynch, and Maddy Foley. Special thanks to Shira Atkins, Edie Allard, and Carmen Borca-Carrillo.We are offering free ad space on Wonder Media Network shows to organizations working towards social justice. For more information, please email Jenny at jenny@wondermedianetwork.com.Follow Wonder Media Network:WebsiteInstagramTwitter

Kyle Bass is the author of Possessing Harriet, which received its world premiere at Syracuse Stage, was also produced at Franklin Stage Company, and has upcoming productions at East Lynn Theater Company (NJ) and Hartbeat Ensemble (CT). His new play salt/city/blues will premiere at Syracuse Stage in 2021. Kyle is the co-author of the original screenplay for the film Day of Days (Broad Green Pictures, 2017), which stars award-winning veteran actor Tom Skerritt, and is a two-time recipient of the NYFA Fellowship (for fiction in 1998 and playwriting in 2010), a finalist for the Princess Grace Playwriting Award, and Pushcart Prize nominee. His other full-length plays include Tender Rain, Bleecker Street, and Separated, a piece of documentary theatre about the student military veterans at Syracuse University, which was presented at Syracuse Stage and at the Paley Center in New York. Kyle is the co-author (with Ping Chong) of Cry for Peace: Voices from the Congo, which had its world premiere at Syracuse Stage and was subsequently produced at La MaMa Experimental Theatre in New York. Current projects include the libretto for an opera based on the life and music of legendary folk singer and guitarist Libba Cotten, commissioned by the Society for New Music, and the screenplay adaptation of the novel Milk by Darcy Steinke. Kyle is Associate Artistic Director at Syracuse Stage and Assistant Professor in the Department of Theater at Colgate University where he previously served as the Burke Endowed Chair for Regional Studies, and he is the current Susan P. Stroman Visiting Playwright at the University of Delaware. Kyle holds an M.F.A. in playwriting from Goddard College, and a proud member of the Dramatists Guild of America. Kyle is represented by The Barbara Hogenson Agency.

Mississippi John Hurt insieme a Mabel Hillery e il Rev.Gary Davis con Libba Cotten a suonare insieme in cucina come non li avete mai potuto sentire su disco. E poi una chicca discografica: John Fahey con Bill Barth sotto le mentite spoglie si R.L. Watson & Josiah Jones.

I’ve got an old school blues cover of Libba Cotten by Guy Davis and Fabrizio Poggi, honky-tonk from Matt Urmy, more country from that Jason Eady album, a hand clapper from Valerie June, rock & roll from Killbuck and the new string band album from Joseph Huber. "Ep349 For people who are train wreckers" originated from Americana Music Show.

The women of Underhill Rose talk about their fan-funded album, the Asheville music scene, growing their fan base out west, and teaching kids the music of Doc Watson and Libba Cotten. They also play three tracks from their latest album, Something Real. Plus gothic americana from the Paper Hill Casket Company, heartland rock from the Bottle Rockets, folk from Breting Engel, string band blues from Blue Yonder, memphis soul from John Paul Keith, electric Blues from Pete Anderson, rock & roll from Black Joe Lewis, and in-your-face blues from the North Mississippi Allstars. "Underhill Rose" originated from Americana Music Show.