Podcasts about light brown hair

Around campfires North and South, many of the tunes played and sung during the Civil War were the work of a 35-year-old Pennsylvanian who was America's first full-time professional songwriter.By the time the war started, Stephen Collins Foster — who as a youth taught himself to play the clarinet, guitar, flute and the piano — had published more than 200 songs.His best ones — “Oh Susannah,” “Camptown Races,” “Old Folks at Home (Swanee River),” “My Old Kentucky Home,” “Jeanie with the Light Brown Hair,” “Hard Times Comes Again No More” — already were widely known throughout the country to amateur and professional musicians alike.About “Angelina Baker”This song, though, was not one of the famous ones. Foster wrote “Angelina Baker,” sometimes performed as “Angeline the Baker,” in 1850 for use by the theater world's Christy Minstrels troupe.Today folks know it primarily as an instrumental dance tunes performed by old-time and bluegrass bands, almost always with a lively fiddle leading the way. An early version was recorded for Victor in 1928 by Uncle Eck Dunford of Galax, Va. Meanwhile, West Virginia fiddler Franklin George called it "Angeline" and played it with Scottish overtones.Foster's original, though, was a bit slower and had lyrics that lamented the loss of a woman slave, sent away by her owner.Huntington-born music historian Ken Emerson — who in 1997 wrote a definitive biography called Doo-Dah!: Stephen Foster and the Rise of American Popular Culture — said that “Angelina Baker” entered the American consciousness during a period of great controversy between free and slave states. The Fugitive Slave Act of 1850 was among the hotly debated topics at the time of the song's composition, and, Emerson noted, Foster's lyrics obliquely acknowledge these controversies. (Angelina likes th' boys as far as she can see ‘em / She used to run old Massa round to ask him for to free ‘em…. Angelina Baker, Angelina Baker's gone / She left me here to weep a tear and beat on de old jawbone… )Our Take on the TuneThe Flood has always celebrated diversity. The guys often follow a folk blues with a swing tune or chase a 1950s jazz standard with some 1920s jug band stuff. And deep in The Flood's DNA are the fiddle tunes learned from Joe Dobbs and Doug Chaffin. This Civil War-era tune the band learned from fiddlin' Jack Nuckols, their newest band mate.From the Archives: How We Met AngelinaAs reported earlier, Dave Peyton and Charlie Bowen started 50 years ago trying to draw Nuckols into the band. On an April evening back in 1974, Peyton and Bowen trekked over to Jack and Susie's place in South Point, Ohio, for a jam session. It was during that session that they first heard “Angelina Baker.” Here from the fathomless Flood files is that specific archival moment. Click the button below to travel back 51 years and hear Jack on fiddle, Dave on Autoharp and Charlie on guitar:More Instrumentals?Finally, if all this has you wanting some more wordlessness in your Friday Floodery, tune in the Instrumentals channel in the free Radio Floodango music streaming service. There you'll have a randomized playlist of everything from folksy fiddle tunes to sultry jazz numbers without a lyric or vocal in sight! Click here to give a try. 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

词汇提示1.minstrel 吟游诗人2.dialect 方言3.melodies 旋律4.folk songs 民歌5.moderately 适当地原文Stephen Foster ? American SongwriterBefore radio and television, movies and recordings, entertainment was often a family or community matter.Someone in the family could play a musical instrument, or a neighborhood musician would play for small gatherings.In addition, there would be travelling groups of musicians, actors and clowns who would go from town to town.In nineteenth century United States, one of the most popular forms of entertainment was the minstrel show.Black slavery was still permitted in the southern states until 1865.Even after that date, the lives of many blacks working on large farms or plantations did not change much.They did hard physical labor in the fields, had little control over their lives, and very little time to relax with their friends.Foster,who was born in 1826, made this situation the background for many of his songs.White musicians would try to imagine the feelings of black men and women working on the plantations.They would write songs in the dialect or speech patterns that they thought black slaves used.In these songs, the black people would be talking about their hardships, falling in love, playing music and dancing, and finally growing old and dying.They would play musical instruments, like the banjo, a small four-stringed guitar, which black people played often.As a small boy, Stephen Foster had sometimes been taken to a black church by his family's black servant, Olivia Pise.Here he first heard the melodies that inspired his own songs.Only a couple of Foster's songs are based directly on "Negro spirituals;" but many of his songs have the natural simplicity and emotional power of folk songs.The youngest member of a large family, Foster showed his musical talent at an early age.Growing up in an energetic business family Stephen was expected to become a businessman.And,for a while, he worked as a book keeper.Foster attended minstrel shows and tried to get the performers to sing his songs.Sometimes the performers would steal his songs and publish them under their own names.Copyright laws were weak and rarely enforced,so some music publishers would just go ahead and publish a song without paying the songwriter.Since Foster hoped to make a living as a songwriter, this was a problem.Foster's first hit song was "Oh!Susanna" published in 1848.It became popular with the thousands of men from all over the United States who were heading west to the Californian gold-rush of 1849.Unfortunately,as an unknown song writer Foster received no money from his early songs.He seems to have given them out right to the music publishers, just to establish his reputation.Foster's name, however, was soon widely known,and in 1849 he was able to afford to give up book keeping, and marry the daughter of a Pittsburgh physician.During the next five years, he earned a moderately good income from songwriting.In 1851, a daughter Marion was born.Foster wrote many of his best-known songs at this time - "Old Folks at Home"in 1851;"My Old Kentucky Home" in 1853, and "Jeanie With the Light Brown Hair" in 1854.Difficulties in Foster's marriage began fairly soon.He spent days locked in his room working on his songs.Then he would rush out with his materials to the local music store, presumably to test out the songs on his friends.Eventually,his wife and daughter left him.Foster died alone in a rooming house in 1864.However,there were very few typically American songs.Foster provided many songs that expressed the life of nineteenth century U.S.A.In a sense, Foster helped to create roots for American popular music.翻译斯蒂芬·福斯特?美国作曲家在广播、电视、电影和唱片出现之前，娱乐通常是家庭或社区事务。家里有人可以演奏乐器，或者邻里音乐家会在小型聚会上演奏。此外，还有由音乐家、演员和小丑组成的巡回团体，他们会从一个城镇到另一个城镇。在19世纪的美国，最流行的娱乐形式之一是吟游诗人表演。直到1865年，南方各州仍然允许蓄奴。即使在那之后，许多在大农场或种植园工作的黑人的生活也没有太大改变。他们在地里干着繁重的体力劳动，对自己的生活几乎没有控制权，很少有时间和朋友们一起放松。福斯特出生于1826年，他的许多歌曲都以这种情况为背景。白人音乐家试图想象在种植园工作的黑人男女的感受。他们会用他们认为黑人奴隶使用的方言或语言模式来写歌。在这些歌曲中，黑人会谈论他们的苦难，恋爱，演奏音乐和跳舞，最后变老和死亡。他们会演奏乐器，比如班卓琴，一种黑人经常演奏的四弦小吉他。斯蒂芬·福斯特小时候，有时会被家里的黑人仆人奥利维亚·皮斯带到黑人教堂。在这里，他第一次听到了启发他创作自己歌曲的旋律。福斯特的歌曲中只有几首是直接取材于“黑人灵歌”，但他的许多歌曲都具有民歌的自然质朴和情感力量。作为一个大家庭中最小的成员，福斯特在很小的时候就展示了他的音乐天赋。斯蒂芬生长在一个充满活力的商业家庭，人们期望他成为一名商人。有一段时间，他做过簿记员。福斯特参加了吟游诗人的演出，并试图让表演者唱他的歌。有时表演者会窃取他的歌曲，并以自己的名义发表。版权法很弱，很少被执行，所以一些音乐出版商会直接出版一首歌，而不付钱给词曲作者。由于福斯特希望以写歌为生，这就成了一个问题。福斯特的第一首热门歌曲是《哦!苏珊娜》出版于1848年。1849年，成千上万的美国人从美国各地前往西部的加利福尼亚淘金热，这个词受到了他们的欢迎。不幸的是，作为一个不知名的词曲作者，福斯特没有从他早期的歌曲中获得任何收入。他似乎把版权给了音乐出版商，只是为了树立自己的声誉。然而，福斯特的名字很快就广为人知了，1849年，他放弃了簿记工作，娶了匹兹堡一位医生的女儿。在接下来的五年里，他从写歌中获得了相当不错的收入。1851年，女儿玛丽昂出生了。福斯特在这个时期创作了许多他最著名的歌曲——1851年的《家里的老人》;1853年的《我的肯塔基老家》和1854年的《浅棕色头发的珍妮》。福斯特的婚姻很快就出现了问题。他一连几天把自己锁在房间里写歌。然后，他会带着他的材料冲到当地的音乐商店，大概是为了在他的朋友们身上测试这些歌曲。最终，他的妻子和女儿离开了他。1864年，福斯特独自一人在一间公寓里去世。然而，很少有典型的美国歌曲。福斯特创作了许多表达19世纪美国生活的歌曲从某种意义上说，福斯特为美国流行音乐奠定了基础。

As I was playing the first piece, I realized I was touching on Bach's "Jesu, Joy of Man's Desiring", so I just went for it. Later, the first two chords reminded me of Stephen Foster's "Jeannie With the Light Brown Hair" so I went for that too, but somehow it turned into a rag! I played one piece that was pretty atonal, which sometimes helps me get out of "functional harmony" habit. It was fun.  We are in the countdown to a pause, and a change of sound. We will probably go to a monthly format, and I'm planning to share a bunch of my songs, as well as integrating electronics and looping for a more orchestral approach. Stay tuned!

Songs include: Sweet Georgia Brown, Brown Gal, Brown Eyes, Why Are You Blue, I Dream of Jeannie With the Light Brown Hair and Brown Bee Boogie. Performers include: Glenn Miller, Cab Calloway, Alberta Hunter, the Mills Brothers, Clifford Brown and Nick Lucas.  

#511 - Ellen Hunter Ulken The Ellen Hunter Ulken Interview is presented on The Paul Leslie Hour. This episode of The Paul Leslie Hour you're about to hear deals with one of America's all-time greatest songwriters. I'm talking about Stephen Foster. Stephen Foster wrote such songs as “Oh! Susanna,” “Old Folks at Home,” “Hard Times Come Again No More,” “Jeanie with the Light Brown Hair,” “Beautiful Dreamer,” and others. It's been said he was the most famous songwriter of the nineteenth century. His songs endure to this day. Everyone from Bing Crosby, James Taylor, Bob Dylan, Jerry Lee Lewis, Emmylou Harris, Johnny Cash… and in recent times even actor Bill Murray have recorded his work. I'm a proponent of songwriter Stephen Foster and was able to interview Ellen Hunter Ulken who wrote a book that was both entertaining and interesting, “BEAUTIFUL DREAMER: The Life of Stephen Collins Foster.” I traveled down to Peachtree City, Georgia to record this interview it was a few years back. It originally broadcast on the radio. It's a pleasure to present this to the online listeners, right here on The Paul Leslie Hour. The Paul Leslie Hour is a talk show dedicated to “Helping People Tell Their Stories.” Some of the most iconic people of all time drop in to chat. Frequent topics include Arts, Entertainment and Culture.

This is a program of classic American songs. The traditional “Shenandoah,” Steven Foster’s “Jeanie with the Light Brown Hair,” the spiritual “Deep River,” “Summertime” from Porgy and Bess, and others. Singers include Eileen Farrell, the Norman Luboff Choir and Marilyn Horne. The post From The American Songbook appeared first on WFMT.

We explore the history and the celebrities of New York City's "Tin Pan Alley", which was the birthplace of modern music publishing, and the place that gave us much of the popular music from 1880 to 1929. Included: the stories of Stephen Foster (who spent his last days in NYC), Irving Berlin, George C. Cohen, George Gershwin, Jack Northworth, Scott Joplin, Charles K.Harris, and many others. Songs included: I Dream of Jeannie with the Light Brown Hair, Alexander's Ragtime Band, After the Ballis Over, Take Me Out To the Ballgame, In The Shade of the Old Apple Tree, Rhapsody In Blue, Someone To Watch Over Me,and Give My Regards to Broadway.

Introduction When I was in grade school my classmates and I sang "Old Folks at Home" (also known as "Swanee River"; that’s how I knew it.) Swanee River is a minstrel song written by Stephen Foster in 1851. Since 1935 it has been the official state song of Florida, although in 2008 the original lyrics were revised. Here is the chorus from this 1851 song: “All de world am sad and dreary, Eb-rywhere I roam; Oh, darkeys, how my heart grows weary, Far from de old folks at home!” Stephen Foster, is known as “The Father of American Music” because of the many lyrical and extremely popular songs he wrote, including "Camptown Races", "My Old Kentucky Home", "Jeanie with the Light Brown Hair", and "Beautiful Dreamer". Foster used the Negro dialect of the day for the lyrics. Should a song like this be sung today? No. Should we rip songs like this and the people who wrote and performed them from our history books, to be replaced by accusations of hate and racism? How about people like Robert E. Lee and Kate Smith? No. Not at all. Should we know and learn from our history--all of it? Yes. Of course. And that’s the topic of today’s 10-minute podcast. Continuing Let’s start the discussion by saying that we cannot learn from history if we do not understand it. Insert your favorite quote about learning from history here. That part is clear on its face, yes? And if we distort and twist that history before erasing it, things get even worse. Here is today’s Key Point. And, yes, we are getting to it early. We need to know, to really get it, that people like Stephen Foster, Robert E. Lee and Kate Smith are not hard-core Nazis, KKK riders or even sad little David Duke. They are ordinary people, like you and me. The lesson we need to learn is how to be sufficiently educated, aware and caring to keep evolving as individuals and as a society. We need to be continually evolving and constantly improving. Tearing down statues and reputations while rewriting history books in an effort to make yesterday look like we think it should have been make that learning and evolving impossible. All of us, including the “tear it down” advocates, need to remember that the learning and evolving needs to continue forever. What we do today will be judged through the lens of history tomorrow. And don’t we want future generations to be learning and improving rather than accusing and tearing down the history we create? I hold Robert E. Lee accountable for most of the death and destruction in the Civil War, a war that killed more Americans than all of our other wars put together. General Lee was asked by Abraham Lincoln to head the Union Army, but Lee refused, and proved the wisdom of Lincoln’s request by brilliantly leading the Confederates to victory after victory over the superior but poorly led Union forces. Lee’s mistake was in seeing his loyalty to his state, Virginia, as more important than his loyalty to the United states. At the end of the war, Lee petitioned to have his citizenship restored. Because of a clerical error, it never happened. Kate Smith, had a radio, television, and recording career spanning five decades, which reached its pinnacle in the 1940s. Smith became known as “The Songbird of the South” after her enduring popularity during World War II. Later, sports teams including the Philadelphia Flyers and New York Yankees featured her. I remember how the Flyers thought that having her sing a ringing rendition of “God Bless America” before games was a lucky charm. Ms. Smith was the featured performer in tours that raised the equivalent of $10B (billion) in today’s dollars to fight Nazi Germany and Imperial Japan in WWII. Then came the news of her 1931 recordings of "That's Why Darkies Were Born" and "Pickaninny Heaven." Both songs contained clearly racist lyrics. And they were 2 of 3,000 songs she recorded. At the same time, Smith was noted for having African-American musicians and entertainers on her radio show in ...

Stephen Foster (1826-1864) was America’s first great songwriter and the first to earn his living solely through his music. He composed some 200 songs, including such classics as “Oh! Susanna,” “Jeanie with the Light Brown Hair,” “Old Folks at Home (Way down upon the Swanee River),” and “Camptown Races (Doo-dah! Doo-dah!).” He virtually invented popular music as we recognize it to this day, yet he died at age thirty-seven, a forgotten and nearly penniless alcoholic on the Bowery. The author reveals Foster’s contradictory life while disclosing how the dynamics of nineteenth-century industrialization, westward expansion, the Gold Rush, slavery, and the Civil War infused his music, and how that music influenced popular culture.

In this film, Philharmonia Orchestra Principal Trombone, Byron Fulcher, introduces the euphonium, an instrument that is an occasional visitor to the orchestra. TABLE OF CONTENTS: 00:18 Meaning of "euphonium" 00:40 Choices when buying a euphonium 00:59 The emergence of valved brass instruments 01:25 UK brass band history & the euphonium 02:22 "Tenor tuba" and how the euphonium became part of the orchestra 03:12 How you make a sound 03:55 The wide range of the euphonium & the compensating system 09:09 The valves and how they work 09:54 Vibrato 11:00 Mutes 11:38 How often Byron plays the euphonium in the orchestra 12:21 Orchestral extract: Mussorsgky, Pictures at an Exhibition, Bydlo 14:00 Orchestral extract: R Strauss, Don Quixote, Maggiore: Sancho Panza 15:05 Orchestral extract: Mahler, Symphony No. 7, I. Langsam - Allegro risoluto, ma non troppo 16:14 Orchestral extract: Holst, The Planets, Jupiter 16:35 Foster: Jeanie with the Light Brown Hair 17:20 Jean-Baptiste Arban and the Airs Variés 18:07 Carnaval de Venise, theme and variations, arranged by Arban 19:29 Articulation, including double and triple tonguing 21:01 Brass solo competitions in the UK 21:19 Who plays the euphonium in the orchestra? 21:38 How Byron learned euphonium 21:55 Mishaps Learn all about the instruments of the orchestra in our Instruments playlist: https://www.youtube.com/playlist?list...

Lee and Dan are continuing down the classic western film trail with what many consider to be the film that really breathed new life into, and also elevated the western genre from 'B' grade to 'A'. This episode it's John Ford's "Stagecoach" (1939). They talk about if it truly is a classic, how it made John Wayne a star, and the influences it had on films to come after it. Also covered: listener comments and what they've watched as of late. Note: there were some audio issues when this was recorded. Lee has managed to edit around most of them, but at times the conversation might feel a tad disjointed, and a few sports of audio break-up might be heard. Sadly, it's also about ten minutes shorter than it originally was. "Stagecoach" IMDB Wrong With Authority Podcast's Consider the Reagan, Episode 1: "Back to the Future".  Featured Music: "Jeanie With the Light Brown Hair" by Gilbert Kalish & Jan De Gaetani & "The Trail to Mexico" by Pete Seeger.

Since we talked so much last week about studying the diction of your native language, I thought it only fitting that we discuss a little English Diction today! Our guests are Mark Lawson, an American coach on the music staff of the Bayerische Staatsoper in Munich, and Aaron Pegram, an American tenor in the ensemble at the Semperoper in Dresden. Our texts today are "Take O Take Those Lips Away" and Stephen Foster's "Jeanie with the Light Brown Hair". We concentrate on the American diphthongs and how to handle the Rs when singing in English. You can find the texts through the Lied and Art Song Text Page link at the right. On this episode, we talked about the standard textbook, Madeleine Marshall's The Singer's Manual of English Diction, which has been around for several decades. I also mentioned Kathryn LaBouff's book, Singing and Communicating in English, which includes separate sections for Mid-Atlantic, American and British pronunciation. A big thank you to everyone who has shared The Diction Police on their Facebook pages, word-of-mouth is the greatest commercial! And also many thanks to the people who have rated this podcast on iTunes, I really appreciate it! As always, if you have any questions or comments, please feel free to contact me here, on the Facebook page, or to write me directly at ellen@ellenrissinger.com

Songs include: I Dream of Jeannie With the Light Brown Hair, Silver Haired Daddy of Mine, The Girl With the Flaxen Hair and Little Curly Hair. Performers include: Maxine Sullivan, Sleepy John Estes, Bob Crosby, Walter Giesiking, Lightnin Hopkins and Billy Murray.