Claudia Lennear will shake you to your soul. Renowned for her recent performance in the Academy Award winning documentary, 20 Feet from Stardom, and her personal history as a back-up singer for many great rock and soul groups, Claudia is an amazing lead performer in her own right. Her gospel trio features tight harmonies and riveting arrangements.
The Get Lit Players have performed widely – at the Hollywood Bowl, Queen Latifah Show, and even at the White House. The Get Lit Players are currently ranked third in the world for spoken word poetry (in the teen poetry competition, Brave New Voices). Be ready for the Get Lit Players to move your soul in this afternoon of Gospel.
Jackson Browne has written and performed some of the most literate and moving songs in popular music and has defined a genre of songwriting charged with honesty, emotion and personal politics. He was honored with induction into the Rock and Roll Hall of Fame in 2004, and the Songwriter’s Hall of Fame in 2007.
Where will you find this incredible line-up of performers??
The Hollywood Improv, 8162 Melrose Ave., LA 90046. Cross street, N. Kilkea Dr.
Public transit: Metro Bus Line 10
Sunday, December 20, 3:30p; doors open 3:00p That’s this Sunday!
TICKETS: $20 @ 323-651-2583 corrected number http://hollywood.improv.com
Come, listen, and be inspired.
Pete Seeger: Precious Friend
Another chapter closes, but the book is not yet finished. A tribute to Pete Seeger will not do his memory justice, if it does not look forward – and continue the dedication to progress and a humanist world. The Ash Grove is sponsoring a tribute to Pete Seeger on Saturday, April 5, from 2p-4p at the First Unitarian Church, Los Angeles, 2938 West 8th Street.
Performers and speakers who knew and loved Pete’s music and his mission will be there to share and build community through music, art and ideas. The tribute will feature Ross Altman, Len Chandler, Claudia Lennear (20 Steps), Bernie Pearl, and several other great performers; along with dynamic speakers including (City of Glass, et al) Mike Davis and Art Goldberg. This will be an historic and unforgettable event. So please come – bring your children, grandparents and grand kids, friends and neighbors.
Tickets are $20 – a donation – from which net proceeds will benefit the First Unitarian Church that continues its progressive mission (building a new and vital children’s center) and neighborhood programs. No one will be turned away. But we do anticipate a big crowd – so come early. Free parking at the First Baptist Church lot, across the street. Harriet Aronow, Ash Grove Music Secretary From: Greygoosemusic@aol.com] Subject: [Bulk] Pete Seeger: Precious Friend by Ross Altman for FolkWorks Pete Seeger: Precious Friend (May 3, 1919—January 27, 2014) (www.folkworks.org (http://www.folkworks.org/) ) By Ross Altman Just when I thought all was lost You changed my mind You gave me hope Not just the old soft soap You showed that we could learn to share in time (You and me and Rockefeller) I’ll keep plugging on Your face will shine Through all our tears And when we sing another little victory song Precious Friend, you will be there (Singing in harmony) Precious Friend, you will be there.
–Pete Seeger Pete Seeger, America’s tuning fork, the folk singer who revived the five-string banjo who taught We Shall Overcome to Dr. Martin Luther King at Highlander Folk School in New Market, Tennessee and turned an obscure Georgia Sea Island hymn into an international anthem for freedom from the March on Washington to Tiananmen Square who saved the most polluted waterway in the country with a replica he built from a 19th Century schooner and made the Hudson River run clean again who fought the House Committee on Un-American Activities tooth and nail, refused to name names on the basis of the 1st Amendment and six years after he was sentenced for Contempt of Congress saw his conviction overturned by the United States Supreme Court who popularized not only his own songs but an entire library of American folk music who single-handedly built Folkways Records into a national institution now preserved by the Smithsonian who put the songs of the King of the 12-String guitar Huddie Ledbetter and the
Dust Bowl Balladeer Woody Guthrie on the lips of students from California to the New York Island who stood up to the Ku Klux Klan with Paul Robeson at Peekskill, New York in 1949 at the most dangerous concert ever held in this land, and proudly displayed the rocks they threw through his car window in the fireplace of his log cabin in Beacon who taught Dave Guard of the Kingston Trio and Eric Darling of the Rooftop Singers and Alex Hassilev of the Limelighters, and Don McLean and Michael Cooney and my friend “Banjo” Fred Starner and a thousand lesser known and unknown musicians like me to play the long-neck banjo with his mimeographed instruction book How to Play the Five-String Banjo who taught audiences around the world to sing along with their own folk music who made a children’s book based on his cante-fable Abiyoyo from an old South African collection of stories his father gave him when he was ten into a New York Times bestseller who introduced the songs of “Woody’s Children” Bob Dylan, Tom Paxton, Phil Ochs, Peter La Farge and Malvina Reynolds to a new generation of fans and singers through the Newport Folk Festival—which he helped launch from his living room in 1958 who created the two most important singing groups in American folk music history—the Almanac Singers and the Weavers who turned Leadbelly’s theme song Goodnight Irene into the number one song of the half century in 1950 according to Life Magazine—which remained in the top spot on the Hit Parade for 17 straight weeks—longer than any song by Elvis Presley or the Beatles or the Rolling Stones or anyone else until 1975 who was told by Jack Linkletter of the shameful ABC show Hootenanny (a word invented by Woody Guthrie and Pete Seeger during their Almanac days) that he, and I quote, “couldn’t hold an audience,” which was why they wouldn’t book him who was similarly blacklisted by all the major networks including CBS for 17 years after the Weavers were blacklisted by Red Channels in 1950 until the Smothers Brothers invited him onto their Comedy Hour—only to be told that he couldn’t sing Waist Deep in the Big Muddy by CBS censors because “someone might think he was referring to President Johnson,” but then was invited back by the Smothers Brothers in 1968 when he triumphantly sang the best antiwar protest song ever written—by a World War II veteran who managed to make a living after he was blacklisted in the 1950s by singing at elementary schools and colleges and summer camps where he taught an entire generation of students to appreciate their own musical heritage and history through the songs that were born out of social struggle, until those students grew up and became the rebels of the 1960s who thereby exempted Pete from their own rule “Don’t Trust Anyone Over 30” who raised five children on a folk singer’s wages until his own songs like Where Have All the Flowers Gone and Turn, Turn, Turn and Kisses Sweeter Than Wine and If I Had a Hammer made so much money from hit recordings by the Kingston Trio and the Byrds and Jimmie Rogers and Peter, Paul and Mary that he was embarrassed by it and refused to look at his own bank balance again and let his wife Toshi handle all their financial affairs who paid his own way to all of his benefit concerts, paid for his own tickets to the same concerts, and then made a substantial donation himself to add to the funds he raised Precious Friend (http://www.youtube.com/v/dkcSp1IcVvM ) (http://www.youtube.com/v/dkcSp1IcVvM) who told his manager Harold Leventhal, “I don’t want to know what they are paying me to perform; that’s your department” who quit the Weavers after their 1955 Christmas Eve Reunion Concert at Carnegie Hall—the one that was recorded and released on Vanguard Records and launched their new label—the label that then recorded Joan Baez and Buffy Ste. Marie and all the Newport Folk Festivals—and started the Folk Revival of the 1960s—because they agreed to star in a cigarette commercial and Pete refused to have his name used to sell cigarettes or any other commodity but the music he stood for who then went back out on the road as a solo folk singer who had nothing to sell and refused to sell out who showed what one life lived with integrity could accomplish and finally reaped the rewards of his convictions with the Kennedy Center Honors and hearing President of the United States Bill Clinton refer to him as “an inconvenient artist” when bestowing the National Medal of the Arts—our government’s highest honor for the Arts—on him in 1993 who was then invited by President Barack Obama to perform on the National Mall for his 2008 Inauguration where he sang all six verses of Woody’s This Land Is Your Land, including the one that says: As I went walking Out on that highway I saw a sign say, “No Trespassing,” But on the other side It didn’t say nothing That side was made for you and me!” who fell in love with the five-string banjo in 1935 when he was just sixteen years old and his father folklorist and ethnomusicologist Charles Seeger took him to the Asheville Folk Festival in North Carolina and he heard the Appalachian Minstrel Bascom Lamar Lunsford play it for the first time, and ever afterward told his audiences “Don’t learn to play the banjo from me—learn it from the people I learned it from—Pete Steele and Uncle Dave Macon and Doc Boggs and Wade Ward and Frank Proffit—always directing us back to his sources and away from himself who often referred to himself as “a born-again agnostic” who taught young kids up and down the river when he sailed the Clearwater along the Hudson to raise money and awareness of what it would take to clean it up, and inspired a new generation of environmental activists to do just that, including Bobby Kennedy’s son Robert F. Kennedy, Jr who started the group River Keepers to carry on Pete’s pioneering work who founded not one but two great folk music magazines People’s Songs Bulletin and Sing Out! to publish both old and new songs from across the country and around the world—such as the Spanish Civil War songs he rescued from oblivion and brought to Folkways’ Moses Asch to record when he was on a three-day leave from the island of Saipan during World War II—where he met future KPFK broadcaster Mario Cassetta and commandeered him to come to Los Angeles after the war to start a chapter of People’s Songs here so they could claim with Woody that their little magazine went all the way “From California to the New York Island” who inspired me to pick up a banjo when I first heard him play Uncle Dave Macon’s Cumberland Mountain Bear Chase on an old Stinson Record—from their American Folksay Series—and to think that one day I too could make a living as a folk singer who showed us how and told us why who sang Bob Dylan’s Ye Playboys and Playgirls with him at the 1963 Newport Folk Festival and introduced him to a national audience and sang Dylan’s A Hard Rain’s A-Gonna Fall on his world tour later that year to give him international exposure (both performances were recorded, the first on Vanguard Records and the second on Columbia Records) who sang Tom Paxton’s Rambling Boy with the Weavers at Carnegie Hall also in 1963 (he eventually forgave them for the cigarette commercial, like he forgave Burl Ives for naming names before HUAC and appeared with him in concert at Town Hall in New York City to show that friendship is sometimes more important even than principle and people can make mistakes and be forgiven), and who made a hit out of Malvina Reynold’s Little Boxes—giving them all a platform for the rest of their careers who wrote “This Machine Surrounds Hate and Forces It to Surrender” on his banjo who paid tribute to his devoted wife Toshi after she passed away last year by saying “she was the brains of the family” who was still chopping wood out behind their cabin just ten days before he died “of natural causes” who stood out on a street corner in Beacon on the Hudson in upstate New York every week even during their snowy winter with just an American flag and a small sign that said simply, “Peace,” during the entire Iraq war, inspiring me to do the same with Neighbors for Peace and Justice in Studio City who made a fabulous three-egg cheese and mushroom omelet with strawberry shortcake for dessert for me when I stayed over at his log cabin in 1976, a newly-fledged songwriter who drove up to his cabin from my graduate school studies at SUNY-Binghamton to show him my songs, and then quietly put them back in my guitar case when I heard him sing My Rainbow Race for the first time during the Hoot after their regular monthly meeting of the Beacon Sloop Club (for which I had timed my pilgrimage) and thought “that’s the most beautiful song I’ve ever heard,” learned it on the spot and realized my songs needed some more work before I would ask him to listen to them who showed me how much he loved Toshi when he came out to perform at The Barn Folk Concert Series at UC Riverside with both Mike and Peggy Seeger—the first time they had all performed together in a quarter century—and the one time Toshi left his side I heard him sing to her like a bird over the heads of hundreds of concert-goers outside the Barn, just to establish where she was and reconnect, his fabled Adam’s Apple bobbing up and down and his voice doing somersaults until he heard her sing back to him, “Pete, I’m here!” who inspired Dylan to write “and the saintliness of Pete Seeger,” in the album liner notes to Bringing It All Back Home who when the networks banned him from appearing on TV in the country he went to war to defend during World War II—while the chicken hawks on HUAC got away with calling this most American of artists “Un-American”—started his own public television show Rainbow Quest—to bring his favorite fellow artists and America’s folk songs to yet another new generation of listeners and viewers who like Walt Whitman heard America singing and over seventy-five years gave Americans their most sacred national heritage—the songs and stories from the unknown cowboys and sailors and loggers and housewives and slaves, former slaves, industrial workers and coal miners and farmers and immigrants and rebels and yes outlaws too, the anonymous poets’ voices that make up the Great American Songbag who was and always will be America’s greatest folk singer, has died. He was 94 years old and forever young. How can he keep from singing, “Toshi, I’m here!” Rest in Peace.
“I am very impressed with this album …this is a GREAT body of work!” Chuck Purcell WDPS FM 89.5 Dayton.Ohio ———————————————————— …an exceptional fascinating blues man! ” “Bernie Pearl’s new solo album “Take Your Time” is a soulful and virtuos mix of Delta fingerpicking and slide guitar, that will touch your heart lyrically and emotionally. Singer and guitarist Bernie Pearl is not a confined traditionalist or retro musician, but his personality and his melodious interpretations makes of him an exceptional fascinating blues man! ” Eric Schuurmans, Rootstime Magazine, Belgium 2/27/14 Translated from Flemish by the writer. See the complete article: www.rootstime.be ———————————————————— Dear Friends: Great comments and reviews of “Take Your Time” keep coming in. Saturday, March 15, we will be celebrating its release in our annual concert at Boulevard Music in Culver City. What’s special about this one is that it will feature material from our new release, “Take Your Time”, and will be joined for several tunes by drummer Albert Trepagnier, Jr. who played such a key role on these recordings. In addition, each patron will receive a mountable fine art poster by artist EK Waller, honoring “Take Your Time”. Complementary, of course. Bassist Mike Barry and I produced the tracks and he will be on hand to play them with me, plus many other blues favorites. Boulevard Music is an ideal venue for fans to enjoy great music in an intimate setting without distractions. Admission is $20. Doors open at 7:30, show at 8:00. 4316 Sepulveda Blvd., at Culver.
(310) 398-2583 www.boulevardmusic.com Friday, March 21 we will return to San Pedro’s Alva’s Music to celebrate the new CD. Mike, Al, saxophonist Bobby Spencer, and myself will be on hand to play the blues for you. Each patron will be offered an EK Waller poster on the house. In Alva’s beautiful small amphitheater, we perform on a sunken dance floor, with great sound and lightning. People are invited to bring in their own picnic and beverages of choice. Alva’s is a San Pedro treasure that locals patronize in great numbers. Our concert in the 100-seater last year sold out in advance. Buy in advance and get there early for best seating. $20 admission. Doors open at 7:30, show at 8:00. 1417 W. 8th St., San Pedro 90732 Info: (310) 833-3281 Tickets: 1-800-403-3447 http://www.alvasshowroom.com (http://www.alvasshowroom.com/) www.facebook.com/events/1400076793590944 “Bernie Pearl is one of Blues Moon Radio’s treasured discoveries. Thank you for gracing us with a copy of “Take Your Time”… your selections are wonderful, you treat the music with such respect and your artistry is at once delicate and powerful. You infuse the recording with your personal touch – all while remaining true to the art form. Clair DeLune, Host, Blues Moon Radio (https://www.facebook.com/pages/Blues-Moon-Radio/122167914529584) WUSC 90.5 fm Columbia, So Carolina
Hi. If you weren’t there, you missed an unforgettable evening. ( I almost said ‘some enchanted evening). The music, the performances, connection with folks in the full house, and the audience itself were amazing. Honestly, it took me back to some of the best of the original Ash Grove, itself. -Ed
Bernie Pearl’s “Take Your Time” Review on F.A.M.E. Music writer Mark C. Tucker has written on my work since “Live at Boulevard Music: Somebody Got To Do It” His review of “Take Your Time” appears in the latest edition of Folk and Acoustic Music Exchange (FAME). Bernie “Take Your Time is ample demonstration that no matter how long you work at it, the guitar and the blues contain depths that just keep opening up. And that’s what you get this time out: the added luster, warmth, and degree of exposition that comes only of toil, discretion, long familiarity, and an irreducible love for the fullest dimensions of the art.
Frankly, you can start listening to Bernie Pearl at any point in his growing catalogue and be nothing but happy and engrossed, but, even so, the guy’s a purist and ceaselessly refining his craft, sometimes taking a year or more — sometimes a hell of a lot longer — before satisfying himself that he’s got a particular song right, letting the public in on the result. Thus, there’s a subtle but definable evolution to his mastery that reminds me of a quip by Segovia after a White House performance, wherein the maestro was asked how, after more than 60 years of playing, he felt about the guitar. He answered, with a glowing smile, “You know…I think I’m just beginning to understand this instrument”. To see the full review, click on this link http://www.acousticmusic.com/fame/p09399.htm ============================================================ Copyright © 2014 Ed Pearl- The Ash Grove, All rights reserved.
Bernie Pearl and Barbara Morrison, Live and a a new CD: Sat. night, Feb. 15
Valentine’s Day is here, and tomorrow night we celebrate the release of my new CD, “Take Your Time”, with a Champage Reception, CD Concert, and Blues Jam at Barbara Morrison’s Performing Arts Center. It’s always great to hear that people are enjoying the music. I’d like to share a quote from concert promoter, musician, and fan, Michael Gliona: “Technically this is the best self produced CD I have ever heard. Vinyl has nothing over this one. Bernie’s guitars sound like they are right there in your room. Plenty of natural ambience. Artistically it is a knockout. Bernie Pearl (https://www.facebook.com/bernie.pearl) digs deep. The incomparable Barbara Morrison (https://www.facebook.com/barbaramorrisonblues) adds perfect vocal support.” If you love the Blues, you’re going to want to join us at Barbara’s place tomorrow night! On Saturday, February 15, The Barbara Morrison Performing Arts Center will host a Champagne Reception and CD Release Concert to celebrate blues guitarist Bernie Pearl’s just-released recording, “Take Your Time”. The evening will start with a 7:30-8:00 champagne and hors oeuvres reception in the atrium. At 8:15 the focus moves to the theater stage where Pearl, Morrison & Band will perform selections from the CD. An All-Star Blues Jam follows at 9:30, featuring sizzling New Orleans guitar master Big Terry DeRouen, and L.A.’s greatest real-deal blues singer, Jamie “Blues Boy” Powell. Joined by Bobby “Hurricane” Spencer, Mike Barry, Albert Trepagnier, and special guests, they will jam the Blues. And for the dancers, the venue has recently been remodeled for that purpose. All guests will be offered a complementary “Take Your Time” poster, designed by EK Waller, as a memento of this special evening. Copies of the CD will be offered for sale, and Barbara, Bernie, and the Band will be available for autographs. Tickets are $20, available at the door. Advance tickets may be purchased at www.barbaramorrisonpac.com Parking – Ample metered parking adjacent to the Center runs until 8:00, free thereafter. Bring coins. Reception, Concert, & Jam Admission $20 Saturday, February 15, 7:30 – 10:30 The Barbara Morrison Performing Arts Center 4305 Degnan Blvd. Los Angeles CA 90008 Information: www.berniepearl.com firstname.lastname@example.org email@example.com (310) 462-1439 ============================================================ Copyright © 2014 Ed Pearl- The Ash Grove, All rights reserved.
Sing Out! Lessons from the Extraordinary Life of Pete Seeger
Kathy M. Newman
Like thousands of fellow Americans, I have spent the last week listening to Pete Seeger’s recordings, poring over his many obits, and inhaling Alec Wilkinson’s wonderful short biography, The Protest Singer: An Intimate Portrait of Pete Seeger. http://www.amazon.com/The-Protest-Singer-Intimate-Portrait/dp/B008SM00T8 With this work behind me, I offer seven lessons that those of us committed to working-class justice and working-class studies can glean from Seeger’s extraordinary life. Scholars of working-class culture have a lot to offer working-class movements.
Some of Seeger’s first paid work was for the legendary folk music authority, John Lomax. As Wilkinson notes in his bio of Seeger, each week Seeger listened to hundreds of records at the Library of Congress—“English and Scotch Irish ballads kept alive in the South, rural blues, farmer songs, widow’s laments, millworker songs, soldier songs, sea shanties, slave songs, tramp songs, and coal miner songs.” By the end of Seeger’s time in the archive, he had flagged a collection of protest songs that he wanted to make into a book, but “his father thought it too controversial.” But soon enough Seeger found someone like himself, Lee Hays, who had “compiled a book of union songs.” Hays and his roommate, Mill Lampell, along with Woody Guthrie, became the nucleus of Seeger’s first band: The Almanacs. Embrace the relationship between music and social movements. Seeger believed that if you could get a crowd to join in a song, you could get a crowd to join in a movement. Like his father, Charles Seeger, who argued that “to make music is the essential thing—to listen to it is an accessory (http://books.google.com/books?id=LRP0Q7LJU_IC&pg=PA145&dq=to+make+music+is+the+essential+thing%E2%80%94to+listen+to+it+is+an+accessory&hl=en&sa=X&ei=GQbvUsGzKKiSyQHJ04GgBQ&ved=0CDYQ6AEwAA#v=onepage&q=to%20make%20music%20is%20the%20essential%20thing%E2%80%94to%20listen%20to%20it%20is%20an%20accessory&f=false) ,” Pete Seeger believed that song brought the individual out of the self and into something larger: “I’ve never sung anywhere without giving the people listening to me a chance to join in—as a kid, as a lefty, as a man touring the U.S.A. and the world, as an oldster. I guess it’s kind of a religion with me. Participation. That’s what’s going to save the human race (http://www.thestar.com/opinion/commentary/2014/01/30/medium_for_pete_seegers_message_was_the_singalong_salutin.html) .” Of course, Seeger could have chosen other vehicles for participation, but he believed that there was something special about songs. “Songs,” he explained, “are a way of binding people to a cause.” It’s OK to be middle class. Seeger came from a family of “doctors, shopkeepers, and intellectuals.” (http://books.google.com/books?id=NnMD-pefZQcC&pg=PA29&dq=doctors,+shopkeepers,+and+intellectuals+%22pete+seeger&hl=en&sa=X&ei=7vzuUpuiOc-zsASHlIDIBA&ved=0CCkQ6AEwAA#v=onepage&q=doctors%2C%20shopkeepers%2C%20and%20intellectuals%20%22pete%20seeger&f=false) His parents were also classically trained musicians who divorced when he was young. But even Seeger’s step-mother encouraged him, noticing that he had a special talent for “song leading.” Seeger went to a boarding school in Connecticut, and, later, Harvard, which he did not like. After Harvard, Seeger made the transition from scholar of working-class culture to maker/participant. The Almanacs were so named because every working-class home had two books (http://en.wikipedia.org/wiki/Almanac_Singers) : a bible for the next life and an almanac for this one. Seeger’s next band, The Weavers, was named for a play by German author Gerhart Hauptmann about a group of Silesian (now Poland) weavers who rebelled against the mechanization of their craft in the 1840s. Seeger, who was not from a working-class family, was a champion of workers, workers’ folk traditions, unions, the labor movement, and the dignity of work. Moreover, he was embraced by workers wherever he went, from the CIO struggles in Pittsburgh and Detroit in the 1940s, to the postal workers organizing against the hiring of non-union workers in 2014. (http://www.salon.com/2014/01/29/he_got_people_singing_remembering_pete_seeger_with_my_dad/) Make stuff with your own hands. On the other hand, perhaps, Seeger might have been a voluntary member of the working class. In the 1940s, he bought a piece of land next to the Hudson River for $1700 (http://www.nytimes.com/2014/01/29/arts/music/pete-seeger-songwriter-and-champion-of-folk-music-dies-at-94.html?_r=0) .There he built his own log cabin. It took him several tries to get the giant stone fireplace right, but as he was finishing it he placed a few of the rocks thrown at him in the infamous Paul Robeson/Peekskill riots (http://en.wikipedia.org/wiki/Peekskill_Riots) in the structure as a reminder. To build furniture for the house, Wilkinson writes, Seeger scavenged the wood from abandoned packing crates in New York City on his way home from singing gigs. By mastering the world with his hands, Seeger was able to connect the future of the human race to the future of the planet: “If it can’t be reduced, reused, repaired, rebuilt, refurbished, refinished, resold, recycled or composted, then it should be restricted, redesigned or removed from production (http://www.goodreads.com/author/quotes/30113.Pete_Seeger) .” You have to choose sides, but you can have as many causes as you like. Seeger embraced every progressive American cause, from the labor struggles of the 1930s and 1940s, to the Civil Rights struggles of the 1950s and 1960s, to environmentalism, the anti-war movement, the AIDs epidemic, and even the 2011 Occupy Movement. There were songs that explained how to negotiate and use a union to improve your life on the job (Talking Union Blues (http://www.peteseeger.net/talkunion.htm) ) and songs about union towns, their smog and their devotion to the CIO (Pittsburgh (http://lyrics.wikia.com/Pete_Seeger:Pittsburgh_Town) ). There were songs about how to build stuff with your own hands (If I had a Hammer) (http://en.wikipedia.org/wiki/If_I_Had_a_Hammer) and songs about how to keep hope in the face of racial oppression (We Shall Overcome (http://www.pbs.org/wnet/gperf/episodes/pete-seegers-90th-birthday-celebration-from-madison-square-garden/we-shall-overcome/820/) ). There were songs about heroic and legendary black workers (John Henry (http://www.youtube.com/watch?v=A9Zt0O2lyhk) ) and songs about women union organizers (Union Maid (http://www.youtube.com/watch?v=kz40LZHO0lI) ) and songs about how America belongs to all of us (This Land is Our Land (http://www.youtube.com/watch?v=HE4H0k8TDgw) ). There were songs about the Hudson river, which he was instrumental in cleaning up (Sailing Up my Dirty Stream (http://www.peteseeger.net/dirtystre.htm) ), and songs about the Vietnam war (Waist Deep in the Big Muddy (http://www.youtube.com/watch?v=uXnJVkEX8O4) ), and even songs condemning Stalin (Big Joe Blues (http://unionsong.com/u580.html) ). You can have a long, productive life if you do not define your success according to the market. Seeger famously testified in front of HUAC in 1955, refusing to answer any questions that violated his right to religion, free speech, and association. He has jokingly called this moment a “relief,” because the fame he was experiencing with The Weavers was overwhelming him. By contrast, for most blacklisted artists, the 1950s were a nightmare. Some betrayed their former friends and comrades, others died from the stress. Some left the country, some wrote under false names, and many languished without a steady livelihood for years. Seeger was undaunted by more than a decades’ worth of rebuff from HUAC, anti-communists who canceled his performance contracts and picketed his concerts, and TV executives who refused to let him perform on television. Seeger simply kept singing, accepting invitations from any group that would have him, year after year, until mainstream American culture finally accepted Seeger’s unique sound. Think small. Perhaps you are a union organizer, trying to get a little more justice for your members. Perhaps you are a graduate student writing about worker struggles, or worker culture. Perhaps you have a bit of talent on an instrument, and you perform for money or just gather with friends to raise your voices in unison. Whatever you are doing, no matter how small it might seem, it matters. Seeger tells us: “Too many things can go wrong when they get big.” Instead, he insists, “The world will be solved by millions of small things (http://www.goodreads.com/author/quotes/30113.Pete_Seeger) .” ============================================================ Copyright © 2014 Ed Pearl- The Ash Grove
———————————————————— http://us7.campaign-archive1.com/?u=6e49d094cce3022a65cbe3028&id=307474e23e&e=4f9ed2a7d1 Tha Ash Grove Reception and Show for New Bernie Pearl Blues CD, incl. duets with noted diva Barbara Morrison Press Release February 1, 2014 Contact: Bernie Pearl (562) 426-0761 firstname.lastname@example.org Reception and Show for New Bernie Pearl Blues CD in February “Take Your Time” also boasts several duets with noted diva Barbara Morrison On Saturday, February 15, The Barbara Morrison Performing Arts Center will host a Champagne Reception and CD Release Concert to celebrate blues guitarist Bernie Pearl’s just-released recording, “Take Your Time”. The album title, suggested by a Mississippi Fred MacDowell saying, comprises some fourteen mainly acoustic tracks of classic and original blues, including three duets featuring the renown Morrison. Bernie and Barbara met while working on a 1981 production of “Yerma”, where a mutual admiration for sax legend Eddie Cleanhead Vinson sealed their frienship. Long wanting to record the down-home blues together, they took the opportunity offered by “Take Your Time” to do so – In Honor of Mr. Cleanhead Vinson. The evening will start with a 7:30-8:00 champagne and hors oeuvres reception in the atrium. At 8:15 the focus moves to the theater stage where Pearl, Morrison & Band will perform selections from the CD. An All-Star Blues Jam follows at 9:30, featuring sizzling New Orleans guitar master Big Terry DeRouen, and L.A.’s greatest real-deal blues singer, Jamie “Blues Boy” Powell. Joined by Bobby “Hurricane” Spencer, Mike Barry, Albert Trepagnier, and special guests, they will jam the Blues. And for the dancers, the venue has recently been remodeled for that purpose. All guests will be offered a complementary “Take Your Time” poster, designed by EK Waller, as a memento of this special evening. Copies of the CD will be offered for sale, and Barbara, Bernie, and the Band will be available for autographs. Tickets are $20, available at the door. Advance tickets may be purchased at barbaramorrison.com and at berniepearl.com beginning February 1. Reception, Concert, & Jam Admission $20 Saturday, February 15, 7:30 – 10:30 The Barbara Morrison Performing Arts Center 4305 Degnan Blvd. Los Angeles CA 90008 Information: email@example.com firstname.lastname@example.org (310) 462-1439 (562) 426-0761 ———————————————————— ============================================================ Copyright © 2014 Ed Pearl- The Ash Grove, All rights reserved. A new format for The Ash Grove list! Hope you like it. Our mailing address is: Ed Pearl- The Ash Grove 882 Cleveland St. #21 Oakland, CA 94606 USA Email Marketing Powered by MailChimp http://www.mailchimp.com/monkey-rewards/?utm_source=freemium_newsletter&utm_medium=email&utm_campaign=monkey_rewards&aid=6e49d094cce3022a65cbe3028&afl=1 ** follow on Twitter (Twitter Account not yet Authorized ) ** friend on Facebook (# ) ** forward to a friend (http://us7.forward-to-friend.com/forward?u=6e49d094cce3022a65cbe3028&id=307474e23e&e=4f9ed2a7d1) ** unsubscribe from this list (http://edpearl-ashgrove.us7.list-manage.com/unsubscribe?u=6e49d094cce3022a65cbe3028&id=6c47b18f94&e=4f9ed2a7d1&c=307474e23e) ** update subscription preferences (http://edpearl-ashgrove.us7.list-manage.com/profile?u=6e49d094cce3022a65cbe3028&id=6c47b18f94&e=4f9ed2a7d1)