#fred hellerman

[newyorkthegoldenage]

The Weavers—from left to right, Ronnie Gilbert, Pete Seeger, Lee Hays, and Fred Hellerman—gave a concert on December 26, 1952, that was broadcast on WNYC. The clip above is the final number. Their message of peace and unity did not please HUAC, and they were blacklisted for the rest of the decade.

Photo: The Weavers perform at Cafe Society Downtown, July 17, 1951. Charles Peterson via Getty Images/WNYC

[slowtraincumming]

I love them so much and this picture ugh it's so beautiful

[kvetchlandia]

Sonia Handelman Meyer Leftist Folk Musicians The Weavers (l-r: Fred Hellerman, Ronnie Gilbert, Lee Hayes, Pete Seeger), New York City c.1948

[1264doghouse]

Woody Guthrie, Pete Seeger, Fred Hellerman & Jean Ritchie in the WNYC studios, 1949.

[parkerbombshell]

A Breath of Fresh Air June 4

A Breath of Fresh Air With Sandy Kaye bombshellradio.com Tuesdays 1pm EST and Fridays 8pm EST Archival shows : bombshellradiopodcasts.com Don McLean III is an American singer-songwriter, best known for his 1971 hit song "American Pie", an 8.5-minute folk rock "cultural touchstone" about the loss of innocence of the early rock and roll generation (US #1 for four weeks in 1972 and UK #2). Though some of his early musical influences included Frank Sinatra and Buddy Holly, as a teenager, Don became interested in folk music, particularly the Weavers' 1955 recording At Carnegie Hall. He often missed long periods of school because of childhood asthma, particularly music lessons, and although Don slipped back in his studies, his parents allowed his love of music to flourish. By age 16, he had bought his first guitar and began making contacts in the music business, becoming friends with the folk singers Erik Darling and Fred Hellerman of the Weavers. Don recorded his first album, Tapestry in 1969 in Berkeley, California during the student riots. After being rejected 72 times by labels, the album was finally picked up and released. Don worked on the album for a couple of years before putting it out. It attracted good reviews but little notice outside the folk community, although on the Easy Listening chart "Castles in the Air" was a success, and in 1973 "And I Love You So" also became a number 1 Adult Contemporary hit for crooner, Perry Como. Don's major break came when the record company he was with was taken over by United Artists Records, which gave him major label promotion for his second album, American Pie. The album launched two number one hits - the title song and "Vincent". American Pie's success made Don an international star overnight and piqued interest in his first album, which charted more than two years after its initial release. In 2004, he was inducted into the Songwriters Hall of Fame. In January 2018, BMI certified that "American Pie" and "Vincent" had reached five million and three million airplays respectively. His composition "And I Love You So" has been sung by Elvis Presley, Perry Como, Helen Reddy, Glen Campbell, and others, and in 2000, Madonna had a hit with a rendition of "American Pie". His other hit singles include "Vincent" , "Dreidel" , a rendition of Roy Orbison's "Crying", a rendition of the Skyliners' "Since I Don't Have You" , and "Wonderful Baby”. Recently, the Grammy-award honoree and BBC Lifetime Achievement Award recipient has released his latest studio album, "American Boys" which pays tribute to his rock and roll heroes.Sandy Kaye sandy@abreathoffreshair.com.au Read the full article

[mymelodic-chapel]

Arlo Guthrie- Alice's Restaurant (Contemporary Folk, Folk Rock, Singer-Songwriter) Released: October 4, 1967 [Reprise Records] Producer(s): Fred Hellerman

[wahwealth]

Peter, Paul, And Mary LIVE | If I Had A Hammer (1964) | Vintage TV | Bes...

Peter, Paul, and Mary released If I Had A Hammer in 1962.  The song was written by Pete Seeger and Lee Hayes in 1949 and was first recorded by the Weavers, a folk music quartet composed of Seeger, Hays, Ronnie Gilbert, and Fred Hellerman.  The song was a #10 hit for Peter, Paul, and Mary in 1962 and the song went to #3 a year later when recorded by Trini Lopez in 1963. This is a live performance from 64,. You are invited to join the channel so that Mr. P can notify you when new videos are uploaded, https://www.youtube.com/@Mr.PsVintageTVFans

[m77113]

Woody Guthrie, Pete Seeger, Fred Hellerman and Jean Ritchie in the WNYC studios, 1949

[thislovintime]

(Some) photos by Bob Campbell, Henry Diltz, Michael Putland.

Q: “What got you interested in playing the banjo?” Peter Tork: “My folks had Weavers records in the house. Weavers was the group that Pete Seeger belonged to. They were the nation’s top vocal group in, I think, 19- oh God, I don’t know what, ‘49 or something like that. They had a record out [...] which was essentially an anglicized version of the song they later did in Hebrew, a Hebrew dance tune, it was a lot of fire and fun, they did it with an orchestra then, it was very commercial. Pete Seeger, Ronnie Gilbert, Lee Hayes, Fred Hellerman were The Weavers and they were basically a commercial pop group based on kind of a folk music kind of an operation. And they went along pretty strongly until the McCarthy hearings and then they were pretty much shoved underground for a long time until their reunion in, what, about, oh, I don’t know, ‘57 or ‘-8 or ‘59 or something like that, and from then on it was about I guess it would be ‘56, because I’d be 14 and they... and, yeah, I got my banjo about then. And I asked for a banjo, and they went out, my folks went out and bought me a little tiny, dinky five-string banjo. And Pete Seeger’s book, How To Play the Five-String Banjo, I think I bought that myself, and learned how to play from that. Nobody said, ‘Here, take a banjo,’ or, ‘Gee, you’d be good at it,’ or anything like that. I just wanted to play it.” - Headquarters radio, 1989

Dear Mr. Tork, I am so glad you are willing to talk to your fans like this, what a great idea! You've always seemed to be a beautiful person in so many ways. I wish you had put out an album of your banjo songs. Having said that, I am 31 years old, and I listen to your music in all its incarnations a lot, so much so that I fell in love with the banjo because of it. My best friend of over 20 years bought me a banjo for my birthday. So, I would like to know if a banjo is difficult to learn for someone with no musical ability or experience (the 4th grade clarinet lessons don't count). Or is there another instrument I should try to learn first like piano or guitar? Do you have any tips for someone starting out on an instrument or the banjo in particular? Thank you, Peace and love to you and yours, Eve P.S. I love your middle name.

Dear Eve, As far as I’m concerned, no instrument is harder than any other, overall. If you want to play the banjo, play the banjo. I recommend most particularly Pete Seeger’s book, How to Play the 5-String Banjo. It was hugely valuable to my learning. The thing about the banjo, at least the way I play it, is that there is a kind of hump that’s a bit high getting over right at the start. Once that’s behind you (and it’ll take a month or six weeks depending on how hard you work at it), the rest of it’s a piece of cake. Incidentally, I reject the notion that anyone doesn’t have musical ability. It’s true that some learn faster than others, but that’s true of everything, and why people should discourage themselves in the musical realm is pretty much beyond me. True musical inability is about as common as congenital blindness. Everyone else can improve with effort. Remember, the surest predictor of success in any endeavor is not talent but work. Thanks for asking. Peter Halsten [2008]

“[M]y goal was always to wend my way merrily through life, playing my little banjo and my little guitar and singing my songs.” - Peter Tork, When The Music Mattered (1984)

[delux2222]

The Weavers banned by NBC after refusing to sign a political loyalty oath disavowing the Communist Party.

On Jan. 2, 1962, The Weavers, one of the most significant and popular music groups of the post WWII era, had their scheduled appearance on the NBC Jack Paar Show cancelled when they refused to sign an oath of political loyalty.

Long targeted by McCarthyism, group member Lee Hays stated, “we feel very strongly that no private business establishment such as NBC has the power or the right to require proof of any citizen’s patriotism.”

The Weavers were originally Ronnie Gilbert, Lee Hays, Fred Hellerman, and Pete Seeger. Erik Darling replaced Seeger in 1958

[tawneybel]

November 2020 Reader-Insert Smut Masterlist

1. Hannibal Lecter from Hannibal

2. Lewis Romero from Final Destination 3

3. Jordan Parrish and Stiles Stilinski from Teen Wolf

4. Red Eye from Oblivion

5. Nathan Wallace from Repo! The Genetic Opera

6. Cam Johnson from Monsters, Murder, and Maybem

7. Luigi Largo from Repo! The Genetic Opera

8. Max from The Lost Boys

9. Sam Miller and Brigitte Fitzgerald from Ginger Snaps

10. Launder Man from Launder Man (Crypt TV)

11. Kevin Beckman, Rowan North, and Vinz Clortho from Ghostbusters: Answer the Call and Ghostbusters

12. Hunt Wynorski from The Final Destination

13. Spyder Ruder from Monk

14. Jesse Cromeans from ChromeSkull: Laid to Rest 2

15. Licker from Resident Evil

16. Ginger Fitzgerald from Ginger Snaps

17. Top Ten Sexiest Cartoon Characters Part Five

18. Ginger Fitzgerald from Ginger Snaps

19. Charlie Manx from NOSA2

20. Kit Walker from American Horror Story: Asylum

21. Fred Jones and Spooky Island Demon from Scooby-Doo

22. Kyle Spencer from American Horror Story: Coven

23. Riverton Ripper and Abel Plenkov from My Soul to Take

24. Jimmy Darling from American Horror Story: Freak Shoe

25. Bug Hellerman from My Soul to Take

26. Nick Tudor from Shivers

27. R.J. MacReady from The Thing

28. Ginger Fitzgerald from Ginger Snaps 2: Unleashed

29. Josh Tyler and Tex from Us

30. Grigori from Stranger Things 3

[elflady]

“Shalom Chaverim” performed by The Weavers live at Carnegie Hall on December 24, 1955, with arrangements by Fred Hellerman

[danakarel]

Fred Hellerman (May 13, 1927 – September 1, 2016)

[maximumbob-universe]

The Weavers Carnegie Hall show sparked the folk revival, followed by the huge success of The Kingston Trio. Folk groups starting popping up all over the place, each hoping to find a place in the burgeoning scene of traditional music. It was into this environment that a young woman would step up, recording an album that would send shock waves into the community. Only 19 when the record was made, "Joan Baez" was like a lightning bolt at the time it was released. Turning away from the entertainment based style of The Kingston Trio, this LP was a move into serious interpretation of traditional music. First was that voice, a clear soprano aching with emotion that could match any songs dynamics with it's range. Second was her crisp, clear guitar playing, often undervalued,it was the perfect companion for her singing. Third was the image........the long hair, the bare feet, the complete lack of glamour that was foisted upon most female performers of the day. Finally there were the songs. While other folkies were doing a range of material, the songs selected here were deadly serious, digging deep into the haunting challenges and tragedies of life. Accompanied by her own guitar, with some support from producer Fred Hellerman, the lack of any studio gimmicks or distractions are immediately noticed.

The opening track, "Silver Dagger", became sort of a signature song for her, and presented her no nonsense approach to the material. There were other songs from the album that would remain closely associated with her for years: "All My Trials", "House of the Rising Sun" and "Mary Hamilton", each one enhanced by the purity of her interpretation. Although the activism she became famous for is absent here, the very seriousness of the song selection and performance helped set the stage for folk music as a serious matter, opening a door for it to move from heavy songs from the past to songs about issues of contemporary importance. Despite it's lack of commercial gloss, the album made the charts, as would each subsequent albums she would make for the next several years. Although Dylan, folk rock and singer songwriters would over take the folk community by mid decade, for a brief, shining moment Joan Baez stood at the top of the folk music world, making inroads possible into popular music simply by the power of her performance. It remains an impressive achievement.

[paoloxl]

Il 26 agosto 1981 un arresto cardiaco pone fine alla vita di Lee Hays nella sua casa di New York. Ammalato da anni di diabete è stato uno dei personaggi più significativi del folk politico statunitense. La sua vicenda artistica è strettamente legata con le battaglie politiche, antifasciste e sindacali degli Stati Uniti alla fine degli anni Trenta. Nel 1941 con Woody Guthrie, Pete Seeger e Millard Campbell fonda gli Almanac Singers, un gruppo di folk urbano che si esibisce nelle fabbriche occupate, nei picchettaggi e nei raduni sindacali. Il gruppo è anche l’inventore degli “Hootenannies”, concerti inframmezzati da storielle divertenti, discussioni politiche e slogan destinati a raccogliere fondi per le battaglie sindacali. Sotto l’incalzare della seconda guerra mondiale la band si scioglie e Hays fa dell’impegno antifascista lo scopo principale della sua attività. Nel primo dopoguerra il clima degli Stati Uniti è cambiato. I partiti della sinistra e i comunisti in particolare vengono guardati con crescente sospetto in una società che prepara la Guerra Fredda. Lee Hays non cambia bandiera e nel 1948 con Pete Seeger, Ronnie Gilbert e Fred Hellerman dà vita agli Weavers. La band ottiene un clamoroso successo commerciale con il brano Goodnight Irene che resta al primo posto della classifica dei dischi più venduti per ben tredici settimane vendendo oltre due milioni di copie. La storia degli Weavers viene, però, drammaticamente interrotta nel 1952 dalla caccia alle streghe scatenata dal senatore McCarthy contro i comunisti e gli oppositori di sinistra. Hays, dopo essere stato sottoposto a umilianti interrogatori dal Comitato contro le Attività Antiamericane e a vessazioni di ogni genere si vede messo al bando dalla vita civile. Inizia così a vivere ai margini del mondo musicale esibendosi in qualche campus universitario o nei circoli sindacali e riuscendo a vivere solo grazie alla silenziosa quanto efficace catena di solidarietà messa in piedi dalla sinistra statunitense. Quando muore i tempi duri sono ormai alle spalle, ma hanno lasciato un segno indelebile sulla sua salute, già minata dal diabete.

[minstrel75itg]

Album Number Two Hundred Thirty Eight “A Maid of Constant Sorrow” is the debut album by #judycollins released in 1961 on Elektra Records and featuring traditional folk songs. My copy is on #elektrarecords - EKS 7209. On the album, Collins' voice and guitar are sparsely accompanied by Fred Hellerman and Walter Raim on second guitar, Erik Darling on banjo and Bill Lee on bass. The title song is a variant of "Man of Constant Sorrow". The selections range from the Scottish anthem "Wild Mountain Thyme" to the Irish standards "Bold Fenian Men" and "The Prickilie Bush". The album also includes more obscure numbers such as "Tim Evans", "Wars of Germany" and "John Riley". #rockandroll #folkrock #americanamusic #thesixties #sixtiesmusic #popmusic #amaidofconstantsorrow https://www.instagram.com/p/CYMjkpRLBvi/?utm_medium=tumblr