The enduring culture and limits of political song

The connection between song and politics is well documented, but in recent years is said to be severed. This is not the case. The relationship between politics and song endures, reflecting and revivifying a culture of political struggle. In this essay, I survey political song, outlining how it is approached, before arguing for a tighter definition after working through the claim that all song is political. In doing so, I build a platform for discussion of songs by English singer-songwriter Leon Rosselson. For over 50 years, Rosselson’s songwriting has illuminated historical and topical events from a left-wing perspective, but he is also clear a song converts noone and changes nothing. To think otherwise misunderstands that songs are neither mobilisers or opiates, but an idiom for people to express their everyday lives and struggles. The essay concludes by assessing Rosselson’s insights on the power and limits of song

Bone Mineral Density in HIV-Negative Men Participating in a Tenofovir Pre-Exposure Prophylaxis Randomized Clinical Trial in San Francisco

Pre-exposure prophylaxis (PrEP) trials are evaluating regimens containing tenofovir-disoproxil fumarate (TDF) for HIV prevention. We determined the baseline prevalence of low bone mineral density (BMD) and the effect of TDF on BMD in men who have sex with men (MSM) in a PrEP trial in San Francisco.We evaluated 1) the prevalence of low BMD using Dual Energy X-ray Absorptiometry (DEXA) in a baseline cohort of 210 HIV-uninfected MSM who screened for a randomized clinical trial of daily TDF vs. placebo, and 2) the effects of TDF on BMD in a longitudinal cohort of 184 enrolled men. Half began study drug after a 9-month delay to evaluate changes in risk behavior associated with pill-use. At baseline, 20 participants (10%) had low BMD (Z score≤-2.0 at the L2-L4 spine, total hip, or femoral neck). Low BMD was associated with amphetamine (OR = 5.86, 95% CI 1.70-20.20) and inhalant (OR = 4.57, 95% CI 1.32-15.81) use; men taking multivitamins, calcium, or vitamin D were less likely to have low BMD at baseline (OR = 0.26, 95% CI 0.10-0.71). In the longitudinal analysis, there was a 1.1% net decrease in mean BMD in the TDF vs. the pre-treatment/placebo group at the femoral neck (95% CI 0.4-1.9%), 0.8% net decline at the total hip (95% CI 0.3-1.3%), and 0.7% at the L2-L4 spine (95% CI -0.1-1.5%). At 24 months, 13% vs. 6% of participants experienced >5% BMD loss at the femoral neck in the TDF vs. placebo groups (p = 0.13).Ten percent of HIV-negative MSM had low BMD at baseline. TDF use resulted in a small but statistically significant decline in BMD at the total hip and femoral neck. Larger studies with longer follow-up are needed to determine the trajectory of BMD changes and any association with clinical fractures.ClinicalTrials.gov: NCT00131677

The Woody Guthrie Centennial Bibliography

This bibliography updates two extensive works designed to include comprehensively all significant works by and about Woody Guthrie. Richard A. Reuss published A Woody Guthrie Bibliography, 1912–1967 in 1968 and Jeffrey N. Gatten\u27s article “Woody Guthrie: A Bibliographic Update, 1968–1986” appeared in 1988. With this current article, researchers need only utilize these three bibliographies to identify all English-language items of relevance related to, or written by, Guthrie

Oklahoma Hills

https://digitalcommons.library.umaine.edu/mmb-vp-copyright/7066/thumbnail.jp

Philadelphia lawyer

https://digitalcommons.library.umaine.edu/mmb-vp-copyright/6318/thumbnail.jp

So long, it\u27s been good to know yuh; so long, it\u27s been good to [first line of chorus]

Performers: The Weavers and Gordon JenkinsPiano, Voice and Chord

The road is rocky (Rocky road blues). Fragment I

These recordings of oral history, play songs, blues, spirituals, and stories were made in 1948 when Alan Lomax invited Vera Hall to come from her home in Livingston, Alabama, to New York City for a concert. Vera Hall\u27s mother had been a slave, and Vera\u27s date of birth was not recorded. Her artistry and repertoire were brought to John A. Lomax\u27s attention by Ruby Pickens Tartt, a painter and folklorist from Livingston who introduced Vera and her cousin, Dock Reed, to him in 1937. The elder Lomax recorded her again in 1940, describing her as having \u27the loveliest voice I had ever recorded.\u27 Alan Lomax used the oral histories of Vera Hall and Dock Reed as the basis of The Rainbow Sign (New York: Duell, Sloan and Pearce, 1959), a study of African-American spirituality. After her death in 1964, Alan Lomax said: \u27It is from singers like Vera Hall that all of us who love folk music in America have everything to learn. Her performances were all graced with dignity and with love. Her sense of timing and beat were perfection itself. But all this is analysis. The mystery of Vera Hall and her art, while hinted at in the recordings we will always treasure, lies buried in the state where once the stars fell.\u27 For a summary of Vera Hall\u27s life see Gabriel Greenberg\u27s article, reproduced at www.alan-lomax.com. In 2005 Vera Hall was inducted into the Alabama Women\u27s Hall of Fame

A Collection of Songs Sung Every Friday Night at the Joe Hill House

A book made of binder pages published by the Utah Wobbly Press, 1967. It is a memorial edition for Joe Hill, songwriter and organizer for the Industrial Workers of the World. There are three sections in the book: the first section is about the account of Joe Hill's trial for murder and his Execution; the second section explain the founding and operation of Joe Hill House of Hospitality; the third section is a list of 58 songs sung for transients and migrants at the Joe Hill House every Friday night. Songs by Joe Hill, Woody Guthrie, Pete Seeger, Utah Phillips, and others, as well as traditional folk songs. The songs only have lyrics, without music score1. The Case of Joe Hill by Ammon Hennacy; 2. Joe Hill House by Ammon Hennacy; 3. Joe Hill by Alfred Hayes; 4. Because All Men are Brothers; 5. This Here River by Cajun; 6. Pastures of Plenty by Woody Guthrie; 7. Little Ernesto by Cajun; 8. Midnight Special; 9. We Shall not be Moved; 10. Pig Hollow by Bruce Phillips; 11. We Shall Overcome; 12. Song of the Deportees by Woody Guthrie; 13. Jesus Christ by Woody Guthrie; 14. This Land is Your Land by Woody Guthrie; 15. Freight Train by Elizabeth Cotton; 16. The Preacher and the Slave by Joe Hill; 17. New York Town by Woody Guthrie; 18. The Tramp by Joe Hill; 19. He was a friend of mine; 20. Roll the Union On; 21. Rambling Round by Woody Guthrie; 22. Where are all the Flowers gone? By Pete Seeger; 23. Study War no More; 24. Casey Jones the Union Scab by Joe Hill; 25. Union Burying Ground by Woody Guthrie; 26. Salty Dog; 27. Lonesome Road Blues; 28. Boil the Cabbage Down; 29. Wabash Cannonball; 30. Away with Rum; 31. Rummy Dummy Line; 32. Ramblin' Boy by Paxton; 33. Union Maid by Woody Guthrie; 34. Enola Gay by Bruce Phillips; 35. One More Ride by Ralph Chaplin; 36. Worried Men Blues; 37. Go to Sleep You Weary Hobo; 38. Hallelujah I'm a Bum by Haywire Mac McClintock; 39. Which Side are You On? By Florence Reece and Molly Jackson; 40. Judas Ram by Bruce Phillips; 41. There is Power in a Union by Joe Hill; 42. Waiting for a Train by Jimmy Rodgers; 43. Danville Girl; 44. The Popular Wobbly by T-Bone Slim; 45. We Have Fed You all for a Thousand Year by an Unknown Proletarian; 46. The Dying Hobo; 47. Hallelujah Hanna by A.E. Houseman; 48. Fassin' Through; 49. Stay All Night; 50. Better Times are Coming; 51. Wreck of the Old 97; 52. When I First to This Island; 53. Banks of Marble; 54. Hobo Bill's Last Ride by Jimmy Rodgers; 55. Wives by Bruce Phillips; 56. If I were Free; 57. Union Maid; 58. Funeral Train by Bruce PhillipsThe historical account of Joe Hill's life and death; the founding story of the Joe Hill House of Hospitality; and a collections of songs written by political-left songwriters, such as Joe Hill, Woody Guthrie, Pete Seeger, Utah Phillip

The road is rocky (Rocky road blues). Fragment III

These recordings of oral history, play songs, blues, spirituals, and stories were made in 1948 when Alan Lomax invited Vera Hall to come from her home in Livingston, Alabama, to New York City for a concert. Vera Hall\u27s mother had been a slave, and Vera\u27s date of birth was not recorded. Her artistry and repertoire were brought to John A. Lomax\u27s attention by Ruby Pickens Tartt, a painter and folklorist from Livingston who introduced Vera and her cousin, Dock Reed, to him in 1937. The elder Lomax recorded her again in 1940, describing her as having \u27the loveliest voice I had ever recorded.\u27 Alan Lomax used the oral histories of Vera Hall and Dock Reed as the basis of The Rainbow Sign (New York: Duell, Sloan and Pearce, 1959), a study of African-American spirituality. After her death in 1964, Alan Lomax said: \u27It is from singers like Vera Hall that all of us who love folk music in America have everything to learn. Her performances were all graced with dignity and with love. Her sense of timing and beat were perfection itself. But all this is analysis. The mystery of Vera Hall and her art, while hinted at in the recordings we will always treasure, lies buried in the state where once the stars fell.\u27 For a summary of Vera Hall\u27s life see Gabriel Greenberg\u27s article, reproduced at www.alan-lomax.com. In 2005 Vera Hall was inducted into the Alabama Women\u27s Hall of Fame

If Dewey gets elected (fragment)

These recordings of oral history, play songs, blues, spirituals, and stories were made in 1948 when Alan Lomax invited Vera Hall to come from her home in Livingston, Alabama, to New York City for a concert. Vera Hall\u27s mother had been a slave, and Vera\u27s date of birth was not recorded. Her artistry and repertoire were brought to John A. Lomax\u27s attention by Ruby Pickens Tartt, a painter and folklorist from Livingston who introduced Vera and her cousin, Dock Reed, to him in 1937. The elder Lomax recorded her again in 1940, describing her as having \u27the loveliest voice I had ever recorded.\u27 Alan Lomax used the oral histories of Vera Hall and Dock Reed as the basis of The Rainbow Sign (New York: Duell, Sloan and Pearce, 1959), a study of African-American spirituality. After her death in 1964, Alan Lomax said: \u27It is from singers like Vera Hall that all of us who love folk music in America have everything to learn. Her performances were all graced with dignity and with love. Her sense of timing and beat were perfection itself. But all this is analysis. The mystery of Vera Hall and her art, while hinted at in the recordings we will always treasure, lies buried in the state where once the stars fell.\u27 For a summary of Vera Hall\u27s life see Gabriel Greenberg\u27s article, reproduced at www.alan-lomax.com. In 2005 Vera Hall was inducted into the Alabama Women\u27s Hall of Fame