Joan Baez & Mercedes Sosa - Gracias A La Vida

Silver Dagger (Joan Baez)

'Two sides of every story'?
Related to this title is the the death of the man who 'inspired' the song by Bob Dylan.

Compare the facts as told by Dylan and those described in The Times (Ben Hoyle January 12, 2009 reprinted in The Australian).

Dylan: "William Zanzinger killed poor Hattie Carroll
With a cane that he twirled around his diamond ring finger
At a Baltimore hotel society gath’rin’."

    Times: "A large man, he became aggressive, using a toy cane to hit several employees and insulting them racially. When Ms Carroll was too slow serving him a bourbon, he hit her, too. Hours later she collapsed, dying in hospital the following day."

Dylan: "She was fifty-one years old and gave birth to ten children...
Got killed by a blow, lay slain by a cane
That sailed through the air and came down through the room,"

    Times: "The real Hattie Carroll was black (although the song does not spell this out), a 51-year-old mother of 11 (not 10, as Dylan sang) who lived in Baltimore, was a pillar of her local church and suffered from heart problems."

Dylan: "And handed out strongly, for penalty and repentance,
William Zanzinger with a six-month sentence."

    Times: "He was charged with homicide, but this was reduced to manslaughter after the medical report came through citing the cause of death as a brain haemorrhage brought on by the stress of the incident. The lenient sentence was designed to keep Zantzinger out of state prison, where it was feared that the majority black prison population might turn on him.

Dylan: "William Zanzinger, who at twenty-four years
Owns a tobacco farm of six hundred acres
With rich wealthy parents who provide and protect him"

    Times: "In the song, he owns a 600-acre tobacco farm with "rich wealthy parents who provide and protect him". The reality was slightly less grand: Zantzinger worked on his land alongside black and white labourers.

What the Times (and therefore the Australian) forget is that the song is a depiction of a political reality and uses a real story to convey that reality. So be careful all those literalists out there, Dylan songs may not be factually correct.

'You who philosophize disgrace and criticize all fears bury the rag deep in your face' is both a dramatic device and the sermon of the song.

'The Lonesome Death Of Hattie Carroll ' does tell the tragic story of both Hattie Carroll and a whole generation of black workers. Zantzinger 'was also convicted in 1991 of a scam in which he charged poor black workers rents on ramshackle properties that he no longer owned. He was fined $US62,000 and sentenced to 2400 hours of community service' (Times article). The sermon is difficult to decipher but I think its means that liberals who abstract the suffering of the poor should pay heed to the reality of injustice ('the ladder of the law has no top and no bottom'), class ('he spoke through his cloak both deep and distinguished'), corruption ('high office relations in the government of Maryland') and racism ('swear and sneering and his tongue it was smiling').

Ian Curr
December 2009 (updated April 2012)

The Lonesome Death Of Hattie Carroll Live 1964 -

Oscar Giunta, Álvaro Torres, Esteban Freyrtes y Rado Valente. Grabado en Estudios Media Naranja y Estudios Kuma

For god sake (Joss Stone, The Chi_lites)

Los Pollos

La gata bajo la lluvia de Rocío Durcal, en versión de Flor Bobadilla Oliva en voz y Abel Tesoriere en guitarra para el disco YSYRY

La Gata Bajo la Lluvia (Rocío Durcal)

En toute humilité...
Barbara by Nara Noïan

Nara Noïan - Dis, Quand Reviendras - Tu

Extrait du projet comédie musicale "12 Légendes"
La Même
Musique/piano/chant  -Nara Noïan
Paroles - Golaine
 
Note d’attention – 12 Légendes
L'éternel féminin

	Depuis l'origine des temps jusqu'à la fin du monde, et peut-être au-delà, la femme existe. Elle est pareille, avec sa séduction et son mystère ; son charme et sa force. La femme est toutes les femmes : déesse et esclave, reine et muse, guerrière et tendre, amoureuse souvent. 

	La femme est de toutes les histoires et s'inscrit dans la grande Histoire. Sans elle, nous ne serions pas. Elle est éternelle, comme Goethe l'a écrit à la fin de « Faust » : « L'Eternel féminin nous attire vers en Haut ! » Elle guide l'homme vers une excellence. 

	Elles sont différentes, mais tellement semblables dans leur courage et leur amour. Douze femmes de légende sont rassemblées ici. Un hommage fantastique dans un diamant à douze facettes : depuis Apsara, la nymphe céleste sortant des flots, l'Amazone, la guerrière grecque et jusqu'aux plus proches Marilyn ou Edith. 
Des artistes, des héroïnes, des mères, des amantes... dans la bravoure de la légende jusqu'au zèle quotidien. 

Tant de lumière, vie éphémère
Et des chansons universelles
Pêché public, la démesure
Mais passons, passons 

En robe noire sous projecteurs
Tu envoutais nos peurs, nos pleurs
Tant de douleurs et tant de rires
Mais passons, mais passons

Chanter l’amour, une’ raison d’vivre
Des hymnes qui ne peuvent pas mourir
Ecoutés comme au premier jour
Mais passons, mais passons

Dans chacun d’nous, Y’a quelques mots
Quelques histoires, quelques frissons 
Ton âme laissée sans façon
Mais passons, passons 

Entrée sur scène, en religion
La p’tite Thérèse en toile de fond
Jamais d’oubli, petite Môme
Mais passons, passons

Petit bout d’femme, drôles de mains  pâles
Adieu Marcel, destin fatal
Trop écorchée, si dévastée
Mais passons, mais passons

Dernier rideau, petite Môme
Adieu Paris, Adieu les hommes
Plus de rumeurs, ni déceptions
Mais passons, passons

Dans chacun d’nous, Y’a quelques mots
Quelques histoires, quelques frissons 
Ton âme laissée sans façon
Mais passons, passons


Nara Noïan - La  Môme - (Edith Piaf) démos

"Bella ciao" was sung by the anti-fascist resistance movement active in Italy between 1943 and 1945. The author of the lyrics is unknown; the music and spirit of the song is based on a folk song sung by rice-weeders on the River Po basin in the early part of the 20th century – "Alla mattina appena alzata". A version of this song was recorded for music researchers by Italian folk singer Giovanna Daffini in 1962. Other similar versions of the antecedents of "Bella ciao" appeared over the years, indicating that "Alla mattina appena alzata" must have been composed in the latter half of the 19th century. The earliest written version is dated 1906 and comes from near Vercelli, Piedmont. - from Wikipedia

Mercedes Sosa - Bella Ciao

Participaciones de "Lila Downs" en la obra de otros artistas, temas inéditos y otras bellezas!

Colección armada por Gustavo Camacho entre el 2000 y el 2011.
Más información en:
http://www.facebook.com/liladownsfans

Enlace de descarga:
http://www.megaupload.com/?d=PQHI4SBP

Lila Downs & Eugenia León - El Feo - Acústico

Our original song "Laugh Often" performed by our Sextet!
Enjoy :)

http://www.thegypsydynamite.com/

Dom Durner - Vocals
Filippo Dall'Asta - Guitar
Giulio Romano Malaisi - Guitar
Duncan Hemstock - Saxophone
Jonny Gee - Double Bass
Daniele Antenucci - Drums

Laugh Often - Gypsy Dynamite Sextet

Cover de Respira de Natalia Doco par Julia Carreras

Respira

A traditional folk tune inspired by the renditions of Joan Baez and Robin Pecknold. 

Silver Dagger cover (Joan Baez/Robin Pecknold)

Bob dylan and Joan Baez

The Dream Song - Joan Baez

4PR - Voice of the People is a podcast about class, culture and country.
We believe that change can come only through revolution and participation by working class people.  Conditions in time and place must be understood and acted upon.  Workers of all countries unite! 
[Podcasting since 2011}

Joan Baez & Mercedes Sosa - Gracias A La Vida

4PR - Voice of the People

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