Category: Grammy Museum

When Woody Guthrie's 'This Land Is Your Land' went to school

Woody Guthrie and the journey of his song 'This Land Is Your Land' is examined in a new book
In “This Land Is Your Land: Woody Guthrie and the Journey of an American Folksong” (Running Press, $24), author and Grammy Museum Executive Director Robert Santelli traces the extraordinary life of what is arguably America’s best-known and best-loved folk song, written by America’s greatest folk troubadour.

It’s long been known that Woody Guthrie wrote the song in 1940 as his reaction to -- and dissatisfaction with -- Irving Berlin’s “God Bless America, which became ubiquitous throughout the Depression, primarily from Kate Smith’s signature recording and her countless performances on live radio broadcasts.

Among the many examples of cultural detective work in Santelli's book -- published in conjunction with this year's Woody Guthrie centennial -- Santelli traces a journey that culminates in the song being sung by Pete Seeger and Bruce Springsteen at a 2009 inauguration concert for President Obama. Along the way, he also answers the question: How exactly how did “This Land Is Your Land” become part of the elementary school standard repertoire, where virtually every kid in the United States can sing it -- or at least, the best-known parts of it -- by the time they’re 7?

It partly can be traced to the inclusion of “This Land Is Your Land” on a 1951 album of children’s songs called “Songs  to Grow On,” the third volume in a series of children’s music released by producer Moses Asch on his new Folkways record label.

Asch, who had made records with Seeger and Huddie "Lead Belly" Ledbetter  and other folk and blues artists in New York City in the '40s, first met and recorded with Guthrie in 1944. He was so bowled over by the quality of Guthrie’s songs, which had not been captured extensively in recordings before that, that he got Guthrie to lay down dozens of tracks, including “God Blessed America,” the song that eventually would come to be known as “This Land Is Your Land.”

But it wasn’t an immediate breakout hit, just one among the slew of songs Guthrie recorded for Asch. Seeger also loved the song’s sing-along and routinely included it when he performed in schools and at summer camps in New York and elsewhere around the Northeast.

The genius stroke, however, came with Guthrie’s introduction to music publisher Howie Richmond. Even into the '50s, Guthrie may have established a body of work as impressive as that of any songwriter in history, but he had no publisher to represent and promote his songs. “Either because of his unconventional ways or his political stance, he was turned down wherever he went,” Santelli writes.

Folklorist Alan Lomax, who with his father, John, made field  recordings for the Library of Congress documenting the nation’s folk and blues traditions, met with Richmond to float the idea of extending the reach of such songs beyond the walls of the Library of Congress. Perhaps, Lomax suggested, there was a way to educate the country’s youth to their musical heritage by including some of them in elementary school textbooks.

Richmond took the idea and ran with it, lobbying textbook publishers to include words and music  to some of the songs from the Lomax collection; as an incentive, he reduced the normal licensing fees and threw in “This Land Is Your Land” as an added bonus -- he would charge only $1 to include it.

“I really believed that ‘This Land’ -- a truly great song about America, its natural wealth and beauty -- was something that kids sitting in classrooms ought to know and learn to sing,” Richmond told Santelli. “Plus, it was a great song for entire classes to sing. It had a great melody, great chorus, and those lyrics, well, they were so beautiful. I didn’t mind practically giving it away.”

The gambit worked and “This Land” quickly began landing on the desks of American schoolchildren with their next round of new books and incorporated into classroom music time.

The published version, however, omitted two verses that made “This Land” more than a celebration of America’s natural resources, but also a pointed political protest song in which Guthrie spoke on behalf of the millions he’d seen left by the wayside of the American dream during the Great Depression.

In addition to his poetic imagery about the nation’s endless skyway, golden valley, redwood forests, gulf stream waters, sparkling sands and diamond deserts, Guthrie also made a point to note:

As I was walkin’, I saw a sign there
And that sign said ‘No trespassin’
But on the other side, it didn’t say nothin’
Now that side was made for you and me

Another often-overlooked verse says:

In the squares of the city, in the shadow of the steeple
Near the relief office, I saw my people
And some are grumblin’ and some are wonderin’
'If this land’s still made for you and me?’

(To head the folk purists off at the pass: Numerous variations on these lyrics have been chronicled over the decades, even as written down by Guthrie himself. The verses here are taken from Santelli's book, where they are rendered as "Original Lyrics.")

Half a century later, when Springsteen called Seeger to invite him to sing “This Land Is Your Land” with him at a concert celebrating Obama’s inauguration, “I told him I would, but only if he agreed to sing the song with its original lyrics,” Seeger told Santelli, himself a longtime Guthrie aficionado who had organized a tribute to him in 1996 at the Rock and Roll Hall of Fame in Cleveland to launch the hall’s “American Masters” series of tribute performances.
 

“All these years I sang ‘This Land Is Your Land,’ but never with so many people watching and listening,” Seeger said. “Washington, D.C., filled with people. Television cameras were everywhere. I wasn’t going to let the opportunity pass by. I wanted to make absolutely certain that the world knew the lyrics that Woody originally wrote.”

Springsteen needed no coaching -- he’d been singing the song, including the usually missing verses, since the 1980s.

“We’d like you to join us in perhaps the greatest song ever written about our home,” Springsteen said to the massive audience by way of introduction.

No Teleprompters were needed that day. Nearly everyone there in Washington, D.C., and watching at home on television had long ago learned it in grade school.

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-- Randy Lewis

 Photo of Woody Guthrie. Credit: Michael Ochs Archives / Getty Images.

B.B. King, Mick Jagger lead blues session at the White House

B.B. King will play at the White House for a program celebrating the blues
B.B. King, Mick Jagger, Jeff Beck, Buddy Guy and Booker T. Jones are among a dozen musicians who wlll be on Capitol Hill tonight singing and playing the blues in the latest “In Performance at the White House” concert series.

Also along for the “Red, White and Blues” event, which will be hosted by President and First Lady Michelle Obama in the East Room of the White House, will be Trombone Shorty, Keb' Mo', Shemekia Copeland, Warren Haynes, Susan Tedeschi, Derek Trucks and Gary Clark Jr. The performance will result in a one-hour PBS special scheduled to air Monday at 9 p.m.

The show is the culmination of a daylong program today at the White House exploring the genre that also includes an educational session for several dozen high school students from around the country.  Keb'  Mo', Copeland and Trombone Shorty, along with Michelle Obama, will explore the blues with the students and with Robert Santelli, executive director of the Grammy Museum in Los Angeles, which has organized the program.

That session will be streamed live today at 11:30 a.m. Pacific time at www.whitehouse.gov/live, www.pbs.org/whitehouse and www.blackpublicmedia.org.

This is the fourth such program at the White House organized by the Grammy Museum, following sessions on country music, Motown and music of the civil-rights movement.

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-- Randy Lewis

Photo: B.B. King at the Montreux Jazz Festival in 1997. Credit: Jean Bernard Sieber/ARC/Reuters.

At Grammy Museum, spirit of protest will offer break from awards

Sunset Strip Riot

While fans wait to find out if Adele, Rihanna or Bruno Mars walks away with a golden gramophone at Sunday night's Grammy Awards, trouble is brewing at the Grammy Museum. Preparations have been underway for an exhibition that looks at a tumultuous period in the Los Angeles music scene.

Part of the Getty-sponsored Pacific Standard Time, "Trouble in Paradise: Music and Los Angeles, 1945-1975," examines how the changing urban, ethnic and economic landscape collided with the diverse music scenes, significantly reshaping the city's post-World War II identity.

On view will be photographs by Henry Diltz, who covered the Laurel Canyon folk scene; Robert Landau, famous for his shots of Sunset Strip billboards; and George Rodriguez, who captured the bedlam of the Sunset Strip riots. One fourth-floor wall will be covered with a blown-up black and white photo of Scrivner's Drive-In, L.A.'s first 24-hour drive-in where DJ Art Laboe would broadcast live from Hollywood.

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George Harrison guitar collection explored in new iPad app

George Harrison guitar collection explored in new iPad app

Beatles fans and guitar freaks have a fun new toy coming their way in February with the Guitar Collection: George Harrison, an iPad app that takes users on a virtual closeup tour of many of the instruments played by one of the most celebrated musicians in history.

The app will cost $9.99 and will be available on iTunes starting Feb. 23, two days before what would have been Harrison’s 69th birthday. It was developed by Harrison’s son, Dhani, a technologically facile musician who also plays in a couple bands of his own, thenewno2 and the mellow L.A. supergroup Fistful of Mercy with Joseph Arthur and Ben Harper.

It’s currently in use at the Grammy Museum’s exhibit “George Harrison: Living in the Material World," allowing visitors to closely examine the instruments through detailed photos and to explore each one’s history with documentation that shows when and where they were made, how Harrison acquired each one, and on which Beatles and solo Harrison songs they can be heard.

Here's a preview video for the app:

The George Harrison Guitar Collection from George Harrison  on Vimeo.

Photos by Steven Sebring offer a 360-degree view of each instrument, and each angle can be enlarged for the minutiae-minded to explore every scratch, dent and modification Harrison made to his musical arsenal.

There’s also a video section, not currently part of the Grammy Museum version, that includes recent footage of various musicians, including Dhani Harrison, Harper, Tom Petty & the Heartbreakers guitarist Mike Campbell and Queens of the Stone age/Eagles of Death Metal member Josh Homme, playing the iconic instruments.

Much of that footage was shot while the guitars have been on loan to the Grammy Museum for the L.A. exhibit.

Dhani Harrison also discusses the unique aspects of various instruments with Conan O’Brien, and former Thin Lizzy guitarist Gary Moore is interviewed about George Harrison’s influence in the world of rock music.

The app reportedly will be updated as more guitars from Harrison's estate are documented, and updates will be available free to those who buy the app. The name of the app suggests it will be the first of a series that could offer a similar exploration and celebration of any number of guitar heroes’ collections.

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--Randy Lewis

Photo: George Harrison's "Rocky" Stratocaster guitar, currently on exhibit at the Grammy Museum in Los Angeles. Credit: Myung J. Chun / Los Angeles Times.

Thomas Dolby returns to music after 20-year detour

Thomas Dolby
Thomas Dolby has just returned from something of a vacation from music -- one that has lasted nearly 20 years. The British rocker, one of the early stars born of MTV’s music video revolution, says the respite has been just the ticket he needed to gets his songwriting juices flowing again.

“You know what they say about how your first album you’re drawing on 20 years of life experience, and the second you’re drawing on six months?” he said from San Francisco during a stop on a brief tour that brings him to, of all places, the Hollywood Forever Cemetery on Friday, Oct. 14, where he’ll celebrate his 53rd birthday with an appearance that’s part musical performance, part interactive multimedia lecture. The five-time Grammy nominee will extend his stay in L.A. for a question-answer-performance session, followed by an audience meet-and-greet, at the Grammy Museum downtown on Monday night.

“For me, I’ve had 20 years of life experience to draw from for this album,” he said, referring to “A Map of the Floating City,” which arrives on Oct. 25, with a characteristically diverse batch of songs spanning the insistent dance-floor techno-pop of “Spice Train (Radio Edit)” to the American roots-influenced “Road to Reno” (featuring guitarist Mark Knopfler), from the sultry bossa nova pulse of “Simone” to the moody and spare, cabaret-ready ballad “Love Is a Loaded Pistol.”

“I feel a bit like Austin Powers, waking up from a cryogenic sleep,” he said with a chuckle. “But I feel very fresh in an odd way, I feel better-equipped to deal with [the music business] now that I’m not subject to the whims of a major record label.

“One thing I like about today is that when I write a song, I’m writing it for me and my audience. I’m not thinking about ‘Can I get a cassette to the A&R man?’ or ‘Will the promotion department make me their priority this week?’ All those hurdles from the old days are gone,” he said, “and that’s a very liberating thing.”

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Touring George Harrison's 'Material World' at the Grammy Museum

George Harrison George Harrison

The Grammy Museum’s new exhibition “George Harrison: Living in the Material World” offers an unusually intimate look into the public and private lives of one of the most intensely public and private people in pop music history.

The exhibition opened Wednesday with a press preview during the day, followed in the evening by an invitation-only VIP event hosted by Harrison’s widow, Olivia Harrison. Guests included Ringo Starr and wife Barbara Bach, Harrison’s Traveling Wilburys cohort Jeff Lynne, Doors drummer John Densmore, actor Edward James Olmos, veteran studio and touring drummer Jim Keltner (who played on most of Harrison’s solo projects), Recording Academy President Neil Portnow and longtime Grammy Awards telecast executive producer Ken Ehrlich, according to museum Executive Director Robert Santelli.

Olivia Harrison has loaned a large batch of items that span her husband’s life, from notebooks he used as a schoolboy in Liverpool to iconic instruments (his Gretsch Duo Jet electric guitar, the Gibson acoustic from “A Hard Day’s Night” and rosewood Fender Telecaster from “Let It Be, ” among several)  clothing (his original Shea Stadium suit) from his years with the Beatles to signature pieces from his life after the Beatles (the cream-colored Nudie Cohn suit he wore at the Concert for Bangladesh).

If may seem ironic to put the spotlight on material objects associated with a musician who spent much of his life emphasizing spiritual over temporal matters. But as Olivia Harrison put it when she spoke to me recently about the exhibit as well as the Martin Scorsese documentary of the same title that premiered last week on HBO, “George was also into material things because he lived in the material world. He wasn’t a mendicant going around holding a bowl, although he might have ended up that way if he had lived longer. You never know.”

The aspect Harrison himself might have had the most trouble with was seeing his guitars safely ensconced within Plexiglas display cases.

“Fans have been wanting to see these things,” Olivia Harrison said. “The guitars are beautiful, and I know they should be seen and shared. George always said that instruments should be played. When he came across somebody who had collected a thousand instruments, he thought it was wrong that they were kept locked away in a warehouse somewhere. Maybe one day we’ll be able to have it where people can actually pick up and play some of them.”

That’s not an option at the Grammy Museum exhibition, but there are hands-on aspects, notably three listening stations at which visitors can manipulate the sound mix on his 1973 hit “Give Me Love (Give Me Peace On Earth).” The stations are equipped with all eight tracks drawn from the original master tapes, so listeners can isolate Harrison’s vocals, his slide guitar, drums, bass, percussion or backing vocals or balance them to their own preferences.

Santelli said that at Tuesday night’s VIP opening, Starr spent several minutes playing producer with the track. He said Starr told him, “Now I’m going to give George Martin a run for his money.”

Other elements of special interest to longtime Harrison fans will be displays of several of his signature songs in his own handwriting, some appearing to be original drafts including corrections, revisions and in some cases, words or even entire verses that he omitted from the final version.  

The show runs through Feb. 12, 2012, and then is expected to move on to other museums around the world.

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--Randy Lewis

Self-portrait of George Harrison while on tour with the Beatles in 1964, one image on display at the Grammy Museum's exhibition "George Harrison: Living In the Material World." Credit: George Harrison Family.

George Harrison: The provocateur Beatle?

George Harrison Beatles
One facet of George Harrison's personality that came into sharper relief for me during a preview screening of Martin Scorsese’s 3½-hour documentary “George Harrison: Living in the Material World” was his role, both in the Beatles and outside the group, as a provocateur as ready with a witty barb as “smart Beatle” John, who usually gets the credit as the rabble rouser in the Fab Four.

Their longtime producer, George Martin, who signed them to EMI's Parlophone label after dozens of other companies famously turned the group down, shares an anecdote about being in the studio with them very early on.

He recalls that Beatles manager Brian Epstein felt somewhat like he’d hit the bottom of the barrel with Parlophone, which Martin had been cultivating as a home for comedy acts.

Continue reading »

George Harrison exhibit to open Oct. 11 at Grammy Museum

George Harrison George Harrison 
The Grammy Museum in Los Angeles will mount a major exhibition on the life and music of George Harrison opening Oct. 11 in conjunction with the forthcoming Martin Scorsese documentary with which it shares the title “George Harrison: Living in the Material World.”

The museum is working closely with Harrison’s widow, Olivia Harrison, in putting together what’s being described as the first major look focusing exclusively on Harrison, both during his years with the Beatles and his post-Fab Four solo career that included a stint with the Traveling Wilburys supergroup with Roy Orbison, Bob Dylan, Tom Petty and Jeff Lynne.

“'Living In the Material World’ will provide an in-depth look at all aspects of Harrison’s creative life,” according to a statement the Grammy Museum issued Thursday.

It will include several of his guitars, stage clothing, handwritten lyrics, personal journals and sketches and photographs taken by him.

“As a Beatles fan, working on this exhibit has been a fascinating journey for me personally,” said Robert Santelli, the Grammy Museum’s executive director who also is serving as  co-curator of the exhibit with museum curator Tory Millimaki and Grammy Award-winning designer Masaki Koike.

“I came to realize George Harrison was a more deeply complex musician than I previously knew, and a beautifully spiritual man whose interests touched not only songwriting and music, but also included photography, filmmaking and book publishing,” Santelli said in the same statement. “Hopefully, the exhibit will bear this out, enabling other fans of George Harrison to see him and hear his music in a brand new light.”

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Grammy Museum to launch Homegrown series spotlighting L.A.-area music on May 31 with Andy Grammer* (Updated)

Andy Grammer In the 2 ½ years since the Grammy Museum opened in  downtown L.A., the facility has cast its net far and wide for the subjects of both exhibits and its ongoing question-answer and performance sessions with musicians.

At the end of this month the museum will inaugurate a series that shines a light locally with Homegrown, a program devoted to artists working in and around Los Angeles.

The first installment will be given to Andy Grammer, who in relatively short time has moved from busking at Santa Monica’s Third Street Promenade, “selling my CDs I’d burned at Kinko’s,” to grabbing opening slots this summer for Natasha Bedingfield and Kate Voegele.  Besides the high-profile performance spots, Grammer also nabbed a prime-time shout-out recently from Taylor Swift, who tweeted to her 6 million-plus Twitter followers that she was singing his single “Keep Your Head Up” on her way to rehearsals for her incipient North American tour.

Grammy Foundation Vice President Scott Goldman will chat with Grammer about the career transformation and Grammer will highlight songs from his forthcoming debut album, “Andy Grammer,” coming on June 14. Tickets are $10 and available at the museum’s website or by calling (213) 765-6800.

*Updated May 18 at 11:39 a.m.: The only other confirmed date in the new series will be a June 22 evening with Airborne Toxic Event. More programs in the series are expected to be solidified later ths week, a museum spokeswoman said. Eventually the museum aims to offer Homegrown programs about twice a month. The spokeswoman also said these will differ somewhat from the museum's usual Q&A sessions, focusing more music, less on talk, as artists will briefly discuss their backgrounds and music and then play 45 minute sets in the museum's 200-seat Clive Davis Theater.

For the Record: Andy Grammer title: an earlier version of this post listed the title of Andy Grammer's forthcoming album as "Introducing Andy Grammer."

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--Randy Lewis

Photo of Andy Grammer. Credit: Shore Fire Media.

Grammy Awards: Mississippi Night at the Grammy Museum: Fat cats and muffler guitars

"People have been talking this week about the 100th birthday of Ronald Reagan," said Ward Emling, director of the Mississippi Development Authority's Office of Film and Culture, from the stage of the Clive Davis Theater in the Grammy Museum on Thursday night. "This also would have been the 100th birthday of Robert Johnson."

Directing the audience's thoughts toward the legacy of the great Delta bluesman, Emling defined the mission of the second annual Mississippi Night, part of the museum's festivities for Grammy week. As one of several officials in the room repping for the state that calls itself the birthplace of American music, Emling had an agenda: convince the VIPs in attendance that a trip to the Deep South can still unlock the deepest meanings of America's greatest art form.

Mississippi Night, which Grammy Museum Executive Director Robert Santelli confirmed will be an ongoing annual event, brings bright young talent from the Magnolia State to Los Angeles to promote tourism and music-industry investment in the region. This year, much talk was of the Misssissippi Blues Trail, a statewide path of interactive markers tracing the development of one of contemporary music's fundamental styles. A film offered testimony from Mississippi native B.B. King as well as stars such as Robert Plant and Bonnie Raitt about the continued relevance of the Delta region.

The loudest case was made, however, by the trio of musical acts who provided the night's entertainment. Touching on deep blues, atmospheric folk-pop, and gritty, wide-reaching rock, these artists were anything but mired in the past.

The Homemade Jamz Blues Band is a remarkably young sibling trio that has been taking the international blues festival circuit by storm. Fronted by 18-year-old Ryan Perry, a gritty shouter with flashy guitar skills, the group demonstrated a hopped-up approach to classic blues. Perry's younger brother Kyle was a fleet-fingered secret weapon on bass, while sister Taya, only 12, thumped the drums like a little Meg White. Dad Renaud Perry provided support on harmonica as Ryan strutted through the crowd, his trademark muffler guitar lighting up as he leaned in toward the ladies and showed his prowess.

Shannon McNally was as laid-back and pensive as the Homemade Jamz Band was hot. The singer-songwriter, a New York native, relocated to northern Mississippi after Hurricane Katrina drove her from her chosen home of New Orleans, and she spoke with amusement about the process of assimilation, noting that the skinny street cats she'd adopted from the 9th Ward soon grew fat from eating the big bugs and other critters in the fields near her home in Holly Springs. McNally sang material from the albums she recorded with the late hill country great Jim Dickinson, as well as "Thunderhead," a vivid song about childbirth from her new album, Western Ballad. Her heartfelt rendition of "Miss the Mississippi and You," first made popular by the state's favorite country son Jimmie Rodgers, showed her soul-deep affinity for her new environment.

For Jimbo Mathus, that connection is a given -- raised in Clarksdale and still hugging the border between the north end of his home state and Tennessee, the Squirrel Nut Zippers founder turned solo raconteur has spent his whole life becoming, as he put it, "fluent in this strange tone."

Mathus, who is a ripping guitar player, regaled the crowd with tall tales and his fractured country blues, first solo and then with help from a local band that included Zippers drummer Chris Phillips. The rollicking, too-short set offered strong support for Mathus' pitch to this music-biz crowd -- which succinctly said what the Mississippi officials had taken much longer to communicate. "Put us to work in Mississippi and in Memphis, Tenn.," he said. "We're the best, and we work cheap!"

-- Ann Powers

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