What Is A Liza Jane Underground Railroad? (Perfect answer)

Who is Liza in Notes from underground?

  • When Liza first appears in Notes from Underground, her function seems clear: she is the object of the Underground Man’s latest literary fantasy and power trip. He has absorbed the literary archetype of the redeemed prostitute and has cast himself as the hero who will rescue Liza. Later in the novel, however, her character becomes more complex.

Is Underground to Canada real?

Based partially on a true story, Underground to Canada by Barbara Smucker follows a young slave girl, Julilly, in the American South. When her master falls ill, she and her mother are separated. What comes is a thrilling story of Julilly’s journey, as she tries to escape to Canada using the Underground Railroad.

What year does Underground to Canada take place?

Between 1850 and 1860 alone, 15,000 to 20,000 fugitives reached the Province of Canada. It became the main terminus of the Underground Railroad. The newcomers migrated to various parts of what is now Ontario.

Is Underground to Canada historical fiction?

Underground to Canada is an historical novel for young readers by Barbara Smucker. The novel is studied in many Canadian schools.

What is the genre of underground to Canada?

The Riley/Bolten House is called the Josiah Henson Park and is located at 11420 Old Georgetown Road, North Bethesda, Maryland. The park is currently not open for regular tours and is open only during a limited number of dates each season.

Why was underground to Canada banned?

It was published in 1977. Why it was challenged: Freedom to Read reports that Underground to Canada was challenged for offensive language.

Does the Underground Railroad still exist?

It includes four buildings, two of which were used by Harriet Tubman. Ashtabula County had over thirty known Underground Railroad stations, or safehouses, and many more conductors. Nearly two-thirds of those sites still stand today.

Was there slavery in Canada?

The historian Marcel Trudel catalogued the existence of about 4,200 slaves in Canada between 1671 and 1834, the year slavery was abolished in the British Empire. About two-thirds of these were Native and one-third were Blacks. The use of slaves varied a great deal throughout the course of this period.

Why did slaves go to Canada?

Many Black people migrated to Canada in search of work and became porters with the railroad companies in Ontario, Quebec, and the Western provinces or worked in mines in the Maritimes. Between 1909 and 1911 over 1500 migrated from Oklahoma as farmers and moved to Manitoba, Saskatchewan, and Alberta.

Who published underground to Canada?

Smucker, Barbara. Underground to Canada. Toronto: Penguin, 2013.

Who are the main characters in underground to Canada?

Julilly, Liza, Adam, and Lester are main characters in this book. Julilly is a couragious and brave black girl. She is also strong and tall. Liza is a friend of Julilly.

Eliza’s Freedom Road: An Underground Railroad Diary

The voice of Eliza, a slave in Alexandria, Virginia, in 1854, brings history to life on the page. Eliza’s mother, Jane Mae, a superb storyteller, has been sold away by Sir, leaving Eliza under the protective wing of Abbey, the mistress’s cook, who has taken an interest in her. In the meantime, Eliza is left to serve the mistress, who is sick and losing her sight, and it is only she who stands between Eliza and being sold away from all she knows and loves, including her husband, Sir. Eliza has been taught how to read and write by the mistress, and those formidable skills, together with Abbey’s gift of the mistress’s “never been used writing diary,” provide her with a treasure trove of resources for exploring her understandings and slowly budding fantasies in the world.

and it is a gift to me since I am the owner of you.” Throughout Eliza’s life, the mundane duties and events that occur on a daily basis are intermingled with the vibrant, colorful stories documented in the narrative quilt that her mother gave her.

Her diary entries reveal Eliza’s anxiety over the mistress’ declining health and her admiration for Abbey’s endurance as she toils all day in the tobacco fields while also preparing the evening meal.

Throughout Eliza’s journal entries, we learn bits and pieces of her tale.

  • This book is a breath of fresh air in its simplicity, its deep storytelling, and the sincerity of Eliza’s voice.
  • Ages 8 to 11 *************** It is via the journal entries of Eliza, a twelve year old house slave, that the reader is able to get insight into the everyday life of a house slave.
  • It is her mother’s quilt that she keeps as a tangible remembrance, and her mother’s memories are treasured as an emotional gift from her mother.
  • Her mother’s quilt, some food, and her diary are among the items she has prepared.
  • From Maryland to Canada, the journey will be lengthy.
  • Eliza makes the decision to record her mother’s stories and to devote her time and attention to the care of her mistress.
  • Eliza is assigned as the mistress’s personal slave, where she discovers a pleasant environment with nice and helpful slaves.
  • Due to a snarl-up on Meeting Day, Eliza is granted the opportunity to meet the enigmatic Harriet, who is known among the slaves as Moses.
  • Eliza is able to take a break from her difficulties thanks to a lovely Christmas celebration.

In response to her mistress’s deteriorating health, the master decides to pay her a visit, prompting Eliza to flee to freedom. Discover whether Eliza is successful in her attempt to reach freedom by reading the novel. Christy Pierce, a librarian in Maryland, USA, has recommended this book.

Li’l Liza Jane – Wikipedia

“Li’l Liza Jane,” also known as “Little Liza Jane,” “Liza Jane,” and “Goodbye Liza Jane,” is a fictional character who has been around since at least the 1910s. It has become a perennialstandardboth as a song and as an instrumental in traditional jazz, folk music, and bluegrass, and variations of it have arisen in a variety of other genres, including rock & roll and country music. Many historians and musicologists have written on the song, and it is considered to be one of the standards of the New Orleans brass band tradition.


The lyrics of “Li’l Liza Jane” were initially published as a dialect ballad in 1905, eleven years before the formal first release of the song as sheet music. A work by Countess Ada de Lachau, “Li’l Liza Jane” was published for the first time in 1916 by Sherman, ClayCo ofSan Francisco, California as a song (Ada Louise Metz, 1866-1956). It was referred to be a “Southern dialect song” in the press. The song was performed as part of theentr’acteentertainment for the Broadway production Come Out of the Kitchen, which ran from 1916 to 1917.

  1. In her memory, Lucy Thurston heard a slave song with the refrain “Ohoooooooo little Liza, lil Liza Jane,” which she believed was performed by slaves in the Covington, Louisiana region before the American Civil War.
  2. The name “Liza Jane” or “Eliza Jane” was a common female character name in minstrel performances throughout the 1920s and 1930s.
  3. “Goodbye, Eliza Jane” was published by Harry Von Tilzer in 1903, and it has some resemblance to the later “Li’l Liza Jane” in terms of style.
  4. “Liza Jane”dance was a circle dance where couples would dance in a circle with an additional guy in the middle.
  5. There is a strong musical connection between this song’s chorus and the West African welcome song ” Fanga Alafia “.

Selected list of recordings

Earl Fuller’s Jazz Band is comprised of musicians that have a passion for jazz. Ted Lewison clarinet recorded a rendition of the tune for Victor Records in September 1917, which was a commercial success and contributed to the piece’s status as an early jazz classic. It was recorded as an instrumental by Fuller’s band, rather than with an ensemble vocalchant “Oh, Li’l Liza, Little Liza Jane” at a section of the chorus. The 1918 recording byHarry C. Browne for Columbia Records, which featured singing and banjo, helped to establish the song in old time country music, despite the fact that it was not the first recording of the number, as has been stated on occasion.

  1. Huey “Piano” Smith of New Orleans is a jazz pianist.
  2. Bing Crosby featured the song in a medley on his album101 Gang Songs, which was released in 1982.
  3. The Ebony Hillbillies covered “Liza Jane” on Wynton Marsalis’ albums ‘Sabrina’s Holiday’ and ‘I Thought You Knew’ in 1997, which were both produced by Marsalis.
  4. Nina Simone sang the song on a regular basis for many years.
  5. David Bowie’s first record was the 1964 single ” Liza Jane ” by the band “Davie Jones with The King Bees.” It was also the band’s debut release.
  6. In 1968, the band released a rendition of the song titled ” Go Go Liza Jane “.
  7. ‘Funky Liza’ is the title of the New Orleans Nightcrawlers’ rendition, which featured on their 2001 album “Mardi Gras in New Orleans.” During the recording of his 2008 CD ” Recapturing the Banjo,” Otis Taylor included a rendition of this tune.

An album devoted to the music of traditional blues banjoists who are of African descent. Keb’ Mo’, Corey Harris, Alvin Youngblood Hart, and Guy Davis are also featured on the album. An early version of this song was recorded by Dr. John for his 1972 album ” Dr. John’s Gumbo.”

Documentary film

“Little Liza Jane” is also the subject of an upcoming documentary film, “Little Liza Jane: A Movie About a Song,” which will feature the harmonica playing of Phil Wiggins as well as interviews with the song’s creators.

See also

  • Come Out of the Kitchen, ibdb
  • Goodbye, Liza Jane (1871)
  • Earl Fuller’s Famous Jazz Band
  • Negro Folk-Songsby Natalie Curtis Burlin, Schirmer, 1918, pages 158-161
  • Come Out of the Kitchen, ibdb
  • Come Out of the Kitchen,

External links

  • Li’l Liza Jane – The Dirty Dozen Brass Bandon is a song by The Dirty Dozen Brass Bandon. Lil’ Liza Jane and Fanga’s relationship, as seen on YouTube

Who’s Little Liza Jane?

Little Liza Jane is one of the choices. April 1960 – Weems or Whitestone (Lancaster County), Virginia (United States). Bright Light Quartet is one of the performers (Shedrick Cain, James Campbell, Arnold Fisher, and Laurence Hodge) CallResponse is the first activity. Previously Acquired Knowledge: It is assumed that students have already performed Little Liza Jane from their method books and that they have a basic understanding of the notes and rhythms, notably the syncopated eighth note pattern, quarter note pattern, and eighth note pattern Rhythm

  1. “Who is performing?” the teacher inquires during the first listening session. (Examples of possible responses: 4 guys, Bright Light Quartet)
  2. “Can you tell me what about this rendition is different from the one you play from your technique book?” the teacher asks during the second listening session. (Possible responses: It makes use of words. The song is sung entirely by male voices. The song begins and ends with a brief interlude of conversation. There are a total of three people in the gathering. The musicians do not maintain a consistent beat. There are no musical instruments being played.)
  3. “Name any more distinctions that you hear, as well as one commonality,” the teacher instructs during the third listening session. The following are possible solutions for the differences: see2. (Examples of possible responses or similarities: The title is the same as before. The rhythmic pattern is as follows: When they listen to it for the fourth time, pupils fingertip tap the rhythm pattern for Li’l Liza Jane to ensure that it is always the same and silently sing the answer in their thoughts. While singing their responses to the fifth listening, students clap in time with the syncopated beat pattern. In their method book version, students are asked to identify the call and answer portions. Then the teacher adds, “Now, look at the song Little Liza Jane in your method book.” Find the phrase “Little Liza Jane” in your song and play it. This is the reaction. Examine whether or not your neighbor is pointing to the proper phrase(s). (Delay until all of the kids have completed the job.) “Again, in your music, this time point to the call part of the phrase, and then double-check that your neighbor is pointing to the correct phrase.”
  4. Teacher plays the call phrase, and students play the response written in their method books
  5. Teacher plays the response written in their method books
  6. In groups of 15-30 students, students rehearse either the call phrases or the answer phrases for 15-30 seconds. The teacher asks for volunteers to play the response phrase individually. A demonstration by the teacher and soloists is followed by the class playing only the call phrases and the soloists playing only the answers. The teacher calls for volunteers to take turns playing the call phrase one at a time. The soloist plays the call phrase, and the rest of the class responds by solely playing the response phrase.
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Activities for Extending Your Knowledge:

  1. Little Liza Jane is performed by Mississippi native Sam Chatmon in a distinct version for the class.
  1. “Can you tell me what is different about this version compared to the prior listening version and our method book version?” the teacher inquires. ” one person is singing (possible responses: one person is singing He has a more mature tone to his voice. He sings and plays the guitar. There are a variety of lyrics and words. The tempo has been accelerated.)
  2. “Can you tell me what about this song is comparable to other versions that we have listened to and played?” the teacher inquires. (Possible responses: The response rhythm is the same in both cases. Some of the words and content are the same as in the previous song. The song of the same name is also available.)
  • The Mountain Ramblers (Galyen Cullen on banjo, Charles Hawkes on banjo, James Lindsey on mandolin, Eldridge Montgomery on double bass, and Thurman Pugh on double bass) perform a third version of Little Liza Jane for the class.
  1. “This is another rendition of the song Little Liza Jane,” the teacher adds, “but the melody is not as evident as it was in the first version, so pay close attention.” “How does this song differ from the others that we have already listened to?” says the group. (Possible responses: There is no singing.) The performers are all instrumentalists, with two banjos, a mandolin, and a double bass among their instruments. There are no lyrics or words in this song. The pace has increased. Because the music is heavily embellished, the melody is more difficult to discern. Students should pay close attention to the melody, particularly the Li’l Liza Jane beat, once more before moving on. When they hear it, kids raise their hands to indicate their agreement.

Activity 2: Understanding the Cultural Context What genre does Little Liza Jane belong to? According to the website of the Association for Cultural Equity, this song is classified as a Chantey, which is also commonly written Shanty. Chanteys are work songs that originated among the crew members of a ship to assist them keep time and rhythm so that they could more effectively work together to raise the rigging. According to the liner notes of Alan Lomax’s field recording collection I’m Gonna Live Anyhow Until I Die: Field Recordings from Alan Lomax’s Southern Journey, “The Bright Light Quartet were a group of menhaden fishermen whose chanteys reflected their work hauling nets aboard the fishing packets that plied the Chesapeake Bay and the Atlantic, from Long Island to the Gulf of Mexico.

Because the employment was seasonal, the singers of these songs were migratory, and many of them had previous experience as muleskinners, gandy-dancers, and roustabouts, as well as with Southern prison farms – and therefore with the labour-song repertoire as a whole.

As with their railroad and prison counterparts, the majority of menhaden fishermen were black, with the captains and mates being white; working conditions were often violent, money might be withheld arbitrarily, and the young fishermen were gone from home and loved ones for weeks at a time” (Lomax, Piazza,Ferris, 2013).

This was one of the few leisure activities that they were able to participate in while living in such confined confines.” As he continues, “There are written accounts by slave owners describing how they were surprised to discover their slaves completely depleted of energy as they left the fields after a long day’s work, and then how their slaves appeared charged with renewed energy as they frolicked and entertained each other at night.” Shortnin’ Bread and Hushaby (also known as “All the Pretty Little Horses”) are two such examples of leisure tunes that are popular today (Forcucci, 1984, p.

  1. 103-104).
  2. As Sam Chatmon recalls in his section, his father used to sing the song while the slaves were harvesting cotton in the fields to keep them entertained and to pass the time between jobs.
  3. S.
  4. A folk song history of America: A musical history of the United States.

Prentice-Hall, Englewood Cliffs, New Jersey. A. Lomax, T. Piazza, and W. R. Ferris et al (2013). Alan Lomax’s voyage through the southern United States: words, images, and music (First ed.). Lisa Mansfield came up with the idea for this lesson plan.

Liza Jane Train–Part 2

My Iowa relatives, including my mother Doris, rode theLiza Jane between Guthrie Center and Stuart, a journey that spanned four generations. I’ve gathered newspaper cuttings about it, attempted to trace the old railroad grade–both on a map and with my mother on gravel roads–and tried to envision what it must have been like to go through Guthrie County on that exciting and magnificent journey. Beaver Township is home to an abandoned Spring Branch railroad grade located northwest of Menlo. This photograph was taken while Mom and I spent part of the day scouting around where they lived in Stuart in the 1920s and attempting to locate the old railroad grade, which we failed to locate.

  1. From the 1969 book, History of Menlo, Iowa: Gathering Steam for the Second Century, the following is an excerpt: The branch railway to Guthrie Center, known as the Liza Jane or Ol’ Liza, was built in 1880 and opened to the public in 1881.
  2. After returning from the market, the train hauled hogs, livestock, and grain.
  3. After nightfall, you could occasionally hear the engine chug-chugging up the steep incline.
  4. Recollections of ancestors David and Emilia Jordan, my great-grandparents, lived close east of Monteith.
  5. Liza Jane is waiting for you at the Monteith depot.
  6. The Goff family used to take the Liza Jane to Des Moines in order to visit the Iowa State Fair on occasion.
  7. John Murray Johnston is a professional engineer.

When the train was snowbound in Windy Gap for three days because it had run out of coal and water one winter, he was on his way back to Guthrie Center from where he had started.

The last run for engineer John Murray Johnston before his retirement took place on March 27, 1912.

Liza Jane trekked all the way to Des Moines.

On that particular morning, she had around 35 passengers on board who were headed east.

To put it gently, the passengers, many of whom had important obligations, were irritated and sent in messages to head quarters that caused the cables to sizzle with excitement.

It is stated that the elderly lady just let herself out and humped along, making the telegraph poles seem like a fine toothed comb and the cities she sped through looked like blots on the countryside as she passed by.

Clabe Wilson was summoned to a military hospital in the summer of 1917 to undergo a medical examination for the draft.

He was excused from the draft since he had a family, although they were present when draftees boarded the train.

The Register’s Iowa News Service in Guthrie Center, Iowa, published an article about 1918.

On Saturday, he drove his large farm truck to the station in order to pick up a load of potatoes.

The Ross truck had just recently arrived and was parked north of Shipley’s when the incident occurred, and the force of the collision pushed it up onto the platform, endangering the strawberries and lettuce for Sunday supper.

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The feared influenza struck during an ice storm, and Leora got sick as a result.

Grandmother picked up theLiza Janeto Stuart as soon as she arrived, despite the fact that it was after dark.

Leora confessed that she was in such agony that she would have gladly died, but she had three tiny children to look after, one of them was my mother (the baby).

Doris, who was just three years old at the time, was sent home with Grandmother, most likely on a train ride.

state of Iowa.

Even without a stroller, it would have been difficult to trek up to the station, but Leora had siblings who were either adults or almost adults who were likely to meet them there.

Grandmother was on there to assist with the care of another new baby–Danny, who had been born at the Chittick home.

Another child has been born.

Her aunts made Doris stand on the table and twirl slowly so they could pin the hem of another frock they’d fashioned for her at Grandmother’s Victorian home in Guthrie Center.

A flower-adorned pitcher rested in a bowl on top of a dark-wood chest that matched the rest of the furnishings.

“Why isn’t the robin flying away?” says the author.

She hadn’t had much luck snagging one so far this season.

Doing so on tiptoe, Doris down the curved staircase, stopping to examine the diamond formations etched into the glass panes, particularly the red panes, as she went.

She was missing her family and so she brought the robin to bed with her.

“Lawsy, you,” says the narrator.

Take the robin outside for a while.

“Can you tell me what’s wrong, honey?” “I want my boys,” she says, referring to her elder brothers, with whom she spends a lot of time.

Grandmother cradled her on her lap and calmed her with songs such as “In the Sweet Bye and Bye” and “The Little Brown Church in the Vale,” which she sang in her low alto voice.

a doll of her choosing, whatever doll she desired Aunt Georgia and Aunt Ruby accompanied her on a stroll downtown, where they discovered the biggest and greatest doll in the world, dressed in a yellow frock.

“Let’s take another look at the yellow one,” her aunts encouraged.

Grandpa had stated that he needed to conduct business in Stuart, therefore he was the one who assisted Doris aboard the chuffing.

As was typically the case, he was able to strike up a discussion with someone he recognized and was soon engaged in conversation with another man.

She yanked at Grandpa’s coat with both hands.

Doris was unconcerned.

When the Stuart Depot was being renovated, Mom decided to purchase a memorial brick.

As Guthrie County residents began to rely more on their automobiles for transportation, the train became less popular as a mode of transportation.

The Stuart Depot has recently been restored to its former glory as a museum and community gathering place.

In front of the bench, amongst the flowers, are the memorial bricks that mark the spot.

For as long as I’ve been aware of the Liz Jane, I’ve wished I could have taken it through the rolling hills of beautiful Guthrie County, wheeled into the canyon of Spring Branch, pushed through the rocky tunnel at the top of Raccoon River pass, whistled through Windy Gap at Monteith–the perfect roller coaster in my opinion–to visit my own grandmother in Guthrie Center.

Sources include “Riding on a Branch,” written by EditorRay and published in theGrinnell Herald between 1916 and 1936, most likely around 1920; the Centennial history of Menlo; and newspaper cuttings from the Guthrian and Guthrie Times.

Liza Jane

DESCRIPTION: DESCRIPTION: “Ascending the mountain is a challenging endeavor. Make a jug of ‘lasses’ in order to plant a patch of cane. To make Liza Jane a little more palatable. Oh, po’ Liza, po’ gal, Oh, po’ Liza Jane, Oh, po’ Liza, po’ gal. O po’ Liza, po’ gal. She passed away while riding the train.” In this episode, we talk about moonshine, wooing Liza Jane, and more (and dodging work if possible) AUTHOR:unknown 1917 (Cecil Sharp collection); +1893 (Cecil Sharp collection); (JAFL6) NON-BALLAD WORK KEYWORDS:courting drink floatingverses FOUND IN THE UNITED STATES (Ap,MW,So) RANDOLPH 435, “Liza Jane” is cited 19 times in this work (2 texts plus a fragment, 1 tune, but only the “A” text is this piece; the “B” text is “Goodbye, Susan Jane” and “C” is too short to clearly identify) “Liza Up in the ‘Simmon Tree,” pgs.

174-176 in McNeil-SouthernMountainFolksong, “Liza Up in the ‘Simmon Tree” (1 text, 1 tune, with this chorus and many floating verses) Brown/Belden/Hudson-FrankCBrownCollectionNCFolklore3 437, “Eliza Jane (II)” Brown/Belden/Hudson-FrankCBrownCollectionNCFolklore3 437, “Eliza Jane (II)” (1 text, which looks more like this than anything else though it lacks the chorus) Brown/Schinhan-FrankCBrownCollectionNCFolklore5 437, “Eliza Jane” Brown/Schinhan-FrankCBrownCollectionNCFolklore5 437, “Eliza Jane” (2 tunes plus text excerpts) “O, Li’l ‘Liza Jane,” Trent-Johns-PlaySongsOfTheDeepSouth, pp.

8-9, “Liza Jane” (1 text, 1 tune) Sharp-EnglishFolkSongsFromTheSouthernAppalachians 244, “Liza Jane” Sharp-EnglishFolkSongsFromTheSouthernAppalachians 244, “Liza Jane” (3 texts, 3 tunes) On pages 132-133 of Sandburg’s TheAmericanSongbag are the songs “Liza Jane” and “Mountain Top” (two texts, one melody; the “B” text, “Mountain Top,” appears intermingled with “Moonshiner” or something similar); on pages 308-309, “Liza in the Summer Time (She Died on the Train).

  • (1 text, 1 musical composition) Thomas-BalladMakingInTheMountainsOfKentucky, p.
  • 35-36, “Liza Jane” Bush-FSofCentralWestVirginiaVol4, pp.
  • 50, “Went Up on the Mountain” (1 text, 1 tune) Scarborough-OnTheTrailOfNegroFolkSongs, pp.
  • 7-8, Scarborough-OnTheTrailOfNegroFolkSongs “On p.
  • The phrases “to give my horn a blast” and “climbed up on a mountain” are both true.
  • 85 is the story of “Poor Liza Jane” (1 text).
  • 52 is the story of “Goin’ Upon the Mountain” (1 text) (1 text, 1 tune, with many floating lyrics but probably closes to this) AmericanBalladsAndFolkSongs, Lomax/Lomax-AmericanBalladsAndFolkSongs, pp.

The primary material is made up of several paragraphs.) The Mississippi River Folklore, p.



Rufus Crisp’s “Ball and Chain” is one of his recordings (on Crisp01) “Poor Little Liza, Poor Gal,” says HomerJethro in “Poor Little Liza, Poor Gal” (King 773, 1949) In 1929, Bradley Kincaid’s “Liza Up in the Simmon Tree” (Gennett 6761/Champion 15687/Supertone 9362; Champion 45057, c.

“Liza Jane” is the pen name of JohnEmery McClung (Brunswick 135, 1927) “Liza Jane” is a new Lost City Ramblers song (on NLCR06, NLCR11) “Liza Jane” is a character created by Riley Puckett (Columbia 15014-D, c.

1928) Pete Seeger’s “Oh!

“Push Boat” as an example (lyrics) “Cindy (I)” is an example of this (floating lyrics) “Don’t Get Trouble in Your Head” is an example of this (floating verses) Consider the song “Turn, Julie-Ann, Turn” (floating lyrics) Consider the song “Watermelon Spoilin’ On The Vine” (floating verses) OTHER SUMMARY TITLES: “Goodbye Liza Jane” Saro Jane is a fictional character created by author Saro Jane.

It should not be confused with the song “Rock About My Saro Jane,” which is referenced to under “Alternate Titles,” which is referred to under “Rock About My Saro Jane.” There is a strong likelihood that this song had minstrel show origins, as it has numerous floating lines that are shared with other, similar minstrel-show tunes.

The same goes for the George Roark recording, which I’ve included here since I couldn’t think of a better location for it.

In reality, there isn’t even a plot to speak of.

To access the Ballad Index Song List, click here. Instructions for accessing the Ballad Index Go to the Ballad Index to find out more. BibliographyorDiscography Robert B. Waltz and David G. Engle’s The Ballad Index Copyright 2021 is a work of fiction.

VAMixed Chorus Grade 2 (VAMixed Chorus) Description Number Level Price Description Number Level Price QtyDescription Number Level Price QtyThree-Part MixedME QtyDescription Number Level Price Medium-Easy (Meaningful-Easy) $2.25 Description Number Level Price Description Number Level Price QuantityDescription Level Price QtyDescription Number Level Price QuantityDescription Level Price QtyDescription Number Level Price QtyAhrirang Part-Dominant MP3 SAB$49.99Ahrirang Part-Dominant MP3 2-Part/3-Part SAB$49.99Ahrirang Part-Dominant MP3 2-Part/3-Part SAB$49.99 $49.99 Description Number Level Price Description Number Level Price QuantityDescription Level Price QtyDescription Number Level Price QtyDescription Number Level Price QtyAll the Pretty Little Horses Part-Dominant MP3 Bundle SATB$49.99 QtyDescription Number Level Price QtyAll the Pretty Little Horses Part-Dominant MP3 Bundle SATB$49.99 MP3 Bundle SAB including all of the Pretty Little Horses’ part-dominant songs $49.99 All of the Pretty Little Horses Part-Dominant MP3 Bundle Two-Part MP3 Collection $49.99 Description Number Level Price Description Number Level Price QuantityDescription Level Price QtyDescription Number Level Price QtyAlleluia Canon Part-Dominant MP3 Bundle Two-Part$49.99 QtyAlleluia Canon Part-Dominant MP3 Bundle Two-Part$49.99 QtyAlleluia Canon Part-Dominant MP3 Bundle Two-Part$49.99 Description Number Level Price Description Number Level Price QtyAmavolovolo Part-Dominant MP3 Bundle SSAA QtyAmavolovolo Part-Dominant MP3 Bundle SSAA $49.99Description Number Level Price QtyDescription Number Level Price QtyDescription Number Level Price QtyDescription Number Level Price QtyDescription Number Level Price QtyDescription Number Level Price QtyDescription Number Level Price Qty $39,95 for QtyPiano Trax 2007 CD And So Did I Part-Dominant MP3 Bundle SAB$49.99 And So Did I SAB$49.99 Description Number Level Price QtyAs Long As I Have Music Part-Dominant MP3 Bundle SAB$49.99Description Number Level Price QtyDescription Number Level Price QtyThree-Part MixedEEasy MP3 Bundle SAB$49.99Description Number Level Price QtyThree-Part MixedEEasy MP3 Bundle SAB$49.99Description Number Level Price QtyThree-Part MixedEEasy MP3 $2.25 Description Number Level Price QtyAshokan Farewell Part-Dominant MP3 Bundle SATB$49.99Ashokan Farewell Part-Dominant MP3 Bundle SAB$49.99Description Number Level Price QtyAshokan Farewell Part-Dominant MP3 Bundle SAB$49.99Description Number Level Price QtyAshokan Farewell Part-Dominant MP3 Bundle SAB$49.99Description Number Level Price Q Description Number Level Price Qty Description Number Level Price Qty Ave Maria MP3 Bundle SSA (Part-Dominant MP3 Bundle) Ave Maria Part-Dominant MP3 Bundle SATB (for $49.99) $119.99Ave Maria Part-Dominant MP3 Bundle Two-Part MP3 Collection $49.99 Description Number Level Price Qty Description Number Level Price Qty Description Number Level Price Qty Description Number Level Price Qty Three-Part Mixed Arrangement ME Medium-Easy (Meaningful-Easy) $1.95Lights!

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‎American Songcatcher on Apple Podcasts

Episode 3 of Season 2 is titled God’s Golden Shore

S2:E3 // God’s Golden Shore

Season 2, Episode 3 / The Shores of God’s Golden Shore This episode includes the following segments: “Man of Constant Sorrow” is a traditional name for this character (:28) Ma Rainey is a woman who lives in the United States (13:08) Bill Monroe is an American businessman and philanthropist (31:40) Patsy Cline is a country music singer-songwriter (51:29) Bruce Molsky is a well-known author and philanthropist (1:08:17) Teaser: This old-time folk song, which is said to have its origins in the early hymns brought to America, has been featured in the roots music community more than once, most notably when it was used in the 2000 film “O’ Brother, Where Art Thou?” Women’s suffrage activist and entrepreneur, this female musician rewrote the rules of fashion, songwriting, and enterprise while channeling the spirit of the blues in some of the genre’s very early recordings throughout the 1920s and 1930s.

See also:  Women Who Helped On The Underground Railroad? (Perfect answer)

This mandolin lover learned how to combine the blues with old-time with piercing tenor mountain harmonies and blazing fast tempos from his mentor, Bill Monroe, who was dubbed the “Father and Creator of Bluegrass Music.” This woman’s voice, which personified country music for over a decade and continues to inspire generations of vocalists to this day, was stolen much too soon.

  • He is widely regarded as one of the prime ambassadors of America’s old-time mountain music.
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  • Credits for the images: Black Deer Festival |
  • Ma Rainey: Women’s History |
  • Black Past Bill Monroe: Folkways |
  • Alan Cackett |

Biography |

Britannica |

Bluegrass HOFPatsy Cline: Grunge |

Britannica Bruce Molsky: Official |

Banjo News-Please consider supporting this podcast by clicking on the following link: SIDE B IS AN ADDITIONAL BONUS


It’s a joy to present you the second part of this unique short series Side A / Side B, which adds additional depth to the songs from my newly published traditional album “Folk Songs For Old Times’ Sake.” Side A / Side B is the second half of this exceptional short series Side A / Side B. The record is being turned over today, and we’ll be delving into the history of Side B. Side B is the other side of the coin. Tracklist: Going Down This Road, I’m Having a Bad Day (Traditional) The Saint James Infirmary is located in the heart of the city (Traditional) Midnight Specials are available (Traditional) Barbry Allen is a writer who lives in the United Kingdom (Traditional) Mississippi River Blues is a kind of blues that originated in the Mississippi River (Jimmie Rodgers) Peggy-O is a fictional character created by author Peggy-O.

(Traditional) It’s Payday!

ORDERING ORDERING THROUGH BANDAMP Spotify is a great place to listen.

Amazon Soundcloud Bandcamp Nicholas Edward Williams was in charge of the production, editing, recording, and distribution of this episode.

Rather than sounding artificial or emaciated, Nicholas’ voice comes across as completely natural, unaffected, and free of any trite attempts at emulation; rather, it appears to be a product of his surroundings, with small nods to the phrasing and inflection that are the hallmarks of traditional American music.

The song is carried by Williams’ calm, laid-back, soothing voice, as is typically the case.” – FOLK RADIO IN THE UK “The guitar playing and vocal performance are both excellent, and I appreciate the minimalist nature of the production.” “I think people are going to enjoy this; it’s a fantastic record,” says the singer.

Nicholas has made records that flow like a mountain stream, thanks to his beautiful guitar arrangements and a voice that draws you in straight away.” – David Holt (PBS TV/Radio Host, Four-Time Grammy Award Winner, and Banjoist for Doc Watson), among others.


Since launching the podcast, I’ve had a number of questions about whether or not the renditions at the conclusion of each part would be released or made available for streaming. In any case, I’m pleased to announce that, for the last six months, I’ve been hard at work on a traditional album titled Folk Songs For Old Times’ Sake, which is now available on all platforms, as well as on limited edition vinyl. The traditional songs that have been altered include those from the first season of this show, as well as songs by performers that were featured in that season.

  • Side A / Side B is a special two-part short series that will be released in two parts: Side A and Side B.
  • I’m thinking about My Blue Eyes tonight (The Carter Family) Bill Regarding Railroads (Traditional) Cotton Mill Girls are young women who work in cotton mills (Traditional) Orders for vinyl should be sent to [email protected]
  • Apple Music/iTunes is a digital music service.
  • -Folk Songs For Old Times’ Sake has received the following positive feedback: The fact that another young folkie is taking old melodies and making them their own is something I can sincerely appreciate.

In addition, the songs themselves are produced in a minimalist but intentional manner, with nothing taking up too much space in the forefront and nothing being lost in the shadows, as if the listener were in an empty country church with Williams merely playing to the steeple above.” JP Harris is a well-known author.

Oliver Wood is credited with inventing the term “invention” (The Wood Brothers) “It’s hard not to like this collection of well-known and well-loved folk songs.

Nicholas has made records that flow like a mountain stream, thanks to his beautiful guitar arrangements and a voice that draws you in straight away.” The banjoist for Doc Watson, David Holt (PBS TV/radio host, four-time Grammy winner, and banjoist) Contribute to this podcast by clicking here:

Episode 2 of Season 2 is entitled “Oh Little Liza.”

S2:E2 // Oh Little Liza

Season 2, Episode 2 / Oh, Liza, You’re So Cute! This episode includes the following segments: “Lil’ Liza Jane” is a traditional song (:28) Dock Boggs is a fictional character created by author Charles Dickens (11:22) Snooks Eaglin is a fictional character created by author Snooks Eaglin (25:54) Nina Simone is a singer-songwriter from the United States (43:36) Billy Strings is a musician that performs in the band Billy Strings (1:04:18) Teaser: This song is now a classic among New Orleans brass bands as well as old-time music, but it was originally a sea shanty in its earliest renditions.

  1. It was early African American string bands that influenced his three finger banjo plucking style, and his early recordings played a key role in the standardization of almost a dozen old-time tunes from the Cumberland mountain area.
  2. A well-known civil rights activist, arranger, singer, composer, and pianist, who worked in a variety of musical genres, including classical, jazz, blues, folk, R & B, gospel, and pop.
  3. At barely 29 years old, this multi-instrumentalist has already seized control of both the conventional and innovative bluegrass worlds, and he’s only getting started.
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  6. Credits for the images: Traditional: Cultural Equity |
  7. Traditional: |
  8. Wikipedia.com Snooks Eaglin’: Nola.com |
  9. Blues information |
  10. Acoustic Guitar |

S2:E1 // Ain’t Gonna Study War No More

‘Ain’t Gonna Study War No More,’ says the first episode of Season 2. This episode includes the following segments: “Down by the Riverside” is a traditional song (00:27) Mance Lipscomb is a musician from the United Kingdom (10:28) Jack Elliot, aka Ramblin’ Jack, is a fictional character created by author Jack Elliot (23:31) Emmylou Harris is a singer-songwriter from the United States (45:17) Chris Thile is a musician and songwriter from the United Kingdom (57:27) Teaser: During and after the Civil War, songs like these were written and sung by enslaved people from Alabama to Ohio as they made the treacherous trek through the Underground Railroad in search of freedom.

  1. He was more of a songster than a bluesman, and he was well-known for his extraordinarily diverse collection of songs as well as his front porch philosophizing.
  2. He was Woody Guthrie’s pupil and afterwards his father.
  3. He was America’s supplier of folk music at the time.
  4. Despite being only 40 years old, he is widely regarded as the greatest mandolin player alive today, and perhaps the greatest mandolin player ever to have lived.

Performances by the Host include: “Down By The Riverside” – a traditional song; “Down By The Riverside” – a contemporary song; and “Down By The Riverside” – a contemporary song (8:16) “Take Me Back Babe” Is a traditional song about returning to one’s roots (21:29) “Roving Gambler” – A traditional term for a gambler who moves from place to place (42:37) The Louvin Brothers’ song “Angels Rejoiced Last Night” is a classic (55:08) “Bury Me Beneath the Willow” – a traditional song of mourning (1:13:03) |

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As an added bonus, Cristina Vane and her New (Old) American Roots are discussed.

BONUS: Sitting In // Cristina Vane and Her New (Old) American Roots

Cristina Vane, a brilliant multi-instrumentalist who is proficient in clawhammer banjo and slide blues guitar, will be the final collaboration in the “Sitting In” serial, and I am thrilled to share her music with you. Being born in Italy and living in various countries around the world before settling in the United States when she was 18 years old, Cristina accumulated a wealth of cultural knowledge and a diverse repertoire of songs before discovering her passion for pre-war blues and the likes of the pioneers Skip James, Robert Johnson, Blind Willie Johnson, and Rory Block, all of whom have influenced her guitar technique and song catalogue.

She worked at the renowned McCabe’s Guitar Shop in Los Angeles, where she studied finger-style guitar under her instructor, Pete Steinberg, before venturing out on her own to explore country blues playing and old-timey folk guitar genres in the following years.

Cristina Vane recently released her debut full-length album, titled “Nowhere Sounds Lovely,” on April 2nd, and American Songwriter premiered a track from the album, titled “Badlands,” stating that she “sings from both her voice and her supple, bluesy guitar playing almost simultaneously–her sound as earthen as the South Dakota landscape.” ⁠ Cristina talks about how she became interested in American Folk and Blues music while living in Europe, as well as her efforts to ensure that music is preserved.


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