23,097 research outputs found
Uncloudy Day
No full textMary Adams plays piano with Bill Watson (fiddle) and Mr. & Mrs Sweet at the Blue Ridge Folklife Festival on the Bedford county stage
Swing Low, Sweet Chariot
No full textMary Adams plays piano with Bill Watson (fiddle) and Mr. & Mrs Sweet at the Blue Ridge Folklife Festival on the Bedford county stage
Gold Watch and Chain
No full textMary Adams plays piano with Bill Watson (fiddle) and Mr. & Mrs Sweet at the Blue Ridge Folklife Festival on the Bedford county stage
Lonesome Road Blues
No full textMary Adams plays piano with Bill Watson (banjo) and Mr. & Mrs Sweet at the Blue Ridge Folklife Festival on the Bedford county stage
Flop-Eared Mule
No full textMary Adams plays piano with Bill Watson (fiddle) and Mr. & Mrs Sweet at the Blue Ridge Folklife Festival on the Bedford county stage
Will the Circle Be Unbroken
No full textMary Adams plays piano with Bill Watson (fiddle) and Mr. & Mrs Sweet at the Blue Ridge Folklife Festival on the Bedford county stage
Waltz You Saved for Me, The
No full textMary Adams plays piano with Bill Watson on the fiddle at the Blue Ridge Folklife Festival on the Bedford county stage
Down Yonder
No full textMary Adams plays piano with Bill Watson (fiddle) and Mr. & Mrs Sweet at the Blue Ridge Folklife Festival on the Bedford county stage
Mary Alice Ward
No full textIn the late 1920's, Mary Ward and her husband Ted left Western Australia and came to the Northern Territory to try their luck in the goldfields of Tennant Creek. They developed the Blue Moon mine with Mary's brother Stuart McEntyre. This proved a profitable partnership as the Blue Moon became a rich producer of gold. In 1940, the gold had begun to run out and the Wards decided to buy Banka Banka station. The cattle station and in particular Mary's food garden supplied Tennant Creek with fresh produce. During World War II the station also had a government contract to supply food to the army staging camp at Banka Banka. Mary Ward cared for the health and education of the children on the station. Mary sent and financially supported many of the station's Indigenous children to school in Alice Springs and Darwin, until a school was established on the station by the Welfare Department. For her care of Indigenous families and children, Mary was made a Member of the Order of the British Empire in 1968.
Source: Northern Territory dictionary of biography. Darwin : Charles Darwin University Press, 2008.TeacherPastoralis
Harmony and discord within the English ‘counter-culture’, 1965-1975, with particular reference to the ‘rock operas’ Hair, Godspell, Tommy and Jesus Christ Superstar
No full textPhDThis thesis considers the discrete, historically-specific theatrical and musical sub-genre of ‘Rock Opera’ as a lens through which to examine the cultural, political and social changes that are widely assumed to have characterised ‘The Sixties’ in Britain. The musical and dramatic texts, creation and production of Hair (1967), Tommy (1969), Godspell (1971), Jesus Christ Superstar (1970) and other neglected ‘Rock Operas’ of the period are analysed. Their great popularity with ‘mainstream’ audiences is considered and contrasted with the overwhelmingly negative and often internally contradictory reaction towards them from the English ‘counter-culture’. This examination offers new insights into both the ‘counter-culture’ and the ‘mainstream’ against which it claimed to define and differentiate itself.
The four ‘Rock Operas’, two of which are based upon Christian scriptures, are considered as narratives of spiritual quest. The relationship between the often controversial quests for re-defined forms of faith and the apparently precipitous ‘secularization’ and ‘de-Christianization’ of British society during the 1960s and 1970s is considered.
The thesis therefore analyses the ‘Rock Operas’ as significant, enlightening prisms through which to view many of the profound societal debates – over ‘faith’ and ‘belief’ in the widest senses, sexuality, the Vietnam war, generational conflict, drugs and ‘spiritual enlightenment’, and race – which were, to some considerable extent, elevated onto the national, political agenda by the activities of the broadly-defined ‘counter-culture’. It considers subsequent representations of the ‘counter-culture’ as the root of a contested but enduring popular legacy of ‘The Sixties' as a period of profound cultural change
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