I suppose my little Martin acoustic guitar is quickly becoming a prize possession. It's a lovely guitar. I bought it at the Cambridge Folk Festival in 2001 before I had cleaned up.
I even played bass for a while. Besides playing electric guitar, I'd also get asked to play some acoustic stuff. But, since I didn't have an acoustic guitar at the time, I used to borrow one from a friend so I could play folk joints.
The local music community here was dying for a place to record, so we started doing acoustic, folk and bluegrass and then did rock projects for other bands, as well as for my son Tal and my own work.
Folk rock was my real roots. I did a few gigs as a folk artist, in the style of Fairport Convention.
The Factor concept is very simple: Watch all of those in power, including and especially the media, so they don't injure or exploit the folks, everyday Americans. Never before in the United States had a television news guy dared to criticize other journalists on a regular basis. The late Peter Jennings, a friend, told me I was crazy to do it. "These people will not allow anyone to scrutinize them," he said. "They will come after you with a vengeance." And so they have.
I play a couple basic folks songs and break them down. I did that on a six string. I can't recall all the songs on it. There's some finger picking on it.
We souls on foot, with foot-folk meet: For we that cannot hope to ride For ease or pride, have fellowship.
I used to be friends with Miles Davis. He didn't like many folks. I lived across the street from him.
But in my imagination this whole thing developed and I started mixing up old folk songs with the Beatles beat and taking them down to Greenwich Village and playing them for the people there.
Well, I don't think it ever did, but in the early '60s I got interested in folk music.
It's taken folk a while to come around, hasn't it? Even the boys in the band weren't too sure about the whole art thing. They just wanted me to concentrate on the music. But they respect it now.
Some of the folks on both sides might be sincere, but it does seem as if it is only the opposition that cares about the Bill of Rights most of the time.
On the other hand, there would be some value in different folks getting together to share expertise and technology; but to the listener, it wouldn't necessarily seem like a single station in the traditional sense.
It was darn nigh impossible for women in rock in the 70s. There wasn't a mold if you were a woman and you were in the entertainment in the 70s. You were probably a disco diva or a folk singer, or simply ornamental. Radio would play only one woman per hour.
We have a real culture of thrift. The goal that I had in bringing a lot of the packaged goods folks into Activision about 10 years ago was to take all the fun out of making video games.
A game may be as integral to a culture, as true an object of human aesthetic appreciation, as admirable a product of creativity as a folk art or a style of music; and, as such, it is quite as worthy of study.
I killed my Facebook page years ago because time clicking around is just dead time. Your brain isn't resting and it isn't doing. I think people have to get their heads around this thing. All this unmitigated input is hurting folks.
It was 1988, I believe, that I met Grit. We were both appearing in a Canadian Folk Festival and as we sat backstage he handed me his guitar. I played it, loved it, and then found out that he'd made it himself.
A large number of people to begin crawling through those tunnels and caves looking for the bad folks.
I drive a V10 Ford Excursion and I have to tell folks all the time: look I've got five kids and a dog and birds. I would have to have two Lincolns with two V8s, you see, so it would be 16 cylinders.
A lot of us lead relatively sedentary lifestyles, so you have to motivate yourself and force yourself to go to the gym and do active things. The folks that have figured it out, found that thing that they love and made it a big part of their lives, it's easy for them to stay in shape.
I live to harass white folks.
At best, the relationship between drama critic and playwright is a pretty twiggy affair. When I'm asked whom I write for, after the obligatory, I write only for myself, I realize that I have an imaginary circle of peers - writers and respected or savvy theatre folk, some dramatic writers and some not, some living, some long gone. . . . Often a writer is aware as he works that a certain critic is going to hate this one. . . . You don't let what a critic might say worry you or alter your work; it might even add a spark to the gleeful process of creation.
If you ask for good schools, you aren't likely to get them. If you ask for jobs or economic investment, you won't get that either. But what we have learned, is that the one thing that poor folks of color can ask for and get are Police & Prisons.
We had various kinds of tape-recorded concerts and popular music. But by the end of the flight what we listened to most was Russian folk songs. We also had recordings of nature sounds: thunder, rain, the singing of birds. We switched them on most frequently of all, and we never grew tired of them. It was as if they returned us to Earth.
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