| H O M E | ||
Academic |
||
 |
A Brief Biography | |
|
Curriculum Vitae | |
|
Student Area (Emory) | |
|
PODCASTS | |
|
Political Music Videos | |
|
R Tutorial Videos | |
|
Data Sets and Computer Programs |
|
Publications |
||
|
Scholarly | |
|
Speculative Nonfiction | |
Consciousness STUDIES |
||
|
The Farsight Institute | |
|
Links of Note | |
|
Book Reviews | |
PUBLIC SPEAKING |
||
|
Topics | |
|
Schedule | |
|
Videos | |
|
Photos | |
|
Speaking Requests | |
THEATRICAL |
||
|
Farsight Presentations | |
|
African Television | |
MUSIC |
||
|
Live Sacred Music | |
|
Studio Music | |
PERSONAL |
||
|
Poetry | |
|
Peace Corps | |
C O N T A C T |
||
 Follow on Twitter |
Politics and Music: Class Meetings
Professor Courtney Brown
Meeting #13: Political Identity Music: Joe
Hill and the Labor Movement
LECTURE NOTES
SELECTIONS played in class:
Joan Baez: Joe Hill (Woodstock 1969 live)
Paul Robeson: Joe Hill
Casey Jones: The Union Scab (by Joe Hill)
Haywire Mac McClintock: The Preacher and the Slave (by Joe Hill)
Billy Bragg: There is Power in a Union (Not the song written
by Joe Hill of the same name!)
QUESTIONS and DISCUSSION: Can you identify the "labor style" of music, especially with regard to the nature of the lyrics? How important is this musical niche with respect to politics generally? How does this type of labor music compare with Bob Marley's music in terms of how it has been used? Can you see that labor music has a "newstory" role, and that its audience may depend on this source of information?