Happy recounts his friendship with Bob Dylan in Woodstock, as well as his association with Allen Ginsberg, George Harrison, Pete Seeger, Dave Van Ronk and many other notables on the scene. Happy was a regular in the Washington Square Park jam sessions, studied blues guitar with Brownie McGhee, and with his group, the New World Singers, were the first to perform and record “Blowin’ in the Wind” and “Don’t Think Twice.” With colorful anecdotes and incisive memories, and the aid of vintage photos and music clips, Happy Traum relates some of his adventures as an active member of the New York folk revival his arrest for civil disobedience his participation in what has become known as the “Great Folk Singer’s Riot” in Washington Square and his friendships with some of the leading folk artists of the day. HAPPY TRAUM: FROM THE GREENWICH VILLAGE FOLK REVIVAL TO THE WOODSTOCK MUSIC SCENE The exhibit will be open for viewing prior to public performances through May 20. The opening reception is free and open to the public, however reservations are required by calling 51. NEW YORK FOLK LEGACY EXHIBIT OPENING RECEPTION & CONCERT: The opening of the exhibit on Sunday, March 6 at 2 PM will include a reception followed by a concert featuring guitarist Peter Pickow (son of Jean Ritchie and George Pickow) and mountain dulcimer players David Massengill and Susan Trump. The project will include special exhibit of photographs by George Pickow, instruments and other memorabilia donated by the estate of folk music legend Jean Ritchie, a community outreach tour featuring folk music master Happy Traum and a series of mainstage concerts at The Egg. It’s the perfect lead-in to the album closer “SUMMER RENAISSANCE,” which propels the dreamy escapist disco of Donna Summer’s “I Feel Love” even further into the future.As part of its ongoing NY Living Legacy Project, The Egg Performing Arts Center will explore New York’s folk music legacy – from the storied underground folk music renaissance in Greenwich Village to the national folk boom to the creation of retreats upstate. And on “PURE/HONEY,” Beyoncé immerses herself in ballroom culture, incorporating drag performance chants and a Kevin Aviance sample on the first half that give way to the disco-drenched second half, cementing the song as an immediate dance-floor favorite. “CHURCH GIRL” fuses R&B, gospel, and hip-hop to tell a survivor’s story: “I'm finally on the other side/I finally found the extra smiles/Swimming through the oceans of tears we cried.”Īn explicit celebration of Blackness, “COZY” is the mantra of a woman who has nothing to prove to anyone-“Comfortable in my skin/Cozy with who I am,” ” Beyoncé muses on the chorus. There are soft moments here, too: “I know you can’t help but to be yourself around me,” she coos on “PLASTIC OFF THE SOFA,” the kind of warm, whispers-in-the-ear love song you’d expect to hear at a summer cookout-complete with an intricate interplay between vocals and guitar that gives Beyoncé a chance to showcase some incredible vocal dexterity. RENAISSANCE is playful and energetic in a way that captures that Friday-night, just-got-paid, anything-can-happen feeling, underscored by reiterated appeals to unyoke yourself from the weight of others’ expectations and revel in the totality of who you are.įrom the classic four-on-the-floor house moods of the Robin S.- and Big Freedia-sampling lead single “BREAK MY SOUL” to the Afro-tech of the Grace Jones- and Tems-assisted “MOVE” and the funky, rollerskating disco feeling of “CUFF IT,” this is a massive yet elegantly composed buffet of sound, richly packed with anthemic morsels that pull you in. Crafted during the grips of the pandemic, her seventh solo album is a celebration of freedom and a complete immersion into house and dance that serves as the perfect sound bed for themes of liberation, release, self-assuredness, and unfiltered confidence across its 16 tracks. Unique, strong, and sexy-that’s how Beyoncé wants you to feel while listening to RENAISSANCE.
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