Contra Dance at Newport, 1965.-- Machine generated contents note Appendix Four When First unto This Country Settlement and Song in New England, 1600-1820 -- ch. Three There's a Good Time Corning Reform in New England, 1810-1900 -- ch. Four The Sound of Young America America Westward and Southward, 1800-1900 -- ch. Five Down in the Groove Recorded Music in America, 1890-1960 -- ch. Six Rolling Home to Old New England The Beginnings of the New England Folk Revival, 1940-1962 -- ch. Seven Tenting Tonight oil the Banks of the Charles Boston and Cambridge, 1960-1963 -- ch. Eight The Lay of the Land folk Music from across the New England Countryside -- ch. Nine The Hour That the Ship Comes In Boston and Cambridge, 1963-1964 -- ch. Ten The Chords of Fame Boston and Cambridge, 1965-1966 -- ch. Eleven Stayed Around This Old Town Too Long The Revival Tosses Along, 1967-1968 -- ch. Twelve Where -- Did You Come From, Where Do You Go? Winning Back Our Own Hearts and Minds -- VOICES -- Appendix One Coffeehouses in. New England, 1958-1968 -- Appendix Two Music Recordings in the Folk New England Collection, 1948-1968 -- Appendix Three A Sampler of Songs from the Folk Revival -- Appendix Four Contra Dance at Newport, 1965.-- Machine generated contents note
Summary:
"Between 1959 and 1968, New England saw a folk revival emerge in more than fifty clubs and coffeehouses, a revolution led by college dropouts, young bohemians, and lovers of traditional music that renewed the work of the region's intellectuals and reformers. From Club 47 in Harvard Square to candlelit venues in Ipswich, Martha's Vineyard, and Amherst, budding musicians and hopeful audiences alike embraced folk music, progressive ideals, and community as alternatives to an increasingly toxic consumer culture. While the Boston-Cambridge Folk Revival was short-lived, the youthful attention that it spurred played a crucial role in the civil rights, world peace, and back-to-the-land movements emerging across the country. Fueled by interviews with key players from the folk music scene, I Believe I'll Go Back Home traces a direct line from Yankee revolutionaries, up-country dancers, and nineteenth-century pacifists to the emergence of blues and rock 'n' roll, ultimately landing at the period of the folk revival. Thomas S. Curren presents the richness and diversity of the New England folk tradition, which continues to provide perspective, inspiration, and healing in the present day"--Provided by publisher.
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