 | The Clancy Brothers - The Bold Tenant Farmer Yes I know Daragh posted this one 5 seconds before me but this is a different version. Plus he cheated |
 | The Other Side of the Meadow (part 1) The 1st part of a short film about a tenant farmer family, and a daughter who wants to be a cellist. Starring Jenirose Petronio, Carla Ocampo, Alfredo Silvano, Alfonso Deza and Jose Ma. Ragragio. Directed by Adrian Alarilla. A UP CAST Production. |
 | Runrig - Pog aon oidhche earraich a track from Scotlands great ambassadors Runrig and my tribute to Flora MacDonald . Flora was born at Milton on South Uist where her father was a tenant farmer. She completed her schooling in Edinburgh and was visiting her brother in South Uist in 1746 when she was asked to assist Bonnie Prince Charlie, on the run after the defeat of the Jacobite Uprising at the Battle of Culloden. He was to be disguised in a frock as "Betty Burke" an Irish maidservant. She thought the scheme "fantastical" but was persuaded to go ahead, perhaps by the Prince. They sailed from Benbecula on 27 June 1746 to Skye. They hid overnight in a cottage and then travelled, over the next few days, overland to Portree, at one point avoiding some redcoat government troops. When he left to travel to the island of Raasay and a ship to take him back to France, the Prince gave Flora a locket with his portrait, saying "I hope, madam, that we may meet in St James's yet" but she never saw him again. Flora was arrested and imprisoned in Dunstaffnage Castle and then spent some time in the Tower of London but was released in 1747 under a general amnesty. She married Allan Macdonald of Kingsburgh, a kinsman, in 1750. She then emigrated to North Carolina with her husband. While initially successful farmers, Flora's husband joined a regiment of Royal Highland Emigrants supporting the Hanoverians at the start of the American War of Independence. He was captured at the battle of Moore's Creek and, after a spell in captivity, was expelled to Nova Scotia. They lived for a time in 1779 in a block house there - it is now the last remaining building of this type in the province (see illustration). She then returned to Skye with her husband. She later met Samuel Johnson, the English essayist during his tour of Scotland with James Boswell. Johnson described her as "a woman of middle stature, soft features, elegant manners and gentle presence." He also said of her: "Her name will be mentioned in history, and if courage and fidelity be virtues, mentioned with honour." Flora and her husband took up residence in Skye and Flora died at Kingsburgh on Skye in 1790, in the same bed in which Bonnie Prince Charlie (and Samuel Johnson) had slept. |
 | Irish Brigade at Fredricksburg From the Movie Gods and Generals, music by Celtic Woman, "may it be." U2, "MLK" "In 1771 your founder Mr. Franklin spent three months in Ireland and Scotland to look at the relationship they had with England to see if this could be a model for America, whether America should follow their example and remain a part of the British Empire. Franklin was deeply, deeply distressed by what he saw. In Ireland he saw how England had put a stranglehold o Irish trade, how absentee English landlords exploited Irish tenant farmers and how those farmers in franklin's words "lived in retched hovels of mus and straw., were clothed in rags and subsisted chiefly on potatoes." Not exactly the American dream ... So instead of Ireland becoming a model for America, America became a model for Ireland." Bono, lead singer of U2 |
 | The Other Side of the Meadow (Part 2) The 2nd part of a short film about a tenant farmer family, and a daughter who wants to be a cellist. Starring Jenirose Petronio, Carla Ocampo, Alfredo Silvano, Alfonso Deza and Jose Ma. Ragragio. Directed by Adrian Alarilla. A UP CAST Production. |
 | The Plantation System in Southern Life- Part 1 (1950) A Eurocentric view of the plantation system and its effect on Southern U.S. culture. Placing the viewer in the perspective of the white tourist family, a historically preserved Southern mansion is investigated and the past system of plantation owners and slaves is re-created. The homes of the past are contrasted with the homes of the current tenant farmers and landlords. At the end, as the viewer observes a polite barbecue party of well-dressed white people as the voiceover narrates: "Today, if we visit a social gathering in the south, we'll see some of these things. The gentle manners and courtesy. The separation of society into distinct groups. And the relationship of that society to the land, which supplies its wealth. These are some of the things the plantation system has contributed to southern life." Producer: Coronet Instructional Films Audio/Visual: Sd, B&W Provided by Prelinger Archives (Public Domain) |
 | The Plantation System in Southern Life (1950)-Part 2 Eurocentric view of the plantation system and its effect on Southern U.S. culture. Placing the viewer in the perspective of the white tourist family, a historically preserved Southern mansion is investigated and the past system of plantation owners and slaves is re-created. The homes of the past are contrasted with the homes of the current tenant farmers and landlords. At the end, as the viewer observes a polite barbecue party of well-dressed white people as the voiceover narrates: "Today, if we visit a social gathering in the south, we'll see some of these things. The gentle manners and courtesy. The separation of society into distinct groups. And the relationship of that society to the land, which supplies its wealth. These are some of the things the plantation system has contributed to southern life." Sponsor: N/A Producer: Coronet Instructional Films Provided by Prelinger Archive |
 | DELMORE BROS-FREIGHT TRAIN BOOGIE A MAJOR HIT FOR THE DELMORE BROS IN 1946.The Delmore Brothers From Wikipedia, the free encyclopedia (Redirected from Delmore Brothers) Alton (1908-1964) and Rabon Delmore (1916-1952), billed as The Delmore Brothers, were country music pioneers and stars of the Grand Ole Opry in the 1930s. The brothers were born into poverty in Elkmont, Alabama, as the sons of tenant farmers amid a rich tradition of gospel musicand Appalachian folk.[1] Their mother, Mollie Delmore, wrote and sang gospel songs for their church. The Delmores blended gospel-style harmonies with the quicker guitar-work of traditional folk music and the blues to help create the still-emerging genre of country. In addition to the regular six-string acoustic guitar, the duo was one of the few to use the rare tenor guitar, a four-string instrument that had primarily been used previously in vaudeville shows. In 1925--Alton's at the age of 13, wrote his first song "Bound For the Shore" (co-written with his mother) published by Athens Music Co. In 1931 The Brother's did their first recording session for Columbia; cutting, "I've Got the Kansas City Blues" and "Alabama Lullaby" which became their theme song. In 1933 they signed a contract with Victor Record's budget label Bluebird and became regulars on the Grand Ole Opry variety program. Within three years, they had become the most popular act on the show. Disagreements with Opry management led to the brothers leaving the show in 1939. While they continued to play and record music throughout the 1940s, they never achieved the same level of success they had with the Grand Ole Opry. in 1946 they expanded from their acoustic two-piece arrangements into full-band backup, with bass, mandolin, steel guitar, fiddle, harmonica, and additional guitars. Some of those additional guitars were supplied by Merle Travis The most important backup musician on these sides was Wayne Raney, who played a "choke" style of harmonica that was heavily influenced by the blues. The Delmores were also leaning increasingly towards uptempo material that reflected the upsurge in Western swing and boogie-woogie. By the end of 1947, they were also using electric guitar and drums. Raney (who also sang) in effect acted as a third member of the Delmores in the late '40s and early '50s, when they plunged full-tilt into hillbilly boogie. These are the most widely available and, in some ways, best Delmore Brothers sides. They were also the most successful, and in the late '40s the brothers reached their commercial peak, releasing a series of hard-driving boogies with thumping back beats and bluesy structures. The Brothers recorded "Hillybilly Boogie," "Steamboat Bill Boogie," "Barnyard Boogie," "Mobile Boogie," "Freight Train Boogie," and even "Pan American Boogie." These were usually exciting performances featuring extended guitar solos that clearly looked forward to the rock era. Their best-known song, "Blues Stay Away From Me," is regarded by some as the first rock and roll record. It was covered by Gene Vincent and the Blue Caps. Rabon died of lung cancer in 1952. Alton, shaken by this loss, the loss of his father, the death of his young daughter Susan, and his own heart attack all within a three-year period, Settled back in Huntsville, Alabama, Alton taught some guitar, did odd jobs, and devoted his creative energies to writing prose, first a series of fictional short stories, then the ambitious work of his autobiography, He also wrote his autobiography, Truth is Stranger than Publicity, published posthumously in the 70's. Over the course of their careers, the Delmores wrote more than one thousand songs. Some of the most popular were Brown's Ferry Blues, Gonna Lay Down My Old Guitar and Fifteen Miles from Birmingham. The Delmore Brothers were inducted into the Alabama Music Hall of Fame in 1989 and the Country Music Hall of Fame in 2001. Their pioneering contribution to the genre has been recognized by the Rockabilly Hall of Fame. Bob Dylan was quoted in the Chicago Tribune,on November 10th 1985 as saying "The Delmore Brothers, God, I really loved them! I think they've influenced every harmony I've ever tried to sing." |
 | The Grapes of Wrath Project This is a project for Mrs. McCoy's 11th Grade Advanced English. It is a debate between the tenant farmers and the landowners in the setting of THE GRAPES OF WRATH. |
 | MOON MULLICAN-YOU DON'T HAVE TO BE A BABY TO CRY THIS IS THE FIRST PART OF A BIOGRAPHY WRITTEN BY BILL EDER IN THE ALL MUSIC GUIDE FOUND IN CMT UNDER MOON'S BIOGRAPHY:By rights, Moon Mullican should be a legend twice over, in country music and rock & roll. He merged them both -- as well as blues, pop, and honky tonk -- into a seamless whole at the drop of a hat and the ripple of a keyboard, and also managed to play a seminal role in the history of Western swing, all in a recording career that lasted less than 30 years. Instead, for decades he was one of those "lost" musical figures from the '40s and early '50s, whose career paved the way for rock & roll, who was born just a little too early, and who was a little too old to take advantage of what he'd started. He was born Aubrey Mullican in 1909 in Corrigan, TX, a little more than an hour's drive north of Houston, to a family that owned an 87-acre farm that was worked (at least partly) by sharecroppers. It was one of them, a black blues guitarist named Joe Jones, who introduced Mullican to the blues before he was in his teens. This in itself constituted an act of rebellion on his part, because Mullican's family were devout churchgoers -- his father attended three times a week -- and abhorred anything to do with the elements of sun and excess with which the blues and the places where it was usually played were associated. He would spend most of his life attempting to reconcile -- or at least find a livable middle ground between -- these two sides of himself. He got good on the guitar and the bass, but Mullican's instrument of choice was the keyboard: first the family organ, which had been bought so that his sisters could practice playing hymns, and later the piano. By the time he was 14, he was able to make 40 dollars -- a good deal more than a week's wages in 1923 -- for two hours of piano playing at a local cafe. Music was not only something he loved, but it offered a lot more renumeration than farming (or even overseeing land worked by tenant farmers) seemed to; it was also something that his father despised. Mullican had already made a habit of hanging out at the roadhouses in East Texas, taking in the blues and barrelhouse music that poured off of their stages along with the rougher sides of life. Finally, at 16, Mullican left home for the big city of Houston, where he quickly fell in with people that his family would have pegged as "wrong." He made his living playing music and earned the nickname "Moon," short for "Moonshine," which stuck for the rest of his life, and all but trumpeted the direction his life was taking where sin and music were concerned. During the mid-'30s, he joined the Western swing band the Blue Ridge Playboys, and moved from there to playing in Cliff Bruner's Texas Wanderers, as well as recording with the Sunshine Boys and Jimmie Davis in Louisiana, and then returned to working with Bruner for a time in the early '40s. Mullican's talents at the ivories were long established by the end of the '30s -- he played the piano like it was a part of him, and sometimes with surprising flashes of elegance -- but he moved to the lead singer's spot in 1939 when Bruner recorded the pioneering country trucker song, "Truck Driver's Blues." He turned out to be every bit as good a singer as he was a pianist, with a stunningly expressive voice even if it didn't have an overly great range. This recording and the advent of the '40s heralded the busiest phase of Mullican's career, as he juggled a long-term association with Bruner and a stint in the backing band for Jimmie Davis during the latter's successful campaign for governor of Louisiana, and finally put together his own band, the Showboys, known locally as the "band with a beat," an attributed sometimes referred to as "East Texas sock." They quickly became one of the most popular outfits working the Texas/Louisiana border during the mid-'40s, and though they couldn't have known it at the time, that beat, coupled with their mix of country music and Western swing, and Mullican's definite blues-influenced piano and singing (and sometime choice of repertoire) brought them amazingly close to a sound that would later be called rock & roll, and the fact that they were white practically sealed the premonition, at least on some of their repertoire -- Mullican also had a liking for ballads that were definitely more country than R&B in nature and execution. In any event, it was all going over well, and it seemed only a matter of time before Mullican would hit it big on record, he had recorded as a vocalist fronting Bruner's outfit and others for all of the majors -- Decca, RCA Victor, and Columbia Records -- going back to before World War II, and the Showboys were in the studio attempting to make records as early as 1945 for the tiny Gulf label, only to be thwarted by technical problems that made the results unreleasable. |
 | Mafia Italian Mafia - The Mafia originated in southern Italy in medieval times. Its members were tenant farmers of land owned by powerful feudal lords. But they wanted to divide this land and, therefore, began to depredate the cattle and plantations. Who wanted to avoid this vandalism should make a deal with the mafia. Of Italy, the industry's "protection force" has spread to the whole world, especially to the United States. |
 | Silent Movie The GREEN TEAM made an old style silent movie to depict the parable Jesus told about the vineyard tenant farmers from Mark chapter twelve. |
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