Irish American Music
Irish émigrés created a large number of emigrant ballads once in the United States. These were usually "sad laments, steeped in nostalgia, and self-pity, and singing the praises... of their native soil while bitterly condemning the land of the stranger" . These songs include famous songs like "Thousands Are Sailing to America" and "By the Hush", though "Shamrock Shore" may be the most well known in the field.
Francis O'Neill was a Chicago police chief who collected the single largest collection of Irish traditional music ever published. He was a flautist, fiddler and piper who was part of a vibrant Irish community in Chicago at the time, one that included some forty thousand people, including musicians from "all thirty-two counties of Ireland", according to Nicholas Carolan, who referred to O'Neill as "the greatest individual influence on the evolution of Irish traditional dance music in the twentieth century" .
In the 1890s, Irish music entered a "golden age", centered on the vibrant scene in New York City. This produced legendary fiddlers like James Morrison and Michael Coleman, and a number of popular dance bands that played pop standards and dances like the foxtrot and quicksteps; these bands slowly grew larger, adding brass and reed instruments in a big band style . Though this golden age ended by the Great Depression, the 1950s saw a flowering of Irish music, aided by the foundation of the City Center Ballroom in New York. It was later joined by a roots revival in Ireland and the foundation of Mick Moloney's Green Fields of America, a Philadelphia-based organization that promotes Irish music .
During the late 20th century came the rise of Celtic inspired rock groups like Flogging Molly, who reside in Los Angeles, Black 47 from New York, The Shillaly Brothers, also from Los Angeles and the Dropkick Murphys from Boston.
Read more about this topic: Celtic Music In The United States
Famous quotes containing the words irish american, irish, american and/or music:
“Irish Americans are about as Irish as black Americans are African.”
—Bob Geldof (b. 1954)
“Louise, something in me tightens when an American intellectual’s eyes shine, and they start to talk to me about the Russian people. Something in me says, Watch it, a new version of Irish Catholicism is being offered for your faith.”
—Warren Beatty (b. 1937)
“The white American man makes the white American woman maybe not superfluous but just a little kind of decoration. Not really important to turning around the wheels of the state. Well the black American woman has never been able to feel that way. No black American man at any time in our history in the United States has been able to feel that he didn’t need that black woman right against him, shoulder to shoulder—in that cotton field, on the auction block, in the ghetto, wherever.”
—Maya Angelou (b. 1928)
“While the music is performed, the cameras linger savagely over the faces of the audience. What a bottomless chasm of vacuity they reveal! Those who flock round the Beatles, who scream themselves into hysteria, whose vacant faces flicker over the TV screen, are the least fortunate of their generation, the dull, the idle, the failures . . .”
—Paul Johnson (b. 1928)