Stuck at home, feeling full of a flu-ey cold, coughing, croaking and in need of cheering up. This did the trick!
Filed under:
Bob Dylan Weird Al
Tuesday, November 14, 2006
Saturday, November 11, 2006
Gimme that authentic backroom music
Was the late 1960s the peak period for folk clubs? They were, according to one account I read today, which described them as:
Hey, wait a minute. Either the folk scene is in a time warp or this passage is describing what many folk clubs are still like in the early 21st century. OK - audience members and artists might be older and greyer but the patterns established by the earnest young followers of the likes of Ewan McColl and Ian Campbell have changed very little. Judging by one or two folk clubs I can think of, neither has the decor in the back room of the pub!
The passage I quoted is from Britta Sweers' book, Electric Folk: The Changing Face of English Traditional Music, published last year and one of the texts that I'm covering in my literature review. The book is actually an account and attempted explanation of the emergence of English folk-rock in the 1960s and 70s. It sets out a 'sociocultural' portrayal of electic folk but also discusses generic issues arising from the fusion of the traditional and the modern.
Going back to folk clubs, Sweers argues that there was a distinct change in the 60s folk club scene. Clubs started out (in the wake of skiffle clubs) as venues for traditional music, singer-songwriters, blues and American folk music. By the mid-60s, British and Irish music were more dominant with much more emphasis on 'authentic' performances of traditional songs.
While the overall trend that Sweers describes here is fairly accurate, I would argue from my own experience that different types of club have emerged to cater for different audience tastes. This may be a sweeping generalisation on my part, but looking at the guest lists of the larger, more 'professional' folk venues, they seem to concentrate on a hybrid of the 'authentic' traditional, presented in an accessible form for modern audiences, using improvisations, complex harmonies, blues-rock guitar riffs and so on. Not sure that Ewan McColl would have approved.
The smaller, back-room-of-pubs clubs and sessions are probably more 'authentic' if you define folk as literally 'music of the people' - even if some of the people sing and play 60s popsongs, Gershwin and Wild Rover.
Filed under:
Britta Sweers folk rock folk clubs authenticity literature review
...run by private organizers and often located in back rooms of pubs... the clubs were of a strong amateurish nature, with a performance pattern consisting of an opening or warm-up performance by resident or visiting 'floor singers' followed by the featured guest performers...
Hey, wait a minute. Either the folk scene is in a time warp or this passage is describing what many folk clubs are still like in the early 21st century. OK - audience members and artists might be older and greyer but the patterns established by the earnest young followers of the likes of Ewan McColl and Ian Campbell have changed very little. Judging by one or two folk clubs I can think of, neither has the decor in the back room of the pub!
The passage I quoted is from Britta Sweers' book, Electric Folk: The Changing Face of English Traditional Music, published last year and one of the texts that I'm covering in my literature review. The book is actually an account and attempted explanation of the emergence of English folk-rock in the 1960s and 70s. It sets out a 'sociocultural' portrayal of electic folk but also discusses generic issues arising from the fusion of the traditional and the modern.
Going back to folk clubs, Sweers argues that there was a distinct change in the 60s folk club scene. Clubs started out (in the wake of skiffle clubs) as venues for traditional music, singer-songwriters, blues and American folk music. By the mid-60s, British and Irish music were more dominant with much more emphasis on 'authentic' performances of traditional songs.
While the overall trend that Sweers describes here is fairly accurate, I would argue from my own experience that different types of club have emerged to cater for different audience tastes. This may be a sweeping generalisation on my part, but looking at the guest lists of the larger, more 'professional' folk venues, they seem to concentrate on a hybrid of the 'authentic' traditional, presented in an accessible form for modern audiences, using improvisations, complex harmonies, blues-rock guitar riffs and so on. Not sure that Ewan McColl would have approved.
The smaller, back-room-of-pubs clubs and sessions are probably more 'authentic' if you define folk as literally 'music of the people' - even if some of the people sing and play 60s popsongs, Gershwin and Wild Rover.
Filed under:
Britta Sweers folk rock folk clubs authenticity literature review
Friday, November 10, 2006
Hanging out with Dylan
I haven't got round to starting my own MySpace site yet - I keep promising myself to do so, but with a major research project on the go, three blogs to maintain, a weekly newspaper column, a demanding day job, a band and a determination to hang onto some quality time with my wife (plus a dog and two cats), there haven't been enough hours left in the day.
My wife, Chele has only recently set up her own MySpace site but she has wasted no time in 'social networking' with some pretty cool 'friends'. I'm not quite sure how this works but her 'My Friends' list to date includes Seth Lakeman, Randy Stonehill, The Paperboys, Sean Lennon, Los Lonely Boys, Nickel Creek, Dixie Chicks, James Taylor, Neil Young - oh yes and Bob Dylan.
Now neither of us really believes that Mr Zimmerman sat at his computer and personally pressed the key that linked his site to Chele's - although he might have! Social networking does at least give the impression that the internet knows no barriers between celeb musicians and us humble mortals. And for Chele, setting up MySpace friendships with music heroes is proving a fascinating exercise in putting their PR strategies to the test. What started out as a bit of fun ('let's see if we can link up with 'so-and-so') has become something of a revelation. Dylan's MySpace page offers some interesting personal trivia that only 'friends' would share. Did you know, for example, that he prefers Pepsi to Coke and Burger King to MacDonalds?
I'm wondering how big a part MySpace will play in my research into amateur music networks by the time I complete the dissertation. One of my themes is the tension between 'amateur' and 'professional' practices in folk music. Will social networking websites break down the barriers - or is it creating an illusion of egalitatianism in this here global village between the folk mega-star and the humble floor singer?
Filed under:
MySpace Bob Dylan music PR amateur music
Subscribe to:
Posts (Atom)
