In this issue:
New Pete Seeger Tribute CDs: Not your average chicken dish
Pete Seeger Tribute CD
New Festival in 1999
Re: schmaltz
Rose Garden Contest Deadline Is Approaching
the "truly" talented...
Is Folk a "Cottage Industry"? / House Concerts
Re: schmaltz
Fwd: Jim Infantino House Concert
Re: the "truly" talented...
Re: the "truly" talented...
----------------------------------------------------------------------
Date: Thu, 26 Mar 1998 12:08:29 -0500 (EST)
From: ZSparrow <ZSparrow@aol.com>
Subject: New Pete Seeger Tribute CDs: Not your average chicken dish
Review of "Where Have All the Flowers Gone: the Songs of Pete Seeger"
(2-volume collection) by Sue Fink
Before I begin my review, I'd like to share a semi-related story: Several
weeks ago, I went to the Tower Records at Belden & Clark in Chicago to look
for the new Judy Collins retrospective. First I searched the Rock/Popular
music section, as I figured she'd be out there with CSNY, Dylan, etc. When
that failed I scoured the folk section, also to no avail. Reluctantly I asked
the sullen little clerk-guy for help.
"What kind of music is she?" he asked. I wasn't sure what he meant. "It's
just I don't know who she is. Never heard of her," he said matter-of-factly.
Let's just say they probably swept my dropped jaw off the floor that night
because I don't remember picking it up myself. Instantly I felt like the
image he must've had of me: a doddering, ancient woman with a walker or
something. I almost squawked, "Young man! If you worked in a bookstore,
would the fact that Dickens is dead excuse you from knowing who *he* is?" --
and Collins ain't *close* to dead! But dutifully he looked her up and then
kind of pushed me into the Dead/Close to Dead section (not the official name,
but might as well be) and there was Judy, in the good company of Judy Garland,
Frankie Lane and Frank Sinatra.
There is a special room in the back of the Tower store, with the Dead/CloseTo
and New Age sections up front, and Folk in the back. The collections in each
are fairly extensive, and if you know where to look, chances are you will be
pleased. But I'm pretty sure that most Tower customers have no idea this room
even exists. It's kind of a pristine, quiet mausoleum in the back of an
otherwise rowdy, bustling store.
I only mention this because when I went to buy the new double-CD
compilation/tribute to Pete Seeger, "Where Have All the Flowers Gone," it was
with great trepidation that I returned to Tower. The CD had just been
released days earlier, with the likes of Bruce Springsteen, Jackson Browne,
Bonnie Raitt, Ani DiFranco, Billy Bragg, and that "great unknown," Judy
Collins, amongst many others, each singing a Seeger tune. All new recordings!
So: Would the CD be prominently displayed in the Popular room, based on all
the big-name artists? Or, would it be in the folk mausoleum? Even worse,
would I not be able to find it and have to embarrass myself by asking the
clerk again ("Pete *who*???").
It was not in the big room, but at least it was displayed visibly in the
mausoleum. Restored 25% of my faith in record stores. But it's like that
saying, "preaching to the already converted," or something like that? I mean,
yes, it IS folk, but why not display this jewel where OTHERS might actually
learn of its existence, and get the benefit of this amazing music recorded by
amazing people -- and for many, of learning just who Pete Seeger is and what
he stands for?
This is such a remarkable collection, truly a gift of love from everyone who
participated in the making of it. It's the gift of eternal life -- Pete can
be assured that his songs will live on forever, if this collection is any
indication.
My disclaimer: one reason I couldn't wait to get this CD, besides the
obvious, is because I am a Bruce Springsteen fanatic, and through a series of
fortuitous events, my friend Larry Eagle (NY musician) got to play percussion
on Springsteen's cut ("We Shall Overcome"). His name is listed right there on
the CD!! Great job, Larry! It's like a fantasy come true (except in my
fantasy, it's not the drums, it's the harmonica; and it's not Larry
accompanying Bruce, it's me... details! Close enough).
Guess I'll start with that cut. The percussion gives the song Springsteen's
trademark underlying rhythm -- insistent, driving, essential. Patti Sciafla
and Soozie Tyrell sing backup vocals. Bruce sings quiet but true, using his
"Across the Border" voice. The cut is not as "perfect" as his recordings
usually are, which makes it sound spontaneous, like people were enjoying
themselves, like they were meaning what they were singing. It's heartfelt,
true to Seeger's vision.
This compilation has so many wonderful cuts, but first I'd like to discuss it
as a whole. It's like a wonderful, 39-course meal, each course prepared by a
different chef. Now, if you were ever to receive a gourmet meal as large as
that, you couldn't really appreciate it if you were to devour the whole thing
in one gulp. 39 courses is an awful lot, and you might want to set aside a
few days for consumption and contemplation. Otherwise, you might overwhelm
your senses, or miss something in your haste. Also, you might be prepared
mentally for chicken as you always knew it, but now some different seasonings
have been added -- you need time to savor its newness and appreciate the
cook's innovativeness.
As with any successful meal, it's not just the food but the order in which it
is presented. One course should lead smoothly into the next, so rather than
be jarred you are left feeling, "but of course, it *had* to be ordered this
way!" And if you want to learn more about the cooks or preparation, it's nice
to have helpful descriptions on the menu.
This is how the songs are organized on the CDs: a stimulating, innovative,
pleasing feast for the ears, planned and created and executed with love. With
each volume comes a booklet, to be read at leisure. In Volume 1's booklet,
after a wonderful introduction by Pete Seeger, Jim Musselman, the executive
producer, explains how this project came into being, and how he picked certain
artists for specific songs "based on either the philosophical fit between the
artist and the message of the song and/or their unique musical style"
(although several artists chose the songs themselves). For almost every song,
there is an introduction by Pete, explaining how/when/why he wrote the song;
sometimes followed by a quote from the performer; then followed by a
description of the artist and his/her musical history. What a great way to
link past with present with future, a real unifying approach as well as a
fascinating read.
Many of the songs I was already familiar with; some I was not. These songs
stand strong by themselves, whether or not you've heard them before. A while
ago on this list there was discussion on "covers," and why artists play songs
by someone other than the original artist. This collection is testament to
the benefits that different voices, different interpretations can bring a
song. Of course I liked some better than others, and that's just personal
taste, but there isn't a "clinker" in the whole collection.
Two things that struck me about the collection overall: several songs have
been given a Celtic flavoring, which works very well! -- and there's a lot of
cool rhythms, specific to each performer's interpretation of their song --
rhythms you wouldn't expect, but that seem absolutely right.
For example: Volume 1 opens with Tommy Sands and Dolores Kean (Irish) singing
"Where Have All the Flowers Gone," with Vedran Smailovic (Bosnian) playing
soulful cello. Jim Musselman thought to unite these artists from troubled
countries, as well as to use "a chorus of Catholic and Protestant
schoolchildren." They perform beautifully together, making an already moving
song even more so.
Then: a seamless segue into Jackson Brown's and Bonnie Raitt's version of
"Kisses Sweeter Than Wine," done with a reggae beat! Who woulda thunk it?
But it works really well!
Other cuts I noticed where the rhythm was really different and enhanced the
songs: Ani DiFranco, "My Name is Lisa Kalvelage"; Bruce Cockburn, "Turn,
Turn, Turn"; Indigo Girls, "Letter to Eve"; Tim Robbins (yes, the actor, along
with a chorus of children in an amazing interpretation), "All My Children of
the Sun"; the aforementioned Springsteen cut. Other cuts where Celtic
influence is felt (IMO): Cordelia's Dad, "How Can I Keep from Singing"; Tommy
Makem, "Over the Hills." Other songs that I just really liked: John Gorka,
"The River is Wide" -- what a voice! -- Guy Davis, a bluesy "False From True";
John Stewart, "Old Riley"; John Trudell, "The Torn Flag."
Again, what keeps these CDs from becoming merely a smorgasbord of songs and
styles is the order in which they are presented. Obviously a lot of time and
consideration went into the arrangement and order of the cuts. Here is my
absolute favorite segue -- it's a true work of genius. On side 1, #9, Studs
Terkel recites "Blessed Be the Nation," which the notes explain Seeger wrote
as "graffiti on a flat stone" when he was dismayed at the litter strewn across
an island beach. Jim Musselman added the last four verses to Pete's original
two. And Studs Terkel -- well, he is a national treasure, but for Chicagoans,
a regional treasure as well. With all his oral histories turned into books
and wonderful radio interviews (I'm almost positive I've heard him interview
Pete on WFMT), he may not be a musician but he is of the people, by the people
and absolutely belongs on this collection.
OK. So Terkel recites this stunningly moving poem: 1 minute, 30 seconds.
There is perhaps one second of silence that follows, in which you are
thinking, WOW! and your heart catches. Immediately a soulful violin begins,
playing the exact tune that is in your soul but you just didn't know it, and
time stands still. It's Billy Bragg and Eliza Carthy's stunningly moving
version of "My Father's Mansions." And you realize how essential this order
is, how perfectly right, how they must have always belonged together in this
way.
I've gone on long enough; there are many more cuts, many more artists, that
make this collection an essential one to hear and savor. Volume 2 ends with
Pete himself singing "And Still I Am Searching," about still trying to find a
way to unite the world in peace. He is accompanied by his grandson, Tao
Rodriguez-Seeger. And the booklet ends with facts about poverty and crime and
"noteworthy organizations" that help -- a true folk collection, indeed.
I hope this collection gets the exposure it so richly deserves -- both from
people buying it and hopefully lots of air play as well. I hope that in other
cities and other music stores, it's not buried somewhere in the back.
Finally, I hope that younger listeners who may not even know of Pete Seeger
learn of him through these CDs, and see the relevance of his songs and
thoughts through the interpretations of these artists whom they do know.
Sue Fink (ZSparrow@aol.com)
------------------------------
Date: Thu, 26 Mar 1998 12:08:24 -0500 (EST)
From: "Richard L. Hess" <rlhess@mindspring.com>
Subject: Pete Seeger Tribute CD
I see some good comments about the Appleseed Recordings Pete Seeger Tribute
2-CD set.
If anyone has any doubts there is something there for everyone. I'm hearing
old friends in new perspectives and being introduced to wonderful
performers I've never paid attention to previously.
Three of my very favorite female vocalists contribute stunning performances
to this set. In track order:
Tish Hinojosa - Festival Of Flowers
Judy Collins - Oh Had I A Golden Thread
Anne Hills - I Come And Stand At Every Door
I also have to mention the amazing albeit melodramatic "All My Children of
The Sun" done by Tim Robbins...it is fantastic. Donovan is wonderful on "My
Rainbow Race" and Tommy Sands with Dolores Keane and Vedran Smailovic turn
in a wonderful version of the old chestnut: "Where Have All The Flowers Gone."
I'm waiting for Jim to get his web page up for this so I can link to it
from my Judy Collins and Tish Hinojosa pages. There's a scan of the cover
up at Tish's web site (www.mundotish.com).
I can't say enough wonderful things about this 2-CD collection. Sorry for
going on so long.
Richard
Richard L. Hess rlhess@mindspring.com
Glendale, CA USA http://rlhess.home.mindspring.com/
Web page for folk and church music, photography, and satellite navigation
------------------------------
Date: Thu, 26 Mar 1998 12:08:27 -0500 (EST)
From: Falc Ridge <FalcRidge@aol.com>
Subject: New Festival in 1999
Anne at Falcon Ridge here with some crossposted news for a new festival in the
planning stages for summer of 1999. The Winterhawk Festival of Bluegrass,
Celtic and Roots Music is planned for the third weekend in August 1999 at the
Long Hill Farm in Hillsdale, New York. And, yes, this is the same, sweet,
rolling-hilled farm that Falcon Ridge FF currently calls home.
We will have a web site up sometime in the fall at www.WinterhawkFest.Com
which is currently under construction
Who is the "we"? Well, my partner Howard Randall, founder of the Falcon Ridge
Folk Festival as well as the Winterhawk Bluegrass Festival and myself have
partenered up with Ron Thomason and Eugenia Snyder. Many of you will
doubtless recognize Ron's name, front guy of Dry Branch Fire Squad and also
one of the Winterhawk partners currently presenting the Winterhawk Bluegrass
Festival. Ron's partner and wife, Eugenia Snyder aka Gigi will be lending some
capable hands to this endeavor as well. Gigi is mostly retired from performing
these days and runs a very major horse show in Ohio.
What is that famous saying attributed to Bill Broonzy about horses sing none
of it? As in horses don't sing, bluegrass, celtic and roots music???
However, Gigi's event expertise with her non-singing clients is formidable.
Howard and I have worked great together for 10 years. Ron and Howard have done
likewise for even longer. Ditto Ron and Gigi. Gigi and yours truly have even
worked together a bit in the past and had a fine time. So, we 4 musketeers
happily announce our new partnership. We will post more info as we get
further along in the planning.
BTW, 98 is Falcon Ridge's 10th anniversary, hope you can join us for it on
July 24, 25 and 26.
Anne
------------------------------
Date: Thu, 26 Mar 1998 13:31:18 -0500 (EST)
From: Tonysica <Tonysica@aol.com>
Subject: Re: schmaltz
In a message dated 98-03-25 08:30:28 EST, you write:
> The was lots of rehearsing in the old black & white films (there is some
> technicolor here but I had a b&w set as a kid so...). "The Glenn Miller
> Story", "Stars & Stripes Forever", "Three Little Words", "The Benny
> Goodman Story", "Orchestra Wives", "The Fabulous Dorseys", "The Five
> Pennies"...
My favorite, "Yankee Doodle Dandy". Oh yeah, all those Abbott & Costello
movies with the Andrew Sisters and other musical stars of that era. "He's the
boogie woogie bugle boy of company b".
Tony Sica
WTMD-FM
------------------------------
Date: Thu, 26 Mar 1998 13:31:16 -0500 (EST)
From: "Mac McLanahan" <rsgarden@ici.net>
Subject: Rose Garden Contest Deadline Is Approaching
April 15 is an important date. It's tax day, but more importantly it's the
day by which all entries must be received in the Sixth Annual Rose Garden
Coffeehouse Singer/Songwriter Competition (Mansfield, Mass). Please visit
the Web site below for instructions, complete rules, and an entry form.
Three finalists will be picked to perform at the Live Finals on May 16
before Bill Staines' featured performance. Our distinguished judges for the
evening include Sonnny Ochs (Falcon Ridge Folk Festival and Northeast Folk
Alliance Showcase Panels), Ralph Jaccodine who provides talent management
services for Ellis Paul and The Push Stars, and a third judge yet to be
confirmed.
We look forward to your entries. But please enter only if you know you can
be in Mansfield, Mass. on May 19 if you are one of the three finalists!
Mac McLanahan
We welcome you to the Rose Garden Coffeehouse Web site at
http://www.ici.net/customers/rsgarden
------------------------------
Date: Thu, 26 Mar 1998 13:33:52 -0400
From: Alan Rowoth <alan@folkmusic.org>
Subject: the "truly" talented...
>It seems that there is a glut in the market of working professionals who have
>admired music from afar while pursuing otherwise lucrative careers, picking up
>acoustic guitars in their spare time, writing a few tunes, financing their own
>cd's and going out to perform at local venues and inviting their friends &
>family to come, watch, hang out, and otherwise vicariously live the so-called
>"fast lane high life of the musician"... Perhaps because it is actually a
>pretty easy thing to do if your life doesn't depend on it, but this makes it
>more difficult for the truely talented, dedicated professional artist to gain
>recognition he or she may deserve.
Maybe I'm just now "getting" what this thread is about. (or maybe it was
just the phrasing of this message...) Still, I wanted to speak up.
I think it's a mistake to categorize part-time musicians as untalented,
undedicated, and unprofessional. I'm not sure that whether an artist has a
day job or not has anything to do with how "good" they are. Some of the
biggest hacks I know have been playing music professionally for 20 years
(and they _still_ don't get it... Whether they want to live that "fast lane
high life", don't know how to stop drinking on their days off, or just
can't get up in the morning; (Well, I guess I'm also guilty of that one...)
the point is that there are some "professional" musicians who do it
primarily because they *never* learned how to do anything else. That
doesn't make them great (or even good...)
Conversely, there are some very talented, very professional, *very*
dedicated musicians who happen to make their living doing something else.
There are any number of reasons for why they made those choices and I won't
debate that it isn't likely that their musical careers would be more
developed if they focused on that career rather than their families, jobs,
hobbies, and other pursuits. The point is that I don't think it's up to me
to prioritize their lives for them.
Some of the most brilliant and talented people in the world are very
versatile. I've met folks who I was convinced could do absolutely anything.
Just because someone chooses to put the focus of their energy into being an
astronomer, or a clergyman, or a mother doesn't mean that they don't have
talent and can't make some incredible music as well. We all make choices,
there's nothing inherently more honorable in being poor than being
successful. As far as I'm concerned, the yardstick should having nothing to
do with the age, sex, race, creed, color, or day job of the performer. If
they make music that touches people's hearts, they are succeeding at being
a musician.
All of this isn't to say that a $4000 guitar, a winnebago, and a
holographic CD package can make a lackluster performer into a great one,
but I think it's a mistake to draw a line between musicians who do nothing
but make music and humans who make good music as just one facet of their
lives.
that's my two cents,
Alan
- --
============================================================================
Alan Rowoth |"Every time I hear people say it's never gonna change
alan@folkmusic.org | ...I think about you.
PO Box 307 | Like it's some kind of joke or some kind of game
Liverpool NY | ...I think about you.
13088-0307 | And when I see a woman on the news,
315.474.4800 | who didn't ask to be abandoned or abused
315.474.2766 fax | It doesn't matter who she is, I think about you."
www.folkmusic.org | - "I Think About You" Steve Seskin
------------------------------
Date: Thu, 26 Mar 1998 18:09:37 -0500 (EST)
From: Tom Neff <tneff@panix.com>
Subject: Is Folk a "Cottage Industry"? / House Concerts
The OED defines "cottage industry" as "one partly or wholly carried out in
the home." By these standards almost all of the music business qualifies,
since everyone from Erin McKeown to Bruce Springsteen spends quality time
in the basement or attic laying down tracks, demos, ideas, etc. There are
music "factory towns" like NYC, Nashville and LA, but music will always be
private at least part of the time.
The original poster expressed a hopeful thought that corporate investment
in Folk Festivals might signal that "maybe the world of acoustic music wont
be looked at by the majority of the world as a bunch of [hobbyists] in a
cottage industry." My interpretation is more like this: Big companies have
started noticing how many different ways there are to get a few thousand
free-spending listeners together at a festival site, and they're ready to
do some harvesting. Naturally it'll be necessary to, er, weed out some of
the more "marginal" and noncommercial acts clogging the stages -- you know,
those pluckers and plinkers and weirdos and has-beens -- and focus on the
more reliably commercial groovin' and babelicious folk acts. Hope you
don't mind, in fact hope you don't notice. Just keep buying stuff and
we'll supply the (major label) talent.
Someone asked whether House Concerts were a cottage industry. Not really,
because they're not an industry; they're a noncommercial grassroots
alternative to the industry. The credo is that "we the people" can help
reclaim folk music as our own not only by playing it, but by presenting it,
on a human scale and without making profit the little tin housegod. You
should attend them, play them, present them, review them -- and help start
new ones!
(Speaking of which, there are still a few seats available for Grassy Hill
this Sunday, 3/29 at 2:30pm, with Sloan Wainwright and Deb Pasternak (!!)
in Lyme, CT - email ghill@ifolk.org for reservations.)
- --
Tom Neff <tneff@panix.com> <URL:http://www.panix.com/~tneff/>
------------------------------
Date: Thu, 26 Mar 1998 18:09:36 -0500 (EST)
From: John Lupton <jlupton@sas.upenn.edu>
Subject: Re: schmaltz
At 01:31 PM 3/26/98 -0500, Tonysica wrote:
>In a message dated 98-03-25 08:30:28 EST, you write:
>
>> The was lots of rehearsing in the old black & white films (there is some
>> technicolor here but I had a b&w set as a kid so...). "The Glenn Miller
>> Story", "Stars & Stripes Forever", "Three Little Words", "The Benny
>> Goodman Story", "Orchestra Wives", "The Fabulous Dorseys", "The Five
>> Pennies"...
>
>My favorite, "Yankee Doodle Dandy". Oh yeah, all those Abbott & Costello
>movies with the Andrew Sisters and other musical stars of that era. "He's the
>boogie woogie bugle boy of company b".
>Tony Sica
>WTMD-FM
I will publicly admit to having a fondness for some of the schmaltzy stuff,
but there are some real treats from those bygone days that aren't quite as
heavy-handed. While traveling down to Folk Alliance last month, we stopped
for the night at a motel, and American Movie Classics was running "Stormy
Weather", the wartime musical that showcased much of the leading black
American talent of the time - Bill Robinson, Lena Horne, Fats Waller, many
more. Unquestionably, looking through our modern lens, the film is tainted
by the stereotyping and condescension of Hollywood toward black Americans
in that era, but the music and performances are terrific - you can even
overlook the fact that Bill Robinson, who was in his sixties at the time,
plays a doughboy just returned from France <g>...and Lena Horne is a treat
anytime, anywhere.
Another classic of that genre is "Stage Door Canteen", with Betty Grable...
=========================================================================
John Lupton, Network Services Manager (jlupton@sas.upenn.edu)
University of Pennsylvania, School of Arts & Sciences
Brandywine Friends of Old Time Music/Delaware Valley Bluegrass Festival
"Rural Free Delivery", WVUD 91.3 FM (University of Delaware)
=========================================================================
The University of Pennsylvania: a bar with a $31,000 cover charge...
------------------------------
Date: Thu, 26 Mar 1998 18:09:42 -0500 (EST)
From: Lilypie12 <Lilypie12@aol.com>
Subject: Fwd: Jim Infantino House Concert
Jim Infantino House Concert
FOLKUS does it again! Always a show to remember when Jodi, Paula and Gill
present a singer/songwriter at their house concerts. Jim Infantino gave an
energetic show on Sunday night, March 22nd.
I've heard some of Jim's music and was encouraged to go see him in person
after hearing "Stress". Talk about addiction....I am hooked on that song!
Seeing him live, seeing his expressions and mannerisms; it just puts you in
an up mood.
Most of Jim's lyrics are very humorous. Not ha,ha, ha funny, but holding
your side and giving out a belly laugh funny! Many of us were crying he made
us laugh so hard! Of course with any good artist, there is a serious side.
One favorite of mine is Somewhere Over NYC. Another is a song called Darlene.
His guitar playing is brash and beautiful all rolled into one. The FOLKUS
living room was filled with good vibes, and lots of smiles .All brought to
light by the talented Jim Infantino. Thanks, Linda Steffen
------------------------------
Date: Thu, 26 Mar 1998 18:09:32 -0500 (EST)
From: John Lupton <jlupton@sas.upenn.edu>
Subject: Re: the "truly" talented...
At 01:33 PM 3/26/98 -0400, Alan Rowoth wrote:
>Conversely, there are some very talented, very professional, *very*
>dedicated musicians who happen to make their living doing something else.
>There are any number of reasons for why they made those choices and I won't
>debate that it isn't likely that their musical careers would be more
>developed if they focused on that career rather than their families, jobs,
>hobbies, and other pursuits. The point is that I don't think it's up to me
>to prioritize their lives for them.
A couple of good examples to illustrate Alan's point: Dan Crary is a
college professor; John Starling is an M.D.; Del McCoury was a carpenter
for many years until he got to the point where he could *afford* to do
music on a full-time basis. There are many fine performers whose "day job"
is *making* instruments - Tut Taylor and Wayne Henderson, to name just a
couple. These people aren't just exceptions, this could be a pretty long
list if we wanted it to be...
=========================================================================
John Lupton, Network Services Manager (jlupton@sas.upenn.edu)
University of Pennsylvania, School of Arts & Sciences
Brandywine Friends of Old Time Music/Delaware Valley Bluegrass Festival
"Rural Free Delivery", WVUD 91.3 FM (University of Delaware)
=========================================================================
The University of Pennsylvania: a bar with a $31,000 cover charge...
------------------------------
Date: Thu, 26 Mar 1998 18:09:42 -0500 (EST)
From: Christopher Bingham <naked@serv.net>
Subject: Re: the "truly" talented...
At 01:33 PM 3/26/98 -0400, Alan Rowoth wrote:
>Conversely, there are some very talented, very professional, *very*
>dedicated musicians who happen to make their living doing something else.
This little thread hits home for me. Life is bigger than the music
business - twenty years of doing nothing but performing and writing, would
have left me with nothing to write about but life on the road. If the line
between professional and amatuer is measured only in record sales, then
Courtney Love is another Michaelangelo.
The music "industry" is not good for us as a culture. I take my
watch off
when I perform because when we come together to make music, we enter
mythtime, we enter sacred territory. I'm there to do something with your
heartfelt emotional center - if I'm watching the clock or counting heads,
I'm whoring.
I gather that most people subscribe to this list because it's
difficult
for them to find the music they like through the "normal" radio and TV
venues. In this business climate it's easier to find Courtney and hard to
find Erin Corday.
I see a growing number of folks who are attending house
concerts, doing
the church coffeehouse/bookstore thing, making this work on the grassroots
level and that's the community I want to be a part of. Let MTV sell someone
else the revolution.
Christopher Bingham
naked@serv.net
Suddenly Naked Arts Collective
Gaia Consort - look for the new CD sometime this fall
------------------------------
End of FOLK_MUSIC digest V1 #2348
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WebPrimitives
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