Neal Pomea

Strong point, Dan! The survivors of an intentional suicide often go through a hard time of self-recrimination, almost blaming themselves for not having been able to intervene, assuming that were possible. Just a terrible scene altogether. I am sorry for his family. I certainly won't be joking about him. I rather remember his good work.

He did a good job playing Woody Guthrie in Bound for Glory. Now, if only they had made a movie about Woody's merchant marine days, his marriage to Marjorie, his relationship with the Almanac Singers, Leadbelly, Cisco Houston, Brownie and Sonny, Jack Elliott, and his getting Huntington's Chorea! He had some interesting times. Could have called upon even more of Carradine's quirky talent.

I placed my order! Thanks for bumping this up. Rob Bamberger featured this on Hot Jazz Saturday Night (WAMU in our nation's capitol) some time ago and I plum forgot to "act now!"

Thanks for sharing! Wonderful playing, beautiful record.

Leola Manning, The Blues is All Wrong, in Joe Bussard's basement. Article on recording activity at the Saint James Hotel in Knoxville in 1930 http://www.lynnpoint.com/st_james/moan.htm

Bob Dylan 4th Time Around Pledging My Time The Times They are a Changing Tomorrow is a Long Time Time Passes Slowly

We were talking earlier about how playing an instrument can enrich your life, even if you can't make a living as a professional. This article and video speaks to that: http://www.theind.com/content/view/4299/54/

Tinker Bell spoke with the psychic? And I thought the Dog Whisperer had something going!

Some Gennett material may be owned by Universal. Decca acquired some of Gennett's jazz catalog when Gennett folded. And Universal bought Decca. Interesting Gennett history here: http://www.starrgennett.org/stories/history/5.htm "As the year of 1930 went on, and the Depression deepened, the dual effects of the economic collapse and the rise of radio proved too much for most of the surviving independent record labels. A number of them were merged into the American Record Corporation, which eventually would acquire first Brunswick and then Columbia; others, such as Grey Gull and Emerson, disappeared without a trace. Even the massive RCA Victor company gave serious consideration to leaving the record side of their business. In Richmond, the Gennett firm noted that full-price records weren't selling; as a result, they quit producing Gennett records at the end of 1930, with the last issued record being #7323. However, the label continued the production of the Champion and Superior labels. Champion continued until the end of 1934, with its last issued record being #16832. At that time Gennett left the popular record business. The Champion name and trademarks, along with some pressing facilities and the rights to some Gennett-recorded material, were sold to the Decca Record Company, who continued the label into 1936. Gennett continued to press and market sound-effect records for radio use until about 1941. In 1943, the use of the Gennett name (and, more importantly during wartime shortages, its shellac allocation!) was sold to Joe Davis and his partner, Oberstein, who pressed records under that name into 1945."

History in the Making! Our First Half-Black President

Musical genres "evolve:" Worst. Metaphor. Evar!

It does make for an interesting take on fair use factor number 4, does the use affect the market for the music? Courts have tried to determine what a reasonable person would do. Would the use affect the marketplace of reasonable people? They are not understanding that the music buying market is not made up of reasonable people very much in the first place. How many of us have repetitive sets of the same music in different formats? It will continue this way, I am sure. And courts will continue to be out of touch with the realities of the market.

I am not familiar with the book but sociologists DO talk about such things as symbolic ethnic identity, so maybe what JR Cash meant was that some of our contemporaries who have no experience of rural life (at least as HE experienced it) still want to identify with it and believe they live it vicariously by identifying with country music. The concept of symbolic ethnic identity applies to ethnic groups, for instance, who have assimilated to the prevailing American lifestyle, language, customs, etc. but want to retain their identity. Where I am from people cling to Cajun identity, for example, through symbols such as celebrating Mardi Gras, eating ethnic Cajun food etc. while living just about exclusively in English rather than French. Creativity today in the area of Cajun music comes mostly in the form of assimilating and transforming prevailing American musical styles, so that it's "rocked up" to sound more attractive to contemporary ears familiar with rock-sounding rhythm sections. Almost never anymore in the form of sly French lyrics like it used to. The contemporaries who identify with "countryness" seem to be doing something similar. They don't have to do the chores on the farm that JR Cash had to do (who does nowadays?), but they somehow still identify themselves as country. Does that affect their music? You decide. Sounds like Eagles country-rock to me, for the most part. I know Joe Bussard well enough to realize that he would say that JR Cash himself was very far removed from country music, given that Joe Bussard thinks of country music as the music of Uncle Dave Macon, Weems Family, Da Costa Waltz's Southern Broadcasters, Clarence Ashley, Dykes' Magic City String Band, Burnett and Rutherford and the like. "Country" changes over time. A lot. What's the problem? No way the people who created American rap music knew much or cared about life or dancehall toasting music in Jamaica or the funk of the American south (roots of rap), and the suburban white kids who love rap don't care about the roots of rap in the Bronx, Bedford-Stuyvesant, or anything like that at all. Still creative. My 2 cents!

Maybe it should have gone in Rejected Topics. :blush2: Happy April 1!

Ha ha! I met my wife, in a roundabout way, through a record store when I had a chance meeting with a fellow who, as it turned out, was roommates with her brothers. He recognized me from a concert we both had attended and struck up a conversation. So you could say that music brought together my wife and me! Our first dates were all at dances hosted by the fellow in the record store. Anyway, I've come to prefer clothes shopping and other kinds of shopping online, but I still miss the record stores! It just might be more social in the U.S. Can't say.

It's like the difference between browsing the stacks of a library and researching with online databases. When I was in graduate school I did my research in a "brick and mortar" library. Now I teach students and faculty how to research in an "online" library. I enjoy the convenience but it just isn't the same. For me it still misses the serendipity of the unintended find in the stacks. Lots of music is going to be lost because it never made it CD much less iTunes and such services.

Pan-Galactic Asynchronous Jam Sessions of the Rich and Famous

Timothy Geithner/Woody Guthrie: Twins Separated at Birth?

Thanks! 1920-1940 is my favorite jazz decade!

If it's ok to include Cajun and Creole music, "honorable mentions" go to the following (primary time period included): Cajun Adam Hebert (1960s) Adam Landrenau (1960s) Austin Pitre (late 1940s-1960s) Belton Richard (1960s-1980s) Cleoma Breaux (1920s-30s) Clifford Breaux (1930s) Courtney Granger (2000s) Dewey Balfa (1950s-1990s) D.L. Menard (1960s work with Badeaux and the LA Aces) Eddie LeJeune (1980s) Gervais Quebedeaux (1970s work with Ambrose Thibodeaux) Happy Fats (1930s-60s) Harry Choates (1940s) Iry LeJeune (late 1940s-early 1950s) Jay Stutes (with Cleveland Crochet, 1950s, 60s) Joseph Falcon (1920s-30s) Lawrence Walker (1930s, but especially 1950s-60s) Lee Man Prejean (1960s-70s) Lennis Sonnier (with Hackberry Ramblers, 1930s, 1960s) Leo Soileau (1920s-30s) Marie Solange Falcon (1940s-50s) Moise Robin (1920s-30s) Nathan Abshire (1940s-1970s) Octa Clark (1960s-80s) Philip Alleman (with Aldus Roger, 1960s) Preston Manuel (1970s) Robert Bertrand (1950s-60s) Robert Jardell (1970s-present) Rodney Balfa (1960s-70s) Rodney LeJeune (1960s) Roy Fusilier (1960s-70s) Shirley Bergeron (1950s-60s) Vinesse LeJeune (with Sidney Brown, 1950s-60s) Vorance Barzas (with Maurice Barzas' Mamou Playboys, 1950s-1980s) Wallace "Cheese" Read (1950s-70s) for Creole music Amedé Ardoin (1920s-30s) Alphonse "Bois Sec" Ardoin, Canray Fontenot (1960s-80s) Lawrence "Black" Ardoin (1980s) Cedric Watson (2000s)

Blues Singer and Guitarist Preserved Virginia Traditions Glad I saw him not too too long ago on the national mall for the Smithsonian Folklife festival. Great interpreter of Skip James but mostly the Piedmont blues.

Of course!

Too bad my friend could never get him to play the Twist and Shout in Bethesda, MD when that was around. Snooks was too devout to travel or work on the Sabbath.

Dunn is a good signing for Washington. Now they can trade Nick Johnson, though I would rather have him at first and Dunn in left. Willy Mo Pena is probably out of the picture.

Thanks, jazztrain, for the information on Organ Grinder!