Neal Pomea

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!

I don't find this "fad" odd at all. Nearly all the rare music I have gotten from Joe Bussard over the years has come on cassette dubs from his 78s. And that's a lot of jazz from the 1920s-30s. Why not? It's a great medium. It's bizarre to me to compare cassettes to 8-track tapes. Cassettes had a much longer career and currency than 8-track tapes, and they still are smaller and easier to carry than cds. It'll be a sad day when I buy my next car and it doesn't come with a cassette player, just a plug in for an iPod.

Thanks for the story! I was lucky to hear Claude Williams participate in a tour sponsored by the National Council for the Traditional Arts. Arhoolie put out a CD of one of the concerts, which also included Kenny Baker, Michael Doucet, Natalie McMaster, and Brendan Mulvihill. This was at Georgetown U. and it must have been 1995 as the notes indicate. Good review on the Arhoolie site! I remember him doing a wonderful "Going to Kansas City." ETA: here is the link: http://www.arhoolie.com/titles/434.shtml

Dixie Ramblers, "La Musique Encore Encore," Cajun French version of "The Music Goes Round and Round," the song done by Wingy Manone, Louis Prima and others, on Rare and Authentic Cajun (1928-1939), 4 cd set, JSP. Nice remasters by Chris King.

Congratulations on your preservation efforts, but in a lot of cases it disappears.

Interesting remarks about Joe Bussard. I think his collection will stay in private hands. He doesn't think archives and libraries make things accessible enough. In his own way, he has made a lot accessible. What you wrote about "cultural genocide" (or disappearance) is true for Cajun and Creole culture. Those who monopolize and hoard cultural treasures for which there has long been no market -- well, what's moral about that?

The collector's item is the music, not the original lp. What did you want? The music or the artifact? In this case it's the triumph of the idea over the physical. I read that kind of language about ideas being trumped by the physical on this board when the discussion was perpetual copyright.

Good luck to you, and to anyone in a similar situation! I hope you can keep in touch with your friends from the job!

Were test pressings of 78s on shellac done for the same reason? So that if a collector had a test pressing on 78, he could assume it is one of only ~3 or 4 copies?

What label was this version of Organ Grinder on, the one with Ikey Robinson on guitar? It's not listed at Red Hot Jazz. I love that song!