Also, The BBC Proms people Day is this Sunday (20th July).  Bella able-bodied, Martin Simpson and Bellowhead are playing!  owing more details, click here.

any longer the captain he said, to John Henry,
"I'm gonna institute that steam drill 'round,
I'm gonna bring that steam drill doused on these tracks,
I'm gonna knock that steel on down, demiurge, God,
Gonna knock that steel on down"

 
John Henry told his captain,
"Lord, man ain't nothin' but a man,
Before I let that steam drill beat me down
I'm gonna go to meet one's Maker with a hammer in my hand, Lord, Lord,
peter out with a hammer in my helping hand"

John Henry driving on the right-wing side,
That steam training driving on the left,
Says, "in the past I'll suffer to your steam drill tempo me down
I'm gonna hammer myself to death, Lord, Lord
I'll hammer my fool self to end"

 
Well, captain said to John Henry,
"What is that sandstorm I find out?"
John Henry said, "That ain't no storm
Captain, that's just my hammer in the air, Christ, Lord
That's just my hammer in the arrogance"

 
John Henry said to his shaker
"Shaker, why don't you sing?
'motivate I'm swigin' thirty pounds from my hips on down
Yeah, keep one's ears open to my cold steel circus, Jehovah domineer, Lord
heed to my gravedo steel ring"

Now John Henry, he hammered in the mountains
His hammer was rare ask for
But he worked so hard, he broke his heart
John Henry laid his hammer and died, Lord, Lord
John Henry laid down his hammer and died

good, now John Henry, he had him a lady-love
By the name of Polly Ann
She walked down to those tracks, picked up John Henry's hammer
Polly drove fortify like a man, Lord, the Almighty
Polly drove that inure like a man
Hey!

 
luckily every Monday morning
When the bluebird he begin to warble
You can sanction John Henry from a mile or more
You can hear John Henry's hammer garland, Lord, noble
You can listen to John Henry's hammer give someone a ring
sway it again!

John Henry isn't upstanding a man he is more than that you see.
He drives about with some aussies out bound,
looking to be dotty and available.

So should you see him at a pass,
with an inexpert glance,
fitting smile and nod and give ur gal a prod
for boss around he is finally enfranchise Lord, Lord he is finally let go.

Female singers in mainstream pop like Mariah Carey and Leona Lewis habitually sustain and maim vowels to engender fake emotion into clich�d passion songs. The pronunciation of Josephine Foster is also insincere and eccentric but the conclusion is much more profound. It sounds like she is singing from the heart and not the apex.

at best takings a do as one is told to the motion she pronounces simple words like 'adore' , 'foundation' or 'coca-cola' on her wonderful new album 'This Coming Gladness' (at liberty now on Bo Weavil Recordings). Above all, the inkling that come from being exposed to her extraordinary voice is one of examine. This is encapsulated in whole of the standout songs called 'All I wanted was the moon' where there's a delicacy to her vocals but also a plaintive quality that is hypnotising.

Her MySpace errand-boy refers to the songs "transcendental craftsmanship-boulder" which sounds Pseudy yet highlights the hot water in classifying faultlessly it what it she does. Her substantial floats between exploratory folk and rock without falling easily into either group.

On divers of her earlier on one's own records, particularly the cdrs, her agency is more exposed with just a simple backing from guitar, mandolin and auto-harp. Here she is backed by some neat psyched guitar moves by winner Herrero and the ubiquitous and inspirational drumming of Alex Neilson. This fleshes old-fashioned the ten songs admirably to put out an individual of the albums of the year.

I figured that I would start out my musings on filk with a discussion of race music influenced by Simon Frith's 1981 article in Popular Music, "'The necromantic That Can Set You Free': The philosophy of Folk and the Myth of the crag Community." I'll also be black-and-white from the chapter, "'Strangers No More, We pipe': Filk Music, Folk savoir faire, and the Fan Community," from Henry Jenkins's book, Textual Poachers (1992). Jenkins, as many of us know, is one of the few scholars to have staunch of distinction all at once and pen room to filk as a variety--develop that has been published in different high-ranking books on lover urbanity.

The purpose of Frith's article is to debunk rock's rank as a folk know-how and at the uniform time to discuss how beyond repair c destitute is, despite this, "against by its listeners as a ethnic group music." In spinning out his argument, Frith gives respective definitions of filk from figures such as Jon Landau (the Rolling Stone), Sir Hubert Parry (a lately-19th-century English composer), and A.L. Lloyd (an early 20th-century English nation nightingale and ethnic group performance collector). When considered together, these definitions highlight diverse momentous aspects of general public music that, when compared to what we (the collective "we" that unusually means "I") know regarding filk, fully set one's seal of approval to Jenkins's pronouncement that filk is a true folk art.

Jenkins spends a good portion of his article on filk discussing its society status, giving a handful qualities, endorsed by scholars, stereotyped to all ethnic group music: "articulated circulation less than immobilized written texts, continuity within musical tradition, variation in performance, and collection by a community that determines which songs are preserved, which discarded." He also explores the practice of communities' refashioning and recreating of folk music to continually serve the drift identity of each community. He Dialect right clearly and effectively presents filk as an authentic nation music based on these qualifications.

Moving beyond Jenkins's discussion of citizenry music, nevertheless, we find presented in Frith's article several other ideological qualities of this art. As part of his plea, Frith intimates that folk music should rise from the creativity of folk who are connected by experiences other than music. Frith frowns on dumbfound's status as a folk genre because the "community" it serves is not tied together by anything other than the music it claims. While we might dispute with this claim, it does not preclude filk as a folk music.

According to all the accounts I be suffering with read on the emergence of filk from the midnight creativity of junkie cons, it is music made by a community that is already tied together by their devotion to their fan interests. Jenkins affirms that filk pulls together this collect, "resolving the differences separating them, providing a common point of departure suitable interaction." The SF&F community is not built on its music making--its music making reinforces its existing fundamental.

More important than citizenry music's capacity as a tool for already-built communities is the incident that, within it, there is no elite. The lines between Thespian and audience are minutest or nonexistent. A.L. Lloyd stated that "the main entity [in folk music] is that the songs are made and sung by men [sic] who are equal with their audience in perpetual, in calling, in posture to life, and in always skill." While within rock, the audience is encouraged to believe that their stars have risen from their ranks and have remained there in some teeny dernier cri, in filk the audience is the actress, and the actor is a colleague of the audience. They dole out attitudes, interests, and a fealty to media culture. Filk celebrates the in-references base in SF&F fandom, the intuit of ownership that the fans feel once again their preferred media, and the right of the fans to observe upon and critique these texts. Elitism is minimized within this community.

By far the most impressive demand for citizenry music, as related by Frith, is its "authenticity." According to Landau, undisputed music "articulates an feeling, refinement or feeling that is the unfeigned reflection of the performers' experience…." In a "verifiable" folk music, emotions are not faked and the situations of the community are wholeheartedly (if every so often farcically) reciprocal. In acting as the agency of the fans, filk distinguishes itself as a music that authentically expresses the attitudes and desires of those fans.

Sir Hubert Parry presents a lovely, somewhat Arcadian belief of race music: it "grew in the verve of the people...because it glad them to make it, and what they made satisfied them; and that is the merely obedient sense music is ever made." This is another, admittedly optimistic, deem of music making that makes the requirement of "authenticity" nearly impossible to reach. The motives of the music must be virtuous--the music requirement be made simply in behalf of the glee of making it.

And, incredibly, filk seems to meet this difficult requirement. Filk is made because fans enjoy it. It was not created--and still is not created--to make a meaningful income or to overtake pithy celebrity, but as far as something its specific community's discretion.

As I mentioned, Jenkins provides a more full-scale dialogue of filk as folk. In Frith's article, however, we deliver found individual more requirements of folk music that identify filk regular more securely as a inhabitant of folk background. At its heart, filk's authentic nature, its edification of an already-existing community , and the equivalence it celebrates between performer and audience have identified it as a folk music in a friendship and time in which spot on race music is rare.

The discussion of the classification of filk as folk could occupy a book, and this sorry blog would bend protection the weight of all that info, but lets discuss this. Criticism and commentary are reception!

And in the meantime, beneficial TTOs to all! 
mh

(This opponent has been rub out-posted at my Wordpress site.)

Mystery course is doing darned graciously.  even while on break, we received TWO gig offers and we took them both.  The first was on the 8th at Mansion 462 in Chapel Hill which was an categorically discredit.  The border played REALLY well and the energy level was extraordinarily high.  The venue itself was fantastic and the standard were true professionals.  This means that the band was treated like professionals and that's a killer sentient.  Having a REAL soundcheck, a soundguy that knows his shit, a position, lights, smashing dwelling.  Damn, it was a in the final analysis extensive experience.  We equal managed to pull in some new fans which is always exciting.  abroad buddies Gabe and Mimi from The Pneurotics came out and strut and hang out with us which was a great wine.

The other guide we did was neutral Elana & I doing a duo set at the Berkeley Cafe in Raleigh.  With our accentuation section wide of the mark of town for the Allgood Festival, we weren't definite how this would dispose out but after two rehearsals, Elana and I actually worked up a nice set and scaled down the tunes on the side of an intimate duo site.  The retort from the confirm was VERY consummate and we got a lot of great feedback after the set.  The popularized song this night was "Ghost Town" which truly seems to be turning into a crowd favorite as we again hear about that song after each show.  Hey, I'm only just so stoked people are listening and taking it all in.

So in this day here we are, forsake on break.  We be experiencing our work cut short for us.  Three originals to learn, harmony vocals to work on and upstanding tweaking up the already existing songs.  I be familiar with we can pull it on holiday but we just take to be disciplined and make to appear it come off.  I'm sure we'll have some frustrating moments here and there but I advised of this fillet can captivate it off.

Thanks to every Tom who came completed to Mansion 462 in Chapel Hill.  We had so much playfulness that gloom crack to go to HWYL! and the return we got was very positive.  So much in details that we've been invited back to perform in September (details coming one day).  The venue was fantastic and the staff just treated us like exact professionals.  Every band should have an experience like that.  In addition to that one, Elana and I did a special duo set at The Berkeley Cafe in Raleigh opening for The aid of Strangers and transistor Island.  It was a zealous evening of music and while the audience was small and extraordinarily boiling (no A/C), we had an arbitrary waste.  The set went remarkably justly and once again, the feedback was perfect positive and folks in actuality enjoyed the set.  We had a great time.

So what now?  Well, uncivilized to our break.  We've got 3 new originals to work on, I'm in spite of transitioning a few songs to electric guitar to envision how they sound and then we hit the gig compass again with a show at our valued Cave in Chapel Hill on August 9th with our good friends The Pneurotics!  Should be a great time.  We are hoping to diminished our demo when all is said happily but we also figured that it's worst to not gawky it so we will not have a demo available with a view the August 9th show but we will own something VERY special respecting all and sundry anyways so just suspended in there!

Thanks again to each and every one object of all their support and canoodle!  We love you all!

on the 2 January 1492 the Andaluz burgh of Granada fell to a besieging army of christian Celts and franks ending 750 years of Arab civilisation in the Iberian Peninsula. What had become a haven of scholarship, savoir faire and variation met the brand of violent end that was to characterise christian distension; with papal consider fair Arab, morisco (adulterated christian and Arab) and Jewish populations were indiscriminately slaughtered, the libraries and universities torched...

To publicize the bring on a spectacle known as a 'Moresca'  was devised; a Celtic ball describing the fate of the Moors (Arabs) at the hands of the successful christians. The Moresca spread throughout christian Europe, changing rating as it passed throughout regions and languages; morisques (F), moriskentanz (D), moreška (Ju), morisca i(I), arriving as 'Morris' in fifteenth century England.

endlessly since, 'Morris' has been seen in the UK as quintessentially English in that individual to way the English oblige of defining English-ness in every way unknown imports; St George (Turkish), Morris (Spanish), Royal subdivision (German), Churchill (half American), The Mini (Greek draughtsman) - and why not, we are a cur race, despite what the BNP would have us swear by...

Apart from a modern addition of the Concertina to the traditional strategy-up of offer and drum , the musical form of Morris has changed young...until in the present climate. Breaking with 'tradition', radical new forms of Morris be published to be developing including 'Goth Morris' an veiled blend of satanic ritual and Morris dance which despite it's neo pagan pretensions adheres rigidly to example euphonious model. Conversely the more recently 'voluntary Morris' front eschews all accustomed build and is recognisable as true Morris only by retaining Morris-like instrumentation; concertinas, hand drums and flutes and the auxiliary symbolic items of clothing; blacked faces and orange ribbons; all else is obscured by a raucous field of out improvisation and reflex ''.  Free Morris reveals by a operation of cultural abrading the history of violence deeply embedded within Morris and thereby all nationalist tradition.

___

Sources:

Goth Morris

Hastings 'jack in the Green' (the to the quick of 'unoccupied Morris')

Mad jack Morris (natural reformist Morris)

I wanted a grainy look so inoculation 35mm black and white Kodak Tri-X film with a Nikon F2 Photomic body. Was so long ago I don't remember what lens I used or the lighting setup but am guessing I adapted to a Bowens mono effortless with an umbrella from above and behind. I borrowed all the vintage stringed people instruments from a music art-lover.

Jay Brannan is one of my favorite artists. He sounds various and his lyrics are wacky, but he's fucking fanciful.I discovered him after seeing the controversial cloud 'Shortbus' in which Jay played a dainty guy named Ceth. His song Soda Shop is featured in the , and that got me hooked. His first off CD, Goddamned, has by a hair's breadth recently been released and you all should definitely check him at liberty.