[FA Worldmusic] knowledge transfer and marketing acrossgenerations
Steve Hochman
shochman at pacbell.net
Fri Aug 17 14:33:16 ADT 2007
how far back are you willing to trace it? most of the "originators"
were around well before anyone had any way of recording the music...
On Aug 17, 2007, at 10:27 AM, Living learning wrote:
> Hello All,
>
> The Rolling Stones, those thieves. Influence is okay but stealing
> and also
> Led Zeppelin, both had to latter give credit to the real song
> writers, but
> in many instances kept themselves as co-writers and that is just
> the tip of
> the iceberg.
>
> Yes, we need to know who originated the music, otherwise fans like
> some
> things about the artists for the wrong reason. As well the
> originator needs
> his due in the history and process.
>
> Sorry, but my blood boiled up a few degrees.
>
> Louise
>
> Afropop NYC Events
>
>
>> From: fa-worldmusic-request at folk.org
>> Reply-To: fa-worldmusic at folk.org
>> To: fa-worldmusic at folk.org
>> Subject: FA-Worldmusic Digest, Vol 18, Issue 12
>> Date: Mon, 13 Aug 2007 21:18:34 -0300
>>
>> Send FA-Worldmusic mailing list submissions to
>> fa-worldmusic at folk.org
>>
>> To subscribe or unsubscribe via the World Wide Web, visit
>> http://www.folkserv.net/mailman/listinfo/fa-worldmusic
>> or, via email, send a message with subject or body 'help' to
>> fa-worldmusic-request at folk.org
>>
>> You can reach the person managing the list at
>> fa-worldmusic-owner at folk.org
>>
>> When replying, please edit your Subject line so it is more specific
>> than "Re: Contents of FA-Worldmusic digest..."
>>
>>
>> Today's Topics:
>>
>> 1. Re: knowledge transfer and marketing across generations
>> (The Silver Nightingale)
>> 2. Re: Apache (Phil Ballman)
>> 3. Re: music chains and knowledge transfer (Mark Gorney)
>> 4. Re: knowledge transfer and marketing across generations
>> (Steve Hochman)
>> 5. Re: knowledge transfer and marketing acrossgenerations
>> (Mitchell Greenhill)
>> 6. Re: knowledge transfer and marketing acrossgenerations
>> (Steve Hochman)
>>
>>
>> ---------------------------------------------------------------------
>> -
>>
>> Message: 1
>> Date: Mon, 13 Aug 2007 11:59:42 -0400
>> From: The Silver Nightingale <laurasue at silvernightingale.com>
>> Subject: Re: [FA Worldmusic] knowledge transfer and marketing across
>> generations
>> To: Fa-Worldmusic (E-mail) <fa-worldmusic at folk.org>
>>
>> On Aug 10, 2007, at 6:05 PM, Steve Hochman wrote:
>>
>>> how
>>> many people discovered folk and blues due to Dylan and the Stones?
>>> How many learned about reggae from Eric Clapton's version of "I Shot
>>> the Sheriff"? And how many just enjoy what they heard and never
>>> explored the roots, which I suppose is fine, since enjoyment is the
>>> real point of music from a listener's standpoint. I mean, we all
>>> want
>>> people to learn about the sources of music, the creators (if anyone
>>> can really be called a creator, since most of the traditions we love
>>> go back well beyond traceability), but does it really matter if they
>>> don't? I guess it matters a lot if someone's work is being used/
>>> copied without compensation and recognition. but is there a larger
>>> necessity for a Lily Allen fan, for example, to know where that
>>> piano
>>> lick came from?
>>
>> I don't know if the average fan (whoever that is) looks into their
>> fave
>> musician's influences to the point of actually hearing the original
>> work. How many people still think Eric Clapton wrote and was first to
>> record "I Shot the Sheriff"? I bet that would be a big number. Those
>> who are not educated or curious enough about music in the first place
>> to even think about their idol's sources won't be looking for them.
>>
>> Heck, even a musically educated and music-adoring person such as
>> myself, who grew up to be a professional musician - as a young sprout
>> listening to PP&M, Dylan, Beatles and Stones, I had little idea about
>> their inspirations till decades later (who's this Carl Perkins guy?)
>>
>> And when I first saw Work O' The Weavers just a few years ago, I
>> learned even more about who a lot of musicians I listened to were
>> inspired by (Sloop John B didn't originate with the Beach Boys?!) (or
>> for that matter, with the Weavers!!)
>>
>> Even though I thought I was already pretty familiar with the Weavers
>> through learning folk and political history, I really didn't know the
>> truly enormous scope of their work and influence. Of course that's a
>> group that drew heavily on roots sources, but how many of even their
>> legion of fans know the music of those sources?
>>
>> You don't know what you don't know....
>>
>> One of the best ways for musicians to make sure their fans have a
>> clue
>> about the ones who came before is by recording and performing with
>> their influences, as artists like Bonnie Raitt, Eric Clapton and
>> others
>> have done - as well as by talking about those influences and
>> inspirations during their shows. During interviews too, of course,
>> but
>> especially during their shows.
>>
>> Best from the nest,
>> Laura Sue
>>
>> * Flute Fusion * from The Silver Nightingale
>> (--<*>---(-o-o-o-`---o-o-o-(0-ooo-()
>> http://www.SilverNightingale.com
>>
>> "I planted some bird seed. A bird came up. Now I don't know what to
>> feed it." - Steven Wright
>>
>>
>> ------------------------------
>>
>> Message: 2
>> Date: Mon, 13 Aug 2007 12:37:52 -0400
>> From: "Phil Ballman" <philballman at gmail.com>
>> Subject: Re: [FA Worldmusic] Apache
>> To: fa-worldmusic at folk.org
>>
>> No one probably cares anymore, BUT...
>>
>> "Apache" IS without a doubt a hip-hop classic- not the early Shadows
>> version, but the 1973 Michael Viner produced version by the
>> Incredible
>> Bongo
>> Band.
>>
>> The remix by Bam spread the word beyond the hip-hop cognoscenti,
>> but it was
>> really DJ Kool Herc's use of the track and it's infectious break
>> beat that
>> established the IBB version of 'Apache' as a seminal hip-hop tune...
>>
>> Phil
>>
>>
>> ------------------------------
>>
>> Message: 3
>> Date: Mon, 13 Aug 2007 10:21:37 -0700
>> From: "Mark Gorney" <mark at worldisc.net>
>> Subject: Re: [FA Worldmusic] music chains and knowledge transfer
>> To: <fa-worldmusic at folk.org>
>>
>> My not terribly profound .02:
>>
>> It's almost as if you took the words right out of my mouth, Rob..
>> the exact
>> same thing happened to me. I was also getting very into roots
>> reggae in
>> high
>> school - Toots and the Maytals for example, because they were
>> active and
>> touring and signed to a label (Island), which had good
>> distribution and got
>> their releases into stores. And the late Joseph Hill of Culture,
>> whose
>> "Lion
>> Rock" album was distributed by Rough Trade (talk about cross-segment
>> marketing!)
>>
>> Trojan and Island taught me a lot about Jamaican music - the
>> Trojan Story
>> vinyl box set, while perhaps technically a bootleg, was like a $15
>> class in
>> Jamaican music history. It showed how Jamaican popular music
>> progressed in
>> the 1960s from ska to rocksteady to the different phases of early
>> reggae,
>> with years listed. It showed me the history of the music, laying the
>> groundwork for later collecting, knowledge, journalism and even a
>> documentary film. I would like to think that an informed consumer
>> is an
>> avid
>> consumer?
>>
>> Equally as significant was Island's foray into African music. My
>> brother,
>> working at Leopold's records in Berkeley, found a copy of one of
>> Chief
>> Commander Ebenezer Obey's albums, but Island helped bring King
>> Sunny Ade
>> (and me) to the Greek Theater in 1982, which is beyond what would
>> have
>> happened otherwise, and of course I had his Mango albums. And I
>> think that
>> made me buy a vinyl copy of what was probably the Rail Band's first
>> international release (1970) on the Bdrenreiter label. If memory
>> serves I
>> wasn't exposed to Fela by any marketing efforts - I believe I simply
>> stumbled on one of his records in a record store circa 1984. I
>> looked at
>> the
>> cover and thought, this has to be good. And of course..
>>
>> My points are simply that if labels are willing to invest some
>> time and
>> money in informing people about music and getting it to them, this
>> can
>> definitely lead to further exploration. How many people are turned
>> on to
>> other music by say Putumayo and Rough Guides I can't say, but what
>> I can
>> say
>> generically is hats off to any labels as well as other entities
>> such as the
>> Chicago World Music Festival that make bold decisions about bringing
>> international music to a wider audience, whether it is a single
>> artist or
>> group or a novel compilation that documents a scene happening
>> anywhere. And
>> yes even Starbucks, because despite their corporate nature they are
>> floating
>> global sounds out there and helping them to become part of the
>> overall
>> fabric.
>>
>>
>> Mark
>>
>>
>> -----Original Message-----
>> From: fa-worldmusic-bounces+mark=worldisc.net at folk.org
>> [mailto:fa-worldmusic-bounces+mark=worldisc.net at folk.org] On
>> Behalf Of
>> fa-worldmusic-request at folk.org
>> Sent: Monday, August 13, 2007 8:00 AM
>> To: fa-worldmusic at folk.org
>> Subject: FA-Worldmusic Digest, Vol 18, Issue 11
>>
>> Send FA-Worldmusic mailing list submissions to
>> fa-worldmusic at folk.org
>>
>> To subscribe or unsubscribe via the World Wide Web, visit
>> http://www.folkserv.net/mailman/listinfo/fa-worldmusic
>> or, via email, send a message with subject or body 'help' to
>> fa-worldmusic-request at folk.org
>>
>> You can reach the person managing the list at
>> fa-worldmusic-owner at folk.org
>>
>> When replying, please edit your Subject line so it is more specific
>> than "Re: Contents of FA-Worldmusic digest..."
>>
>>
>> Today's Topics:
>>
>> 1. Re: knowledge transfer... (Robert Weisberg)
>> 2. music chains and knowledge transfer (Dmitri Vietze)
>> 3. Hippies (lee)
>>
>>
>> ---------------------------------------------------------------------
>> -
>>
>> Message: 1
>> Date: Mon, 13 Aug 2007 06:28:54 -0400 (EDT)
>> From: Robert Weisberg <robwv at panix.com>
>> Subject: Re: [FA Worldmusic] knowledge transfer...
>> To: fa-world music list <fa-worldmusic at folk.org>
>>
>> Testimonial:
>>
>> My personal case history (age 44): I heard the Specials, Selecter
>> and
>> Beat in high school, I followed the trail to the Intensified
>> compilations
>> of 60s Jamaican ska and rock steady - and the rest is history!
>>
>> An old but fun radio dj trick (and educational, kiddies!) is to do
>> sets
>> based around this kind of musical chain)...
>>
>> Rob W / WFMU / http://www.wfmu.org/tsp
>>
>>
>> ------------------------------
>>
>> Message: 4
>> Date: Mon, 13 Aug 2007 16:38:30 -0700
>> From: Steve Hochman <shochman at pacbell.net>
>> Subject: Re: [FA Worldmusic] knowledge transfer and marketing across
>> generations
>> To: The Silver Nightingale <laurasue at silvernightingale.com>
>>
>> yes, exactly! not everyone is going to explore further or ever care.
>> which is fine. we in this discussion are all extraordinarily
>> passionate and curious about musical lineage matters. but I think we
>> all also can simply appreciate merely LIKING something we here and
>> not having to know how the sausage was made, so to speak, or the
>> parentage of the pig, for that matter....
>>
>> and as hinted at by Laura with the Weavers/Sloop John B reference,
>> assigning "creator" credit can get sloppy. I have this discussion
>> routinely whenever anyone mentions Led Zeppelin "ripping off" Willie
>> Dixon et al. Well, yeah, they did. But who did Willie Dixon rip off?
>> A lot of his songs are drawn from things that already existed, in the
>> fine blues/folk tradition of mixing and matching lines and verses,
>> melodies and rhythms scavenged from other songs. Does the first
>> person to claim authorship GET authorship? well, it's seemed that way
>> a lot. (For more on this, I HIGHLY recommend Elijah Wald's terrific
>> "Escaping the Delta" book from a few years ago.)
>>
>>
>> -----------------------------------
>> Check out my column:
>> http://www.spinner.com/category/around-the-world/
>> -----------------------------------
>>
>> On Aug 13, 2007, at 8:59 AM, The Silver Nightingale wrote:
>>
>>> On Aug 10, 2007, at 6:05 PM, Steve Hochman wrote:
>>>
>>>> how
>>>> many people discovered folk and blues due to Dylan and the Stones?
>>>> How many learned about reggae from Eric Clapton's version of "I
>>>> Shot
>>>> the Sheriff"? And how many just enjoy what they heard and never
>>>> explored the roots, which I suppose is fine, since enjoyment is the
>>>> real point of music from a listener's standpoint. I mean, we all
>>>> want
>>>> people to learn about the sources of music, the creators (if anyone
>>>> can really be called a creator, since most of the traditions we
>>>> love
>>>> go back well beyond traceability), but does it really matter if
>>>> they
>>>> don't? I guess it matters a lot if someone's work is being used/
>>>> copied without compensation and recognition. but is there a larger
>>>> necessity for a Lily Allen fan, for example, to know where that
>>>> piano
>>>> lick came from?
>>>
>>> I don't know if the average fan (whoever that is) looks into their
>>> fave
>>> musician's influences to the point of actually hearing the original
>>> work. How many people still think Eric Clapton wrote and was
>>> first to
>>> record "I Shot the Sheriff"? I bet that would be a big number. Those
>>> who are not educated or curious enough about music in the first
>>> place
>>> to even think about their idol's sources won't be looking for them.
>>>
>>> Heck, even a musically educated and music-adoring person such as
>>> myself, who grew up to be a professional musician - as a young
>>> sprout
>>> listening to PP&M, Dylan, Beatles and Stones, I had little idea
>>> about
>>> their inspirations till decades later (who's this Carl Perkins guy?)
>>>
>>> And when I first saw Work O' The Weavers just a few years ago, I
>>> learned even more about who a lot of musicians I listened to were
>>> inspired by (Sloop John B didn't originate with the Beach Boys?!)
>>> (or
>>> for that matter, with the Weavers!!)
>>>
>>> Even though I thought I was already pretty familiar with the Weavers
>>> through learning folk and political history, I really didn't know
>>> the
>>> truly enormous scope of their work and influence. Of course that's a
>>> group that drew heavily on roots sources, but how many of even their
>>> legion of fans know the music of those sources?
>>>
>>> You don't know what you don't know....
>>>
>>> One of the best ways for musicians to make sure their fans have a
>>> clue
>>> about the ones who came before is by recording and performing with
>>> their influences, as artists like Bonnie Raitt, Eric Clapton and
>>> others
>>> have done - as well as by talking about those influences and
>>> inspirations during their shows. During interviews too, of
>>> course, but
>>> especially during their shows.
>>>
>>> Best from the nest,
>>> Laura Sue
>>>
>>> * Flute Fusion * from The Silver Nightingale
>>> (--<*>---(-o-o-o-`---o-o-o-(0-ooo-()
>>> http://www.SilverNightingale.com
>>>
>>> "I planted some bird seed. A bird came up. Now I don't know what to
>>> feed it." - Steven Wright
>>> _______________________________________________
>>> FA-Worldmusic mailing list
>>> FA-Worldmusic at folk.org
>>> http://www.folkserv.net/mailman/listinfo/fa-worldmusic
>>
>>
>> ------------------------------
>>
>> Message: 5
>> Date: Mon, 13 Aug 2007 16:56:18 -0700
>> From: "Mitchell Greenhill" <mitchg at folkloreproductions.com>
>> Subject: Re: [FA Worldmusic] knowledge transfer and marketing
>> acrossgenerations
>> To: "Steve Hochman" <shochman at pacbell.net>, "The Silver Nightingale"
>> <laurasue at silvernightingale.com>
>>
>> Unless you can prove otherwise, be careful casting doubts on
>> Willie Dixon's
>> authorship. My own feeling is that "I'm Ready," "Spoonful,"
>> "Built For
>> Comfort" etc etc are Willie Dixon's original compositions, no less
>> than
>> "White
>> Christmas" was written by Irving Berlin. Just because they sound
>> like
>> they've
>> been around for ever doesn't mean that they have.
>> ----- Original Message -----
>> From: Steve Hochman
>> To: The Silver Nightingale
>> Cc: Fa-Worldmusic (E-mail)
>> Sent: Monday, August 13, 2007 4:38 PM
>> Subject: Re: [FA Worldmusic] knowledge transfer and marketing
>> acrossgenerations
>>
>>
>> yes, exactly! not everyone is going to explore further or ever
>> care.
>> which is fine. we in this discussion are all extraordinarily
>> passionate and curious about musical lineage matters. but I
>> think we
>> all also can simply appreciate merely LIKING something we here and
>> not having to know how the sausage was made, so to speak, or the
>> parentage of the pig, for that matter....
>>
>> and as hinted at by Laura with the Weavers/Sloop John B reference,
>> assigning "creator" credit can get sloppy. I have this discussion
>> routinely whenever anyone mentions Led Zeppelin "ripping off"
>> Willie
>> Dixon et al. Well, yeah, they did. But who did Willie Dixon rip
>> off?
>> A lot of his songs are drawn from things that already existed,
>> in the
>> fine blues/folk tradition of mixing and matching lines and verses,
>> melodies and rhythms scavenged from other songs. Does the first
>> person to claim authorship GET authorship? well, it's seemed
>> that way
>> a lot. (For more on this, I HIGHLY recommend Elijah Wald's terrific
>> "Escaping the Delta" book from a few years ago.)
>>
>>
>> -----------------------------------
>> Check out my column:
>> http://www.spinner.com/category/around-the-world/
>> -----------------------------------
>>
>> On Aug 13, 2007, at 8:59 AM, The Silver Nightingale wrote:
>>
>>> On Aug 10, 2007, at 6:05 PM, Steve Hochman wrote:
>>>
>>>> how
>>>> many people discovered folk and blues due to Dylan and the Stones?
>>>> How many learned about reggae from Eric Clapton's version of "I
>>>> Shot
>>>> the Sheriff"? And how many just enjoy what they heard and never
>>>> explored the roots, which I suppose is fine, since enjoyment is the
>>>> real point of music from a listener's standpoint. I mean, we all
>>>> want
>>>> people to learn about the sources of music, the creators (if anyone
>>>> can really be called a creator, since most of the traditions we
>>>> love
>>>> go back well beyond traceability), but does it really matter if
>>>> they
>>>> don't? I guess it matters a lot if someone's work is being used/
>>>> copied without compensation and recognition. but is there a larger
>>>> necessity for a Lily Allen fan, for example, to know where that
>>>> piano
>>>> lick came from?
>>>
>>> I don't know if the average fan (whoever that is) looks into their
>>> fave
>>> musician's influences to the point of actually hearing the original
>>> work. How many people still think Eric Clapton wrote and was
>>> first to
>>> record "I Shot the Sheriff"? I bet that would be a big number. Those
>>> who are not educated or curious enough about music in the first
>>> place
>>> to even think about their idol's sources won't be looking for them.
>>>
>>> Heck, even a musically educated and music-adoring person such as
>>> myself, who grew up to be a professional musician - as a young
>>> sprout
>>> listening to PP&M, Dylan, Beatles and Stones, I had little idea
>>> about
>>> their inspirations till decades later (who's this Carl Perkins guy?)
>>>
>>> And when I first saw Work O' The Weavers just a few years ago, I
>>> learned even more about who a lot of musicians I listened to were
>>> inspired by (Sloop John B didn't originate with the Beach Boys?!)
>>> (or
>>> for that matter, with the Weavers!!)
>>>
>>> Even though I thought I was already pretty familiar with the Weavers
>>> through learning folk and political history, I really didn't know
>>> the
>>> truly enormous scope of their work and influence. Of course that's a
>>> group that drew heavily on roots sources, but how many of even their
>>> legion of fans know the music of those sources?
>>>
>>> You don't know what you don't know....
>>>
>>> One of the best ways for musicians to make sure their fans have a
>>> clue
>>> about the ones who came before is by recording and performing with
>>> their influences, as artists like Bonnie Raitt, Eric Clapton and
>>> others
>>> have done - as well as by talking about those influences and
>>> inspirations during their shows. During interviews too, of
>>> course, but
>>> especially during their shows.
>>>
>>> Best from the nest,
>>> Laura Sue
>>>
>>> * Flute Fusion * from The Silver Nightingale
>>> (--<*>---(-o-o-o-`---o-o-o-(0-ooo-()
>>> http://www.SilverNightingale.com
>>>
>>> "I planted some bird seed. A bird came up. Now I don't know what to
>>> feed it." - Steven Wright
>>> _______________________________________________
>>> FA-Worldmusic mailing list
>>> FA-Worldmusic at folk.org
>>> http://www.folkserv.net/mailman/listinfo/fa-worldmusic
>> _______________________________________________
>> FA-Worldmusic mailing list
>> FA-Worldmusic at folk.org
>> http://www.folkserv.net/mailman/listinfo/fa-worldmusic
>>
>>
>> ------------------------------
>>
>> Message: 6
>> Date: Mon, 13 Aug 2007 17:18:21 -0700
>> From: Steve Hochman <shochman at pacbell.net>
>> Subject: Re: [FA Worldmusic] knowledge transfer and marketing
>> acrossgenerations
>> To: "Mitchell Greenhill" <mitchg at folkloreproductions.com>
>>
>> I was not trying to cast aspersions on Dixon, who was very much an
>> innovator and creator of original art. Was just looking at the
>> evolution of modern blues and folk traditions and the fact that at
>> some point along the way people started claiming authorship of things
>> that were really, at best, "trad. arr. by" cases. Maybe I was too
>> rash to put the spotlight on Dixon. But I'd be pretty surprised if
>> Dixon hadn't scavenged some lines from other songs to create some of
>> his compositions. Just as it's pretty clear that much of Robert
>> Johnson's work came from pre-existing songs. That's not a judgment,
>> as Johnson brought a distinct artistry to his performances (well, as
>> far as we can tell from the precious few recordings).
>>
>>
>> -----------------------------------
>> Check out my column:
>> http://www.spinner.com/category/around-the-world/
>> -----------------------------------
>>
>> On Aug 13, 2007, at 4:56 PM, Mitchell Greenhill wrote:
>>
>>> Unless you can prove otherwise, be careful casting doubts on Willie
>>> Dixon's authorship. My own feeling is that "I'm Ready,"
>>> "Spoonful," "Built For Comfort" etc etc are Willie Dixon's original
>>> compositions, no less than "White Christmas" was written by Irving
>>> Berlin. Just because they sound like they've been around for ever
>>> doesn't mean that they have.
>>> ----- Original Message -----
>>> From: Steve Hochman
>>> To: The Silver Nightingale
>>> Cc: Fa-Worldmusic (E-mail)
>>> Sent: Monday, August 13, 2007 4:38 PM
>>> Subject: Re: [FA Worldmusic] knowledge transfer and marketing
>>> acrossgenerations
>>>
>>> yes, exactly! not everyone is going to explore further or ever care.
>>> which is fine. we in this discussion are all extraordinarily
>>> passionate and curious about musical lineage matters. but I think we
>>> all also can simply appreciate merely LIKING something we here and
>>> not having to know how the sausage was made, so to speak, or the
>>> parentage of the pig, for that matter....
>>>
>>> and as hinted at by Laura with the Weavers/Sloop John B reference,
>>> assigning "creator" credit can get sloppy. I have this discussion
>>> routinely whenever anyone mentions Led Zeppelin "ripping off" Willie
>>> Dixon et al. Well, yeah, they did. But who did Willie Dixon rip off?
>>> A lot of his songs are drawn from things that already existed, in
>>> the
>>> fine blues/folk tradition of mixing and matching lines and verses,
>>> melodies and rhythms scavenged from other songs. Does the first
>>> person to claim authorship GET authorship? well, it's seemed that
>>> way
>>> a lot. (For more on this, I HIGHLY recommend Elijah Wald's terrific
>>> "Escaping the Delta" book from a few years ago.)
>>>
>>>
>>> -----------------------------------
>>> Check out my column:
>>> http://www.spinner.com/category/around-the-world/
>>> -----------------------------------
>>>
>>> On Aug 13, 2007, at 8:59 AM, The Silver Nightingale wrote:
>>>
>>>> On Aug 10, 2007, at 6:05 PM, Steve Hochman wrote:
>>>>
>>>>> how
>>>>> many people discovered folk and blues due to Dylan and the Stones?
>>>>> How many learned about reggae from Eric Clapton's version of "I
>>> Shot
>>>>> the Sheriff"? And how many just enjoy what they heard and never
>>>>> explored the roots, which I suppose is fine, since enjoyment is
>>>>> the
>>>>> real point of music from a listener's standpoint. I mean, we all
>>> want
>>>>> people to learn about the sources of music, the creators (if
>>>>> anyone
>>>>> can really be called a creator, since most of the traditions we
>>> love
>>>>> go back well beyond traceability), but does it really matter if
>>> they
>>>>> don't? I guess it matters a lot if someone's work is being used/
>>>>> copied without compensation and recognition. but is there a larger
>>>>> necessity for a Lily Allen fan, for example, to know where that
>>> piano
>>>>> lick came from?
>>>>
>>>> I don't know if the average fan (whoever that is) looks into their
>>>> fave
>>>> musician's influences to the point of actually hearing the original
>>>> work. How many people still think Eric Clapton wrote and was
>>> first to
>>>> record "I Shot the Sheriff"? I bet that would be a big number.
>>>> Those
>>>> who are not educated or curious enough about music in the first
>>> place
>>>> to even think about their idol's sources won't be looking for them.
>>>>
>>>> Heck, even a musically educated and music-adoring person such as
>>>> myself, who grew up to be a professional musician - as a young
>>> sprout
>>>> listening to PP&M, Dylan, Beatles and Stones, I had little idea
>>> about
>>>> their inspirations till decades later (who's this Carl Perkins
>>>> guy?)
>>>>
>>>> And when I first saw Work O' The Weavers just a few years ago, I
>>>> learned even more about who a lot of musicians I listened to were
>>>> inspired by (Sloop John B didn't originate with the Beach Boys?!)
>>> (or
>>>> for that matter, with the Weavers!!)
>>>>
>>>> Even though I thought I was already pretty familiar with the
>>>> Weavers
>>>> through learning folk and political history, I really didn't know
>>> the
>>>> truly enormous scope of their work and influence. Of course
>>>> that's a
>>>> group that drew heavily on roots sources, but how many of even
>>>> their
>>>> legion of fans know the music of those sources?
>>>>
>>>> You don't know what you don't know....
>>>>
>>>> One of the best ways for musicians to make sure their fans have a
>>> clue
>>>> about the ones who came before is by recording and performing with
>>>> their influences, as artists like Bonnie Raitt, Eric Clapton and
>>>> others
>>>> have done - as well as by talking about those influences and
>>>> inspirations during their shows. During interviews too, of
>>> course, but
>>>> especially during their shows.
>>>>
>>>> Best from the nest,
>>>> Laura Sue
>>>>
>>>> * Flute Fusion * from The Silver Nightingale
>>>> (--<*>---(-o-o-o-`---o-o-o-(0-ooo-()
>>>> http://www.SilverNightingale.com
>>>>
>>>> "I planted some bird seed. A bird came up. Now I don't know what to
>>>> feed it." - Steven Wright
>>>> _______________________________________________
>>>> FA-Worldmusic mailing list
>>>> FA-Worldmusic at folk.org
>>>> http://www.folkserv.net/mailman/listinfo/fa-worldmusic
>>> _______________________________________________
>>> FA-Worldmusic mailing list
>>> FA-Worldmusic at folk.org
>>> http://www.folkserv.net/mailman/listinfo/fa-worldmusic
>>
>>
>> ------------------------------
>>
>> _______________________________________________
>> FA-Worldmusic mailing list
>> FA-Worldmusic at folk.org
>> http://www.folkserv.net/mailman/listinfo/fa-worldmusic
>>
>>
>> End of FA-Worldmusic Digest, Vol 18, Issue 12
>> *********************************************
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