Jim Jones's Blog, page 3
October 21, 2014
Y’ALL SPEAK TEXAN?
I often tell my daughter that she is twice blessed. She was born in Dallas so she has strong Texas roots, and she got to grow up in the lovely Land of Enchantment, New Mexico. By and large, she agrees with me although currently, she does live in New York City. That’s fodder for another blog though (maybe for the “fodder/daughter blog…sorry, I couldn’t resist). Today, I’m writing about how we Texans talk different.
When she was little, I asked my daughter if she wanted to learn to “talk Texan.” Of course, being a young lady of good breeding with sturdy Texas genes, she agreed immediately. Here’s how it went.
Dad: “Jeet?”
Daughter: “Nope.”
Dad: “Yanta?”
Daughter: “Yep.”
Dad: “Sgo.”
Daughter: “Kay.”
Translation:
Dad: “Have you eaten yet?”
Daughter: “Why no, I haven’t, thanks for asking.”
Dad: “Do you want to go with me to get something to eat?”
Daughter: “Why yes I would, I really appreciate it.”
Dad: “Well, then let’s go.”
Daughter: “Okay, I believe I will.”
There are grammatical rules in Texas that you sometimes have to explain to folks who are not sufficiently educated. Although the word, y’all, is a contraction for you all, it’s not always reserved for groups. If you see an individual that you know well but haven’t seen in a while, you might ask, “How y’all doin’?” If it were a couple that you happened to run into and you were asking about their family, you might use the possessive form… “How’s y’all’s dogs?” If there are a number of people present, you might say something like, “How’s all y’all doin’?” And of course, if you were to then inquire about their canines, you would use the possessive plural, asking, “How’s all y’all’s dogs?”
Another rule of Texas grammar is that when the letters, “ing” appear at the end of a word, the “g” is silent. Thus, the word, nothing, becomes nothin’, or parting becomes partin’ (as in “partin’ is such sweet sorrow”…that’s Shakespeare for those of you who aren’t quite up to snuff on your literature). What seems obvious to a well-bred Texan can become confusing (or should I say, confusin’) to a foreigner. A few years ago, I was at the home of some friends here in New Mexico and they asked me to play some songs for them and their guests. One of the songs I performed was one that I co-wrote with my good buddy, Allan Chapman, a true Texas gentleman. It’s a cowboy love song (that means it ends badly) entitled, “Smoke of the Brandin’ Fire.” When I’d finished performing it, the lady of the house, who happened to be from Indiana originally, said, “That’s a beautiful song but I have a question. What is a Brandon fire?” I patiently explained the grammatical rules to her and tried to be as non-judgmental as I could be. Not everyone can be from Texas.
We have any number of phrases that are apparently differ from what you might hear in the more backwards states. For example, if you are getting ready to go to the store and someone calls, you would tell them you were “fixin’ to go to the store.” If a friend was out on the lake bass fishing and a big wind came along to capsize his boat (narrowly missing the trailer park on the shore!), you would say his boat tumped over. And of course, when you hear the words, “Bless her heart,” you know the person is about to say something really harsh, though usually well-deserved, about someone…i.e. “Bless her heart, she’s real sweet and all, but she could eat oats through a picket fence” (this means she has a serious overbite!).
I’ve been so busy with other things today that I didn’t get around to workin’ on this piece until much later than I had intended. It’s early evenin’ as I write these last few words. My wife just came in and asked, “Jeet?” I said, “Nope.” She said, “Yanta?” I said, “Yep.” Excuse me, dinner is served.
October 14, 2014
NO TIME FOR NOSTALGIA
Every so often when PBS is doing a fund-raiser, they’ll air a concert featuring a series of Folk acts from the 60s. The Brothers Four, what’s left of the Kingston Trio, the New Christy Minstrels and so on. Each act will sing a “medley of their hit,” usually off key and with about as much enthusiasm as one can muster for the one song for which you’re known and which you’ve been singing for fifty years. Much like the “classic rock” and “heavy metal/hair” acts that play the casino circuit, they’re trying to squeeze out a living based on nostalgia. Watching them perform tends to make me feel a mixture of sadness and embarrassment for them. I bring this up just so I can contrast it to Ian Tyson’s performance.
Did I mention that Ian is 81? He doesn’t get around quite as well as he once did when he rode his cutting horses in competitions all over the West. He can, however, still pick out a lively twin lead with his lead guitar player and after corrective surgery on his vocal chords a few years ago, his voice is as strong and true as singers half his age. Yes, he did sing some of his signature songs…“Someday Soon” and “Navajo Rug”…but mostly he focused on his newer material. He writes songs about the history of the West, about the Western lifestyle, about the beauties of the Rocky Mountains, and songs about the joy and pain of love in the West. He is a master songwriter. The melodies are engaging, the chord progressions varied and creative, the lyrics intelligent and fresh. You don’t have to be a cowboy or live on a ranch to appreciate his music; you just need to have a soul. By the way, at age 81, Ian is currently working on his next album project. He did some of the songs that will be on the new CD in his recent concert and they are amazing.
What I love about Ian Tyson, in addition to his wonderful music, is the same thing I love about artists like Bruce Springsteen, Paul Simon and Neil Young as well as great female artist like Emmylou Harris, Rosanne Cash, Melissa Etheridge and Sheryl Crow (younger than these greybeards I mentioned but still on the “mature side” of fifty). They don’t rest on their laurels or wallow in the past; they keep moving forward and making new music. I don’t think they can help themselves, it’s just who they are. In this pop culture we live in where young “superstars” in their early twenties are already writing their autobiographies, getting older is not a great marketing strategy for commercial success. That’s a shame. I realize that a lot of music consumers wouldn’t know quality music if it bit them on the butt. I just refuse to believe that’s true of everyone out there who purchases music though. If you are a thoughtful consumer, you can find some great new music. In the past year, Bruce Springsteen and Rosanne Cash have released stellar albums. John Mellencamp just released a fine new CD entitled “Plain Spoken!”
Recently, I said that every few weeks, I would post links on Facebook that include music tips so here goes. Along with the ones I mentioned above, I suggest you go to http://www.iantyson.com/ and in particular, check out Ian’s most recent album, “Raven Singer.” There’s also a CD from 2013 entitled “All the Good’uns, Volume 2.” It contains music from about the last fifteen years of Ian’s more than sixty year career and it will knock your socks off. Once you’ve done that, you’ll want to be on the alert for his next album of new material. Notice I said, “New material.” Ian Tyson’s got no time for nostalgia; he’s too busy creating his next masterpiece.
NO TIME FOR NOSTALGIA
I recently saw Ian Tyson in concert. For those of you who don’t know, Ian is one of the premier singer/songwriters in the Western music genre. Before that, he was one half of the iconic Canadian Folk duo, Ian and Sylvia. They were contemporaries of Bob Dylan in Greenwich Village at the height of the “great Folk scare” in the early to mid-sixties. Ian wrote classics such as “Four Strong Winds” and “Someday Soon,” (recorded by Judy Collins and later, Suzy Boggus among others). When that musical fad passed, Ian sort of faded into obscurity only to re-emerge in the 80s writing, recording and performing wonderful songs about life in the West. His album, “Cowboyography” is one of the finest albums ever recorded. Ian is 81 years old.
Every so often when PBS is doing a fund-raiser, they’ll air a concert featuring a series of Folk acts from the 60s. The Brothers Four, what’s left of the Kingston Trio, the New Christy Minstrels and so on. Each act will sing a “medley of their hit,” usually off key and with about as much enthusiasm as one can muster for the one song for which you’re known and which you’ve been singing for fifty years. Much like the “classic rock” and “heavy metal/hair” acts that play the casino circuit, they’re trying to squeeze out a living based on nostalgia. Watching them perform tends to make me feel a mixture of sadness and embarrassment for them. I bring this up just so I can contrast it to Ian Tyson’s performance.
Did I mention that Ian is 81? He doesn’t get around quite as well as he once did when he rode his cutting horses in competitions all over the West. He can, however, still pick out a lively twin lead with his lead guitar player and after corrective surgery on his vocal chords a few years ago, his voice is as strong and true as singers half his age. Yes, he did sing some of his signature songs…“Someday Soon” and “Navajo Rug”…but mostly he focused on his newer material. He writes songs about the history of the West, about the Western lifestyle, about the beauties of the Rocky Mountains, and songs about the joy and pain of love in the West. He is a master songwriter. The melodies are engaging, the chord progressions varied and creative, the lyrics intelligent and fresh. You don’t have to be a cowboy or live on a ranch to appreciate his music; you just need to have a soul. By the way, at age 81, Ian is currently working on his next album project. He did some of the songs that will be on the new CD in his recent concert and they are amazing.
What I love about Ian Tyson, in addition to his wonderful music, is the same thing I love about artists like Bruce Springsteen, Paul Simon and Neil Young as well as great female artist like Emmylou Harris, Rosanne Cash, Melissa Etheridge and Sheryl Crow (younger than these greybeards I mentioned but still on the “mature side” of fifty). They don’t rest on their laurels or wallow in the past; they keep moving forward and making new music. I don’t think they can help themselves, it’s just who they are. In this pop culture we live in where young “superstars” in their early twenties are already writing their autobiographies, getting older is not a great marketing strategy for commercial success. That’s a shame. I realize that a lot of music consumers wouldn’t know quality music if it bit them on the butt. I just refuse to believe that’s true of everyone out there who purchases music though. If you are a thoughtful consumer, you can find some great new music. In the past year, Bruce Springsteen and Rosanne Cash have released stellar albums. John Mellencamp just released a fine new CD entitled “Plain Spoken!”
Recently, I said that every few weeks, I would post links on Facebook that include music tips so here goes. Along with the ones I mentioned above, I suggest you go to http://www.iantyson.com/ and in particular, check out Ian’s most recent album, “Raven Singer.” There’s also a CD from 2013 entitled “All the Good’uns, Volume 2.” It contains music from about the last fifteen years of Ian’s more than sixty year career and it will knock your socks off. Once you’ve done that, you’ll want to be on the alert for his next album of new material. Notice I said, “New material.” Ian Tyson’s got no time for nostalgia; he’s too busy creating his next masterpiece.
October 7, 2014
ONE TO RIDE THE RIVER WITH
Recently some other performers and I were discussing the fact that in November, the Western Music Association will give out their annual Awards of Excellence. What does that have to do with riding the river, you ask? Hang on, I’ll get there. In the Western entertainment field, we have the WMA awards, the Academy of Western Artists (AWA) awards and the Western Writers of America’s Spur Awards. Of course, on a larger scale, there are the Grammy Awards, the CMA Awards, the Oscars, the Emmys, the Tonys, the Golden Globes and on and on. I don’t expect to ever receive a Grammy, Oscar, CMA award, Tony, Emmy or Golden Globe. I have been a finalist for and received some awards from the WMA, WWA and AWA. It’s nice to be nominated…it’s even nicer to win. I’m just not sure what it all means in the big scheme of things.
I’ve heard people who are knowledgeable say that the big awards…Oscars, Grammys…go to the people/labels/studios, etc. who spend the most money. In other words, to a large extent, they are bought and paid for. That doesn’t necessarily mean that the art and artist are not extremely good, it just means that the process is suspect and perhaps tarnished. In the smaller pond of Western music, what I hear most often from people is that they have no idea how decisions are made regarding who and what receives an award. As a result, while no one seems to think these awards are bought and paid for, there is a sense that they are not particularly meaningful. While I’m grateful for the ones I’ve been nominated for or received, I don’t spend much time thinking about them or gazing adoringly at them. In fact, I have them stored in a closet. To tell you the truth, I’m not sure why I was the one to receive some of them. To be clear, I’m NOT giving them back. I’m just a little bit mystified.
If awards aren’t where it’s at, what is? Where do we find measures of our worth as human beings that we can trust to be meaningful? Glad you asked, now I can tie this all together. There are people in my life…past and present…who’ll do to ride the river with. Family and friends, colleagues in both my music/writing career as well as my other former career of working with children and families. Country folks and city folks, cowboys and psychiatrists, inlaws and outlaws. People whom I respect and admire deeply. Nothing makes me feel better than knowing that these people think highly of me and return that respect and admiration. Nothing makes me feel worse than thinking I might have let them down in some way. They provide me with a code of behavior to follow and a standard of excellence for which to strive. Unlike the various awards I mentioned above, there is nothing suspect or tarnished about this process. It’s solid gold. You know when you’ve measured up and you keep this knowledge in a special place in your heart, mind and soul. It’s better than any award you will ever receive. You are a man or woman to ride the river with.
ONE TO RIDE THE RIVER WITH
There’s a saying in the West, “he’ll do to ride the river with.” It means that you trust that person. You know they’re honest, dependable and will be there for you when you need them most. You respect them and know you can count on them when the chips are down. In all likelihood, this phrase refers to the experience cowboys had of crossing rivers on cattle drives. These were often dangerous undertakings. A cowboy needed someone upon whom he could depend in what might be a life and death situation. This was one of the highest compliments a cowboy could pay someone.
Recently some other performers and I were discussing the fact that in November, the Western Music Association will give out their annual Awards of Excellence. What does that have to do with riding the river, you ask? Hang on, I’ll get there. In the Western entertainment field, we have the WMA awards, the Academy of Western Artists (AWA) awards and the Western Writers of America’s Spur Awards. Of course, on a larger scale, there are the Grammy Awards, the CMA Awards, the Oscars, the Emmys, the Tonys, the Golden Globes and on and on. I don’t expect to ever receive a Grammy, Oscar, CMA award, Tony, Emmy or Golden Globe. I have been a finalist for and received some awards from the WMA, WWA and AWA. It’s nice to be nominated…it’s even nicer to win. I’m just not sure what it all means in the big scheme of things.
I’ve heard people who are knowledgeable say that the big awards…Oscars, Grammys…go to the people/labels/studios, etc. who spend the most money. In other words, to a large extent, they are bought and paid for. That doesn’t necessarily mean that the art and artist are not extremely good, it just means that the process is suspect and perhaps tarnished. In the smaller pond of Western music, what I hear most often from people is that they have no idea how decisions are made regarding who and what receives an award. As a result, while no one seems to think these awards are bought and paid for, there is a sense that they are not particularly meaningful. While I’m grateful for the ones I’ve been nominated for or received, I don’t spend much time thinking about them or gazing adoringly at them. In fact, I have them stored in a closet. To tell you the truth, I’m not sure why I was the one to receive some of them. To be clear, I’m NOT giving them back. I’m just a little bit mystified.
If awards aren’t where it’s at, what is? Where do we find measures of our worth as human beings that we can trust to be meaningful? Glad you asked, now I can tie this all together. There are people in my life…past and present…who’ll do to ride the river with. Family and friends, colleagues in both my music/writing career as well as my other former career of working with children and families. Country folks and city folks, cowboys and psychiatrists, inlaws and outlaws. People whom I respect and admire deeply. Nothing makes me feel better than knowing that these people think highly of me and return that respect and admiration. Nothing makes me feel worse than thinking I might have let them down in some way. They provide me with a code of behavior to follow and a standard of excellence for which to strive. Unlike the various awards I mentioned above, there is nothing suspect or tarnished about this process. It’s solid gold. You know when you’ve measured up and you keep this knowledge in a special place in your heart, mind and soul. It’s better than any award you will ever receive. You are a man or woman to ride the river with.
September 30, 2014
ROOTS MUSIC, PART DEUX
I just spent the past five days in Austin at the Southwest Regional Folk Alliance (hereafter known as SWRFA) Conference. It would take a full article just to scratch the surface of everything that went on but let me say that it was fantastic. Last week, I mentioned songwriter, playwright, university professor, and general Renaissance man, Andy Wilkinson, one of the co-founders of the Nara Visa Gathering. Well, Andy was at SWRFA as a presenter and we got to spend some time together, which we don’t usually get to do at gatherings because we’re so busy. He’s a fine fellow whose work I admire tremendously AND he bought me a beer which sealed the deal! If you sense a theme developing …free food and booze appeal to me…you’re quite perceptive. A phrase that he used to describe the experience, both at SWRFA and at a lot of the Western Music events as well, is “finding your tribe.” Kindred spirits, people who share your experiences and your love of music…to quote the late Steven Fromholz, “The ones who stand beside you cannot guide you but you know they understand” (from “Late Night Neon Shadows”). It’s a great feeling.
SEGUE: At SWRFA, I heard a discussion that sounded eerily familiar. What is the future of folk music? Substitute “Western music,” “acoustic story songs,” “Roots music,” “Americana” and other buzz words if you would like. I’ve heard a whole bunch of talk about this topic and I myself have participated in many a dialogue over the past few years. How do we keep getting the music out there and how do we find and attract audiences who aren’t all members of AARP? (NOT that there’s anything wrong with that!) I won’t burden you with the details of the lengthy and, at times, contentious discussion, which made my head swim, but I’ll share my conclusions with you. 1) Nobody knows. 2) My plan is as good as anyone else’s.
So here’s my plan. Every couple of weeks, I’m going to share links, mostly on Facebook, of music that is both off the beaten path and would likely be appealing to people who enjoy good acoustic story songs. I hope people share the info with their friends and spread the good word. It ain’t happenin’ on Country radio or The Voice/American Idol/America’s Got Talent, ad nauseum so we might as well do it. Here’s my first installment.
For those of you who aren’t familiar with contemporary Western Music, check out these folks. Dave Stamey (www.davestamey.com/), Juni Fisher (www.junifisher.net ) and R.W. Hampton (www.rwhampton.com ) Three contrasting styles, three superb performers. Here’s a few hot tips from my very fresh experience at SWRFA. My good friends, George Ensle from Austin (www.georgeensle.com ), Ken Gaines from Houston (www.kengaines.com ) and Brian Kalinec from Houston (www.briankalinec.com ). Also, 2-Bit Palomino from Houston (www.2bitpalomino.com ). These folks are all seasoned veterans of the Texas songwriter scene and do great work. And finally, two young people whose songs just blew me away last weekend. Addie Brownlee from NYC (but don’t hold that against her! www.addiebrownlee.com ) and Matt Nakoa, also from NYC (and don’t hold it against him either. www.mattnakoa.com ). If you can’t find some music that knocks your socks off in this bunch, then you’re not really a music fan. If you do like it, pass it on. Pass on some of your own favorites too. As Michelle Shocked says, “music is too important to be left in the hands of professionals.”
ROOTS MUSIC, PART DEUX
I know, I just wrote about this last week but I keep getting inspired. Last week, I talked about attending a genuine “roots music” cowboy gathering in Nara Visa, NM followed by performing the next day at a large world “roots” music festival in Albuquerque. I didn’t have room last week to mention that we also got to perform on Sunday at the community center in the little New Mexico town of Hillsboro, which turned out to be pretty “rootsy” as well. We had a good, appreciative crowd at our concert and afterwards, they invited us to a community gathering at the Black Range Winery & Restaurant where they fed us steak and served us my favorite kind of wine (free!). It doesn’t get much rootsier than that.
I just spent the past five days in Austin at the Southwest Regional Folk Alliance (hereafter known as SWRFA) Conference. It would take a full article just to scratch the surface of everything that went on but let me say that it was fantastic. Last week, I mentioned songwriter, playwright, university professor, and general Renaissance man, Andy Wilkinson, one of the co-founders of the Nara Visa Gathering. Well, Andy was at SWRFA as a presenter and we got to spend some time together, which we don’t usually get to do at gatherings because we’re so busy. He’s a fine fellow whose work I admire tremendously AND he bought me a beer which sealed the deal! If you sense a theme developing …free food and booze appeal to me…you’re quite perceptive. A phrase that he used to describe the experience, both at SWRFA and at a lot of the Western Music events as well, is “finding your tribe.” Kindred spirits, people who share your experiences and your love of music…to quote the late Steven Fromholz, “The ones who stand beside you cannot guide you but you know they understand” (from “Late Night Neon Shadows”). It’s a great feeling.
SEGUE: At SWRFA, I heard a discussion that sounded eerily familiar. What is the future of folk music? Substitute “Western music,” “acoustic story songs,” “Roots music,” “Americana” and other buzz words if you would like. I’ve heard a whole bunch of talk about this topic and I myself have participated in many a dialogue over the past few years. How do we keep getting the music out there and how do we find and attract audiences who aren’t all members of AARP? (NOT that there’s anything wrong with that!) I won’t burden you with the details of the lengthy and, at times, contentious discussion, which made my head swim, but I’ll share my conclusions with you. 1) Nobody knows. 2) My plan is as good as anyone else’s.
So here’s my plan. Every couple of weeks, I’m going to share links, mostly on Facebook, of music that is both off the beaten path and would likely be appealing to people who enjoy good acoustic story songs. I hope people share the info with their friends and spread the good word. It ain’t happenin’ on Country radio or The Voice/American Idol/America’s Got Talent, ad nauseum so we might as well do it. Here’s my first installment.
For those of you who aren’t familiar with contemporary Western Music, check out these folks. Dave Stamey (www.davestamey.com/), Juni Fisher (www.junifisher.net ) and R.W. Hampton (www.rwhampton.com ) Three contrasting styles, three superb performers. Here’s a few hot tips from my very fresh experience at SWRFA. My good friends, George Ensle from Austin (www.georgeensle.com ), Ken Gaines from Houston (www.kengaines.com ) and Brian Kalinec from Houston (www.briankalinec.com ). Also, 2-Bit Palomino from Houston (www.2bitpalomino.com ). These folks are all seasoned veterans of the Texas songwriter scene and do great work. And finally, two young people whose songs just blew me away last weekend. Addie Brownlee from NYC (but don’t hold that against her! www.addiebrownlee.com ) and Matt Nakoa, also from NYC (and don’t hold it against him either. www.mattnakoa.com ). If you can’t find some music that knocks your socks off in this bunch, then you’re not really a music fan. If you do like it, pass it on. Pass on some of your own favorites too. As Michelle Shocked says, “music is too important to be left in the hands of professionals.”
September 23, 2014
ROOTS MUSIC
Much of the charm of Nara Visa is the camaraderie. Folks sit around and visit. You get to hear stories about people’s experiences with mules (I have a story!), how much rain they’re getting in their part of the country, and whatever happened to old what’s his name. These are rural, small town people whose life experiences are much different from those of big city dwellers. They are genuine, salt-of-the-earth folks.
The next morning, I had to leave Nara Visa because I was scheduled to play, along with my buddies Doug Figgs and Mariam Funke, at the 10th anniversary of the Globalquerque World Music Festival in Albuquerque. The founders/organizers, Tom Frouge and Neal Copperman, bring in acts from all over the globe (hence the name) and people get to hear music that reflects the culture of places as varied as Hungary, Ghana, Cuba and other foreign countries such as New York City. There are some astounding musicians and it’s really fascinating to learn about their stories. Turns out some of them are rural, small town people whose life experiences are much different from those of big city dwellers. They are genuine, salt-of-the-earth folks, too.
I admit I was a little anxious, not to mention skeptical, going in. In my experience, American audiences are very willing to listen to music that reflects a different, rural lifestyle as long as it’s from a country other than their own. Doug, Mariam and I were singing about one very important aspect of the history, culture and tradition of New Mexico…the Western/Cowboy life. Often, it’s a challenge to get respect in your home town. I was afraid people might turn up their noses at our music. Boy was I wrong! We had a great crowd of folks who had never heard us perform before and they just ate it up. People could not have been more complimentary about the music; everything from the quality of the songwriting to the authentic presentation of the history and lifestyle of cowboys in our state. They seemed every bit as interested in the roots of our music as they did those of the Hungarians (who were amazing, if a bit highly-caffeinated). Apparently, Tom Frouge was right when he told me, “There’s only two kinds of music…good and bad.”
In our Western music genre, we struggle with the question of how to attract more listeners. I’ve given this a lot of thought and I’d like to say I have the answer. Sadly, that is not the case. However, I think there might be some clues from our Globalquerque experience. We need to seek out audiences who are open to hearing and embracing new and different styles. The huge mainstream of popular music, be it country, pop, rap or rock isn’t where we’ll find these folks. We need to look for what may initially seem as unlikely partnerships…The Cowboy Way Trio with Golem, a Klesmer/punk band from New York City (all I can say is WOW!)…in order to get our music out there. I love the cowboy poetry gatherings but at those events, we’re generally preaching to the choir. Those folks have heard what we do. We don’t want to abandon the gatherings but we need to get in front of different audiences who are willing to listen to something with which they are unfamiliar.
I have any number of musical colleagues who are pretty cynical at this stage of their careers. They’re the ones who keep saying “there’s no money in Western music” and who throw cold water on any discussions about how to grow our genre. I encourage you to deal with them the way I do. I listen very carefully to the substance of what they’re saying about what hasn’t worked. They know a lot and much of what they say is accurate as far as it goes. The problem is, that’s as far as they go. Since I plan to keep making music for a while longer, I’m not giving up on the idea of expanding my audience and making a decent income. I believe there’s an audience out there who will appreciate what we do. After all, as Tom Frouge said, “There’s only two kinds of music…good and bad.” I’m betting on the folks who like good music. We just have to find them.
ROOTS MUSIC
Recently, I attended the Nara Visa Cowboy Gathering in (where else) Nara Visa, NM. Nara Visa is actually right on the Texas border, much closer to Dalhart or Amarillo than to Albuquerque. The gathering was started in 1993 by iconic Cowboy entertainer, Buck Ramsey along with Andy Wilkinson, one of the finest Western songwriters around and Phil Martin. They chose to utilize the old time Chautauqua format of one song or poem for each performer. There are no headliners…it doesn’t matter if you’re a WMA Hall of Famer like RW Hampton, who sang a song or if you’re an old geezer who took up the guitar three years ago and performed an extremely rough version of an old cowboy classic. Everyone is treated the same.
Much of the charm of Nara Visa is the camaraderie. Folks sit around and visit. You get to hear stories about people’s experiences with mules (I have a story!), how much rain they’re getting in their part of the country, and whatever happened to old what’s his name. These are rural, small town people whose life experiences are much different from those of big city dwellers. They are genuine, salt-of-the-earth folks.
The next morning, I had to leave Nara Visa because I was scheduled to play, along with my buddies Doug Figgs and Mariam Funke, at the 10th anniversary of the Globalquerque World Music Festival in Albuquerque. The founders/organizers, Tom Frouge and Neal Copperman, bring in acts from all over the globe (hence the name) and people get to hear music that reflects the culture of places as varied as Hungary, Ghana, Cuba and other foreign countries such as New York City. There are some astounding musicians and it’s really fascinating to learn about their stories. Turns out some of them are rural, small town people whose life experiences are much different from those of big city dwellers. They are genuine, salt-of-the-earth folks, too.
I admit I was a little anxious, not to mention skeptical, going in. In my experience, American audiences are very willing to listen to music that reflects a different, rural lifestyle as long as it’s from a country other than their own. Doug, Mariam and I were singing about one very important aspect of the history, culture and tradition of New Mexico…the Western/Cowboy life. Often, it’s a challenge to get respect in your home town. I was afraid people might turn up their noses at our music. Boy was I wrong! We had a great crowd of folks who had never heard us perform before and they just ate it up. People could not have been more complimentary about the music; everything from the quality of the songwriting to the authentic presentation of the history and lifestyle of cowboys in our state. They seemed every bit as interested in the roots of our music as they did those of the Hungarians (who were amazing, if a bit highly-caffeinated). Apparently, Tom Frouge was right when he told me, “There’s only two kinds of music…good and bad.”
In our Western music genre, we struggle with the question of how to attract more listeners. I’ve given this a lot of thought and I’d like to say I have the answer. Sadly, that is not the case. However, I think there might be some clues from our Globalquerque experience. We need to seek out audiences who are open to hearing and embracing new and different styles. The huge mainstream of popular music, be it country, pop, rap or rock isn’t where we’ll find these folks. We need to look for what may initially seem as unlikely partnerships…The Cowboy Way Trio with Golem, a Klesmer/punk band from New York City (all I can say is WOW!)…in order to get our music out there. I love the cowboy poetry gatherings but at those events, we’re generally preaching to the choir. Those folks have heard what we do. We don’t want to abandon the gatherings but we need to get in front of different audiences who are willing to listen to something with which they are unfamiliar.
I have any number of musical colleagues who are pretty cynical at this stage of their careers. They’re the ones who keep saying “there’s no money in Western music” and who throw cold water on any discussions about how to grow our genre. I encourage you to deal with them the way I do. I listen very carefully to the substance of what they’re saying about what hasn’t worked. They know a lot and much of what they say is accurate as far as it goes. The problem is, that’s as far as they go. Since I plan to keep making music for a while longer, I’m not giving up on the idea of expanding my audience and making a decent income. I believe there’s an audience out there who will appreciate what we do. After all, as Tom Frouge said, “There’s only two kinds of music…good and bad.” I’m betting on the folks who like good music. We just have to find them.
September 16, 2014
GET A LIFE
I’ve always been a sports fan but I have to admit, I just don’t get this fantasy sports thing. Although living vicariously through your sports heroes is nothing new, it seems as if we’ve sunk to new depths. When I hear guys talk about this topic, it’s all I can do not to scream, “Get your fat butts off the couch and actually go out and PLAY a sport! What you’re doing is NOT real!” I’m not sure they would get it. I want to tell them they’re not the same as the general managers of sports teams because they’re not risking anything. They’re not the same as the athletes because they’re not exerting any energy or making any sacrifices. IT’S A FANTASY!! Most of all, I want to tell them to grow up. Get a life. Children spend a great deal of time in a fantasy world. The difference is that most children actually learn from this process and as they mature, they take what they’ve learned and use it in productive ways.
People have always had dreams. If you look at the successes people have had over the centuries, you can count on the fact that each accomplishment began as a dream. Someone used their imagination and visualized something grand. Then, however, they took the next step. They came up with a plan and put it into action. They moved toward their vision step by step, often with many a stumble along the way. The successful ones picked themselves up and continued moving toward their goals, their ambitions fueled by the fire of their dreams. When Horace Greeley wrote the words, “Go West, young man,” people didn’t just sit around New York City fantasizing about it. They got in a wagon and did it. They risked everything. Many paid the ultimate price for failure but over time, they settled the West. It’s a good thing we didn’t have computers back then. We’d all still be living on the east coast playing “fantasy cowboys & Indians.”
What’s the harm, you might ask. No one gets hurt in this fantasy sports world. It’s just good clean fun. In the short run, you’d be right. I’m just a geezer on a rant about a 21st Century phenomenon that’s out of my comfort zone. In the long run though, I believe it’s insidious and destructive. People get used to finding their gratification with a minimum of risk and effort. They get comfortable with the idea that if their fantasy team is at the top of the league standings, they’ve actually done something noteworthy. Imagining an accomplishment replaces the actual doing of the deed. They live a “virtual life.” Their personal reality becomes disconnected with the real world. As this mentality grows and spreads, who knows where it will lead. Wait…I think I just described the plot for the Matrix movies. Hmm, maybe I’m onto something. I think I’ll sit around and fantasize about writing a futuristic science fiction opus about people sitting around fantasizing. If I do it long enough, maybe a book will pop out.
