Category Archives: Music

Resonator Represent!

From the shameless commercial self-promotion department:

Tired of hiding your enthusiasm for the resonator guitar under a bushel? Resonator represent! Share your resothusiasm by wearing some resonator schwag from my new store, Wixward, at wixward.com or cafepress.com/wixward. So far, shirts and hats, some centered around the fictional community of Doborough, Mass., where the the local high school is the Resonatahs.  Yes, my fellow southerners, we do have a raving bluegrass scene up here.  Other schwag says “resonator.”  “I <3 Reso,” and “big tent bluegrass.”  P.S. Where does the name “wixward” come from?  In yet another geeky moment, I named it after my ham radio callsign, W1XW.

Things That Are Lonesome

Things that are lonely or lonesome in my iTunes title list: boy, stranger, weekends, dobro, feeling, for you, for you darling, highway, river, road, valley, whistle, wind.

Dobro Instruction Books, 1978

I work as a research librarian, specializing in part in government publications.  Recently, I checked the Government Printing Office’s catalog to see what they may have published on the resonator guitar.  I came up with this tiny gem, a one page, typewritten, 1978 guide to books that teach the dobro: 


Johnston, Katherine W. 1978. Dobro Instruction Books: A Bibliography. Washington, DC.: Library of Congress, Archive of Folk Song, 1p.  SuDoc number LC 1.12/2:D 65. 

Thanks to the govdocs librarians at Duke who cared for this item, and for Duke’s interlibrary loan librarians, who scanned and sent it to the interlibrary loan folks at Harvard, who sent it to me. 

The bibliography is a short list: books by Mike Auldridge, Bill Cunningham, Ken Eidson & Tom Swatzell, Beverly King, Stacey Phillips, and Keith Tyler.  The two earliest books (Cunningham and Tyler) were published in 1971.  If, as I understand, Oahu made money selling instructional materials for their Hawaiian lap-style guitars in mid-century, does that suggest that other publishers might have put out material on resonated country or bluegrass lap-style as well, books or pamphlets that didn’t make it into this bibliography? 

And does anyone know of the author, Ms. Johnston? A few more titles that she wrote for the Archive of Folk Song at the Library of Congress suggest that she was an ethnomusicologist or music librarian.  The byline on the bibliography itself implies that she worked for the Archive and was based at the University of Maryland.

[For more on the resonator guitar, follow me as @DobroSwamp on Twitter.]

I ♥ D.C.

I just posted a new lyric, about DC, the metropolitan area where I grew up.

http://geoclark.com/music/i-♥-d-c/

Milt Hinton and Benny Goodman

Today I discovered an exhibit of photographs of jazz musicians by bassist and photographer Milt Hinton.  It’s only here for two more days at Harvard–in the Holyoke Center Arcade–though the 8th of Dec.  Well worth a visit.  His photos include one taken the same day as the Esquire photo session that inspired one of my favorite documentaries, A Great Day in Harlem

Aside from the photographs, which show musicians alternatively engrossed in their work and comfortably meeting the viewer with their easy gaze, the thing that touched me most about this exhibit was one of the information cards.  Hinton notes that he met clarinetist Benny Goodman when they were both thirteen.  They met in Chicago where they took music lessons at Jane Addams’ Hull House.  Twenty-five cents a lesson.  Who plays that role in Chicago today, I wonder, bringing kids together for music?  Who plays that role in each of our communities, when school music programs suffer continual cuts?

Throughout the exhibit, Hinton’s notes convey that he was an artist exceedingly grateful to those who passed on their knowledge to others, including himself.  May we all radiate that kind of feeling and take in that sense of community.

New Song — John Bull

A new lyric posted to my music page, “John Bull.”  It features the first locomotive in the United States.

Implement of Destruction

New song up: Implement of Destruction.

The Arts When Visa Isn’t a Payment Option

Dan R. reminded me of the experiment a while back that the Washington Post arranged where world famous violinist Joshua Bell played his Stradivarius next to a subway escalator at rush hour in DC  http://www.washingtonpost.com/wp-dyn/content/article/2007/04/04/AR2007040401721.html .

My thoughts:  Good one, Dan.  Yes, I remember that article.  I thought how in some ways, “quality” in the arts really is a social construct, depending to some extent on validation by others in the form of nice venues, favorable reviews, advance publicity, and simply giving ourselves permission to stop and observe and support what we like, rather than simply charging past to the subway, or thinking it’s somehow wasteful or a sign of weakness to give a busker a dollar rather than saving it for ourselves.  Motivation to open up to artists that we like, whether they are selling tickets or simply opening an instrument case on the subway platform. 

When was the last time that you supported an artist when Visa wasn’t a payment option?  Myself, I can’t remember.

Nurturing Participatory and Live-Performance Arts

I was just suggesting to friends on Facebook that we need to figure out ways to nurture participatory and live-performance arts in a culture of “efficiency,” commuting, and commodification.  My friend Patrick asked more of what I was thinking, here’s what I said:
“I did some small group shape note singing this summer which was the most fun. So, obviously, just do it is one important thing. But policy-wise, everything is so interrelated.
“At the risk of two much information, here’s my two cents: Public transportation; arts education in public schools; nurturing families of all sorts, since our loved ones are often the vehicle for passing on arts as a shared experience.
“Out where I live [in the suburbs], improvements in town planning including cohousing and others that facilitate informal and intergenerational interaction would all go a long way, as well as subsidising arts venues that can get easily overwhelmed by seemingly unrelated regulations–like the cost of a modern sprinkler system in a dive bar that happens to be a center for local music acts.
“Cities that haven’t destroyed their pedestrian and human-scale infrastructure have a big advantage in forming critical masses for the arts.
Even forms that we consider “country,” like bluegrass music, I’m told developed in amazing ways as “old time” musicians met as they sought jobs and found practice and performance venues in mill towns and other cities in twentieth century America. The growth of blues from the Delta into cities like Chicago is another example. “
I’d love to hear what others think, either as comments here or post links to your own blog posts or good urls.

Singers Glen

My friend John Haugland singing a song we wrote together: Singers Glen.  I think of it as the love child of “Ashokan Farewell” and “The Band Played Waltzing Matilda.”