“Folk Music in America” is a series of 15 LP records published by the Library of Congress between 1976 and 1978 to celebrate the bicentennial of the American Revolution. It was curated by librarian/collector-cum-discographer Richard K. Spottswood, and funded by a grant by the National Endowment for the Arts. The music, pulled primarily from the Library of Congress Archive of Folk Song (now Archive of Folk Culture), spans nearly a century (1890-1976) and virtually every form that can be considered American music. This includes native American songs and instrumental music, music of immigrant cultures from all over the world, and uniquely American forms like blues, jazz and country.Folk Music in America [more inside]
California has long been home to immigrants from around the world (and from within the U.S.). What is less known, however, is that such longstanding histories of immigration and internal domestic migration have made California a fertile ground for extremely diverse and vibrant accordion musical cultures. With that, here is background on four immigrant populations —Italians, Creoles, Lebanese/Middle Eastern, and Mixtec/Mexican — to give more background the Squeezebox Stories, about an hour of history and tales of the accordion, filtered through customs and cultures found in California. [more inside]
I just moved into my new house today1, moving was hard but I got squared away2. When bells starting rings and chains rattled loud,3 I knew I'd moved in a haunted house4. Still I made up my mind to stay,5 nothing was a-gonna drive me away.6 When I seen something that give me the creeps,7 had one big eye and two big feet.8 [more inside]
After the Storm Sometime this weekend, you may be able to hear one of the best expressions of New Orleans’ role in music and culture available in any mass media. It's American Routes, a weekly show carried on many US public radio affiliates. Programmed and hosted by folklorist and UNO professor of folklore and culture Nick Spitzer, the show normally broadcasts from a studio in the heart of the French Quarter, but has found a temporary home on a Creole/Cajun French/English public radio station in Lafayette. Spitzer told the NYT that he began planning the music for this week’s show as he was fleeing the flooding city in his car, playing Fats Domino’s “Walking to New Orleans." This week’s show highlights New Orleans’ recovery from disasters past, emphasizing the city’s role as the greatest single wellspring of American music. The Crescent City, after all, has either birthed or nurtured everything from jazz, R & B, cajun and the related black-influenced zydeco, soul, blues, gospel, and rock and roll.) With an encyclopedic knowledge of American vernacular music, an utterly democratic spirit, and an unmistakeable respect and love for American musical forms and the people who create them, Spitzer has stepped forward several times this week to serve as a compassionate and optimistic spokesman for the irrepressible creative spirit of a suffering city and a culture in diaspora.