Peter Guralnick. Songwriters on Process. Hip Hop Family Tree. <! -- <! [endif]--><center><iframe src=" frameborder="0" scrolling="no" marginheight="0" marginwidth="0" topmargin="0" leftmargin="0" allowtransparency="true" width="100%" onload="console.log('ad_leaderboard iframe loaded');"></iframe></center><! --[if ! Nerds! Coons! Freaks! Hillwilliams! : 200 Years of Roots-Rock Revival (a Memoir) | Hogeland's Publishing WorkSpace.
Victorian theatergoers, by contrast, loved it unabashedly. “As sung by Negro slaves!” And “genuine Negro fun!” Barked the handbills. The show wasn’t, as might be expected, Southern in origin. Parlor sheet music Stephen Foster lived most of his life in Pittsburgh, rarely crossed the Mason-Dixon line, and died in 1864 in New York’s Bellevue Hospital. Whereas minstrel songs masqueraded as Negro and Southern; sentimental songs masqueraded as antique and Anglo.
Embarrassed by his own prowess in that kind of thing, Foster began trying something new. Foster sold even authorship credit to some of his music. That’s an unusual project, humanizing a mask. Foster died before Emancipation. My music teachers of the Yankee 1950′s and early ’60′s would never have said “coon songs” or “niggerando.” 2. In high school I’d forgotten all about Stephen Foster’s songs. The lounge was our paradise, a classless society (cutting class was our main occupation — but that’s not what we meant). 3. 4. PINK DOLLAZ BY LIARS. We rented a van for the album shoot Sisterworld but got a Ford Expedition instead. Brian Roettinger navigated the coastal highway with prescence reminiscent of Muad'Dib. Zen, the photographer was the in-car DJ. We heard Pink Dollaz and fell in love with them. Truly inspiring young women and artists, I'm overjoyed to have found their music and to have had the opportunity to speak with them. - Aaron Hemphill Over ten lives get together for a round-table interview on Valentines Day.
Impressed by the remix a group called Pink Dollaz made in collaboration with Mary Pearson aka Transformation Surprise for Liars, the girls get professionally chatted up by SUPERSWEET's Guest Eds Aaron Hemphill and Julian Gross as they talk about music, girl power, fashion and the love/money equation as a recipe for success. Aaron: First of all, thank you so much for the ‘Scissor’ remix you guys did. Julian: Did you grow up playing music, or singing? Julian: You all went to Hamilton, right? Whiggy as all fork | The Time Being | Steve Kilbey. Field Report Get Serious. “I’m not waiting anymore,” Christopher Porterfield sings with stern conviction on his band Field Report’s song of the same name, with zero doubt that these words hold the truth.
Those words have been lurking in the minds of Porterfield and his bandmates for some time. For Porterfield, his journey has gone from doubting his path in music to fully believing he had a future in music. Years ago when the rest of Eau Claire band Deyarmond Edison – a band which also featured Bon Iver’s Justin Vernon and future Megafaun members – made the decision to relocate to North Carolina, Porterfield knew he couldn’t make such a drastic move since he still had college to finish and was about to be engaged.
He was uncertain about playing music professionally or if there was reason to continue in the field. But he soon would he would move to Milwaukee and start writing his own songs under the new moniker of Conrad Plymouth. “That’s me saying, ‘You know what, this is ridiculous. A Band with Focus. How Much Do Music Artists Earn Online? ¡Tarantula! Dan Auerbach! From Ron Wood to Robert Quine, Keef Hartley, Inca Rock and beyond! by sand pebbles on Myspace. Music Journalism Gets Pummeled by a Hack Attack.
Joe Kloc. Label Me / Dischord Records | Draw Us Lines. Words by Rick Moslen Growing up, many of us believed in punk rock but never considered ourselves “punk.” We moshed at shows, bought $3 Epitaph compilations, and complained about Green Day not being a real punk band, but despite a few oddly colored hair manifestations, we never looked the part.
Then high school arrived and we discovered Fugazi (cue Handel’s Hallelujah Chorus). Not only did they look like regular dudes, but their aesthetic was as essential as the music. My high school punk band suddenly sported Fugazi-esque principles: only charge $3 at shows; strictly play all-ages venues (we were teenagers…easy done as said); and halt mid-song if douchebags in the crowd become too rowdy (Fugazi fans know these characters as “ice cream eating mother fuckers”). Dischord birthed in hopes of documenting the burgeoning Washington DC hardcore scene in 1980, because Ian MacKaye (Minor Threat, Fugazi) and Jeff Nelson (Minor Threat) assumed the scene would die once everyone grew up. PROFILE: Dex Romweber. All the Requisite Billies: The Untold Legend of Dex Romweber When a Nashville journalist asked Dex Romweber about a new song the guitarist had recorded, Dex told him, “It’s a kind of a dark, sort of hillbilly blues…folkie, rock & roll thing.
It’s hard for me to describe. You’ll just have to hear it.” In underground music circles, Dex is a legend. Now, he and his sister Sara make up the Dex Romweber Duo. Rockabilly, hillbilly, and surf undoubtedly provide the basic components to Dex’s music, but the overall effect could be called an amalgam of all the requisite, sub-genre billies: gothabilly for its frequent dark, haunting, melancholic qualities; surfabilly for his guitar tone and instrumental compositions; trashabilly for the occasional B-movie themed lyrics and loose, garage feel; and, of course, rockabilly for the dynamic chugalugging rhythm.
Born in Indiana in 1966, John Michael Dexter Romweber has spent most of his life in and around Chapel Hill. Not personally, I told him. Garage Latino.