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25 cents?! Ha! No, no... I wouldn't pay 25 cents to go in nowhere! - 1933's Gimmie A Pigfoot by Bessie Smith

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1
Books and Articles / Re: Shout, Sister, Shout!--Sister Rosetta Tharpe
« Last post by Stuart on Yesterday at 12:59:53 PM »
Thanks for the review, Dave. The show has received a fair number of mentions in these parts, especially on KCTS where Enrique Cerna refers to her as Sister Rosetta Sharp(e). (I thought I was mishearing things--but nope.) I guess using artistic license to take liberties with her story goes part and parcel with the "based on the life of" approach. "A re-imagining" is another phrase that is often used.

Sister Rosetta Tharpe definitely had a musical influence on Little Richard. (He opened for her in 1947.) I don't know what her understanding of his sexuality was and if she was supportive during a time when being gay was not generally understood or accepted.

But be that as it may. If it's a high quality show and you enjoyed it, that's what counts. Hopefully I'll get a chance to see it before it leaves town and finds its place on Broadway.



2
Books and Articles / Re: Shout, Sister, Shout!--Sister Rosetta Tharpe
« Last post by David Kaatz on December 13, 2019, 05:43:00 PM »
Last night I attended Shout Sister Shout! at the Seattle Rep. It is a musical based on the book of the same title by Gayle Wald. It was written by Cheryl L. West and created by Cheryl and the director, Randy Johnson.
About 2:15 long, the show skims extremely lightly over SRT's life but of course hits some worthy highlights. The singing is great, especially the lead Carrie Compere and Carol Dennis who plays both SRT's mother Katie Bell and Mahalia Jackson. Also notable was Allison Semmes as Marie Knight.
The audience was included in most songs, as if we were at a gospel show. It was fun.
A live band provided excellent backup, and Compere did an excellent job of faking guitar playing. She had me fooled for the first couple tunes. Speaking of tunes, there is plenty of music in the show, 24 songs. Most are very familiar to fans of Black Gospel music.

The main thing I did not care for in the show, was a small inclusion of song and conversation with Little Richard. While it probably is true that SRT inspired LR to be a performer, after she invited him to join her on stage, it felt to me like a gratuitous way to include a gay friendly message into the show. SRT affirms to LR that there is a place for "people like you (and herself)" in show business. Mind you, I know and think that's a great message, but maybe there could have been a better way to include LR.

I would have liked to hear more about Marie Knight, or more duets with her. SRT's career revival in Europe was not mentioned at all. Her last marriage was portrayed as all business at the start, but loving and respectful at the end of her life.

Hopefully this will move to Broadway and become more widely seen. I recommend it.
3
Weenie Campbell Main Forum / Help Paul Oscher
« Last post by harry on December 10, 2019, 05:46:34 PM »
Paul Oscher has fallen on hard times. He's out of the hospital now but needs help to finish his book.
It's mainly about his adventures with The Muddy Waters Blues Band.

Here's a preview;

"We used to play this place in St. Louis called the Moonlight Lounge. I remember the first time we went down there. We pulled up at the hotel and all these prostitutes on the corner started shouting 'Muddy Waters Band is here!' And they'd hike-up their dresses. I remember at the gig Muddy played 'I Just Want To Make Love To You' and I had this chromatic solo. I dropped to my knees still playin', and this woman yelled-out from the audience, 'Don't stop now baby! My drawers are wet!' Muddy would mesmerize the audience like a preacher. He'd walk all over the club singing and people'd shout 'I hear you brother!' '....Tell the truth!' Tell it like it is. I loved those shows. After the gig, we came back to the hotel. You entered the hotel through a barbecue joint and then in the back there was a bar and a piano. Spann would play the piano all night. We would shoot dice and hang out with the girls. You had people sitting in like Albert King. It was just a great time. I had a great time."


https://www.gofundme.com/f/HelpPaulOscher
4
Jam Session / Re: Any Weenies in Austin?
« Last post by RandallBott on December 10, 2019, 11:45:39 AM »
I just moved to Austin less than a year ago.
5
Weenie Campbell Main Forum / Re: Violence in them old blues
« Last post by Stuart on December 09, 2019, 07:31:07 AM »
I finally got around to watching the NOVA episode, "The Violence Paradox," last night. The thesis is that violence has declined overall. Perhaps the fact that we no longer are comfortable with songs that mention or are about doing violence to others is evidence that violence is on the decline, even in the acceptability of song lyrics--to most of us here, anyway. Obviously, there are times when songs are performed as originally composed, but usually with an intro that puts them in historical context. It would be difficult to perform "32-20" without significant changes that would make it non-violent and thus make it into a different song altogether.

Here's the link to the NOVA episode if anyone is interested:

https://www.pbs.org/wgbh/nova/video/the-violence-paradox/





6
Country Blues Lyrics / Re: Most Sexist and or Misogynistic Blues Lyrics
« Last post by Johnm on December 09, 2019, 06:54:15 AM »
Hi all,
It seems like most of the lyrics cited here center on violence as opposed to sexism or misogyny, per se.  A thread that focused on violence in blues lyrics can be found at https://weeniecampbell.com/yabbse/index.php?topic=5969.msg47584#msg47584 .  The main difference in blues lyrics and Old-time lyrics is that in blues, they say what they're going to do and in Old-Time music they tell you about it after they've done it, usually with no motivation for the violence having been given.
All best,
Johnm
7
Down the Dirt Road / Re: Other Musical Interests on YouTube
« Last post by lindy on December 08, 2019, 04:05:10 PM »
As some of you may already be aware of, our friend Mike Brosnan pulled up his Portland stakes and moved to the East Coast to play Italian guitar duets with our other friend, Frankie Basile.

I'll post one of their wonderful recent creations, there are others at the Frankie12string YouTube user/subscriber page.

8
Country Blues Lyrics / Re: Charlie Patton lyrics
« Last post by Johnm on December 08, 2019, 03:53:31 PM »
Hi all,
I would second Todd's interpretation of the lyrics.  A "kid" in blues lyrics usually refers to a "kidman", a boy toy.  I believe it is a woman's voice speaking the lyrics in this verse, not a man.
All best,
Johnm
9
Country Blues Lyrics / Re: Charlie Patton lyrics
« Last post by jtbrown on December 08, 2019, 03:19:47 PM »
Charley Patton, Jim Lee Blues:

Got a kid on the wheeler and a bouncer on the plow
Got a plumb good man bringing down the Johnson bar

The singer has three male children:
a teen working on the Lee Line, a bouncing baby on the farm, and an adult on the railroad.


I'm skeptical that the singer is describing his three male children, or that "bouncer on the plow" means "a bouncing baby on the farm." Since this verse immediately follows the one where Patton sings "If you don't want me, just give me your hand / I'll get a woman quick as you can a man," isn't it likelier that it represents his interlocutor's response, in which she informs him that in fact she already has three other men?
10
Country Blues Lyrics / Re: Most Sexist and or Misogynistic Blues Lyrics
« Last post by harry on December 08, 2019, 11:37:30 AM »
Tampa Red - Blue and Evil Blues

If I find her I'm gonna beat her I'm gon' kickin' by the tooth?
Gon' take my german luger and shoot her through and through.


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