Showing posts with label Music. Show all posts
Showing posts with label Music. Show all posts

Thursday, September 8, 2016

Chautauqua, revisited….



The 19th century successes of the Chautauqua Institution of New York have always appealed to me. I believe I would have been thrilled to attend the profoundly educational lectures of the itinerant speakers who followed the Chautauqua circuit. For some Americans—and for many middle-class women—the Chautauqua offerings were the closest thing they could get to a higher education.

The Chautauqua Institution was founded in 1874 as a teaching camp for Sunday school teachers. The concept spread through the United States. At its peak in the 1920s the movement offered a broad range of lectures and music on both religious and nondenominational topics, in more than 10,000 communities. By 1940 the network of originally Victorian-style centers of learning and culture had lost their mass appeal, after enriching the lives of more than 45 million men and women. Today, the Chautauqua Institution on the original site is alive and well, and still attracting many thousands of participants annually.

In the late 19th century, the notion of family vacations was becoming popular, partly as a result of increasing affluence and the expansion of rail travel. In a recent issue of The Massachusetts Historical Review, Anita C. Danker wrote:
“…a significant number of largely middle-class Americans chose to make constructive use of their increased leisure time, a by-product of industrialization, in ways consistent with their values and religious beliefs.”

Framingham train station
The Chautauqua centers were attractive destinations. One such place was the New England Chautauqua Sunday School Assembly at Mount Wayte in Framingham, MA. From 1880-1918 it offered a steadily diversifying assortment of lectures and performances, drawing a dedicated audience from the area that would become MetroWest Boston. Those folks wanted to vacation in comfort and style, and they also were committed to a high-quality experience. Rail service to Mount Wayte was busy.


Danker explains:
“One form of vacation consistent with middle-class values and the moral climate of the New England region was the religious retreat…A critical mass of ordinary Americans displayed another powerful need, compatible with the ideal of a Christian vacation: the purposeful employment of leisure time for education and individual self-improvement.”



A reliable corps of attendees was “middle-class women, whose access to higher education was restricted by tradition and circumstance […they] formed the bedrock of the institution.”

Think of TED Talks without the clip-on microphone.

Source:
Anita C. Danker, “Redeeming the Time: Learning Vacations at the New England Chautauqua Assembly,” The Massachusetts Historical Review, Massachusetts Historical Society, Vol. 17, 2015, 67-97.










Copyright © Richard Carl Subber 2016 All rights reserved.

Friday, April 15, 2016

“Mannish Boy”….hold that thought


When McKinley Morganfield was born 103 years ago, nobody knew that he would become “the father of modern Chicago blues.”


That’s because nobody knew he was Muddy Waters. That didn’t come out right away.

Lucky for us, folklorist Alan Lomax “discovered” Muddy Waters” in 1941 and made the first recordings of the unshackled voice of the blues that would make such an enduring, personal statement in such fully dimensioned classics as “Rollin’ Stone,” “Hoochie Coochie Man,” “Got My Mojo Workin,’” and “Mannish Boy.”

If you’ve never heard Muddy’s voice, listen to him here, singing
“…I spell mmm, aaa child, nnn
That represents man
No B, O child, Y…”

Waters can make you a believer about the good qualities of a mannish boy, in a Delta blues kind of way.



He was one of the genuine musicians who seriously influenced the likes of Bob Dylan and The Rolling Stones—who took their name from the classic Muddy Waters song.

Waters didn’t have to wrap his lips around the microphone to sing his full-throated songs that invoke zest, and longing, and desperately earnest immersion in life, always up to the hilt….


His mojo never stopped working.







Copyright © Richard Carl Subber 2016 All rights reserved.

Friday, March 25, 2016

Alexander’s Ragtime Band!



If there had been a Super Bowl in 1912, “Alexander’s Ragtime Band” probably would have been the biggie in the halftime show.



This old favorite by Irving Berlin was the top tune of 1911, selling many millions of copies of….the sheet music. Most people heard the song when someone in the family sat down at the piano to tickle the ivories. The iconic Victrola phonograph was just starting to get up some steam in the consumer market, and radio didn’t go commercial until 1920.


“Alexander’s Ragtime Band” is a simple version of ragtime—Scott Joplin could have played it with one hand tied behind his back, more or less. So more or less anybody could easily learn it and play it when it was a new release before World War I.

Scott Joplin
Here’s a link to a 1911 recording made a few months after the song hit the market….and here's a linkto The Andrews Sisters (their career spanned 1925-1967) doing their version.

You can sing along too, you already know some of the words:
“Come on and hear, come on and hear
Alexander’s Ragtime Band…
The best band in the land
They can play a bugle call
Like you never heard before…”







Copyright © Richard Carl Subber 2016 All rights reserved.

Tuesday, March 1, 2016

“…ain’t no protest song.”


Maybe it’s been a while since you said to yourself “Oh gosh, I’m getting old.”

It’s been 54 years since Bob Dylan introduced “Blowin’ In The Wind” in Greenwich Village. He recorded this iconic song a couple weeks later, and it was released in 1963. Dylan claimed he wrote the song in 10 minutes. The Beatles claimed it was one of the songs that altered their early musical development.


I can mention my personal experience of hearing “Blowin’ In The Wind” sung by just about every band that played for the troops in Vietnam, more or less at the same time they were belting out “Leaving On A Jet Plane.”

Dylan blandly claimed “this here ain’t no protest song.” Of course it was.

Maybe you forget some of the words. Here they are:

How many roads must a man walk down
before you call him a man?
How many seas must a white dove sail
before she sleeps in the sand?
Yes, and how many times must the cannon balls fly
before they're forever banned?

The answer, my friend, is blowin' in the wind
The answer is blowin' in the wind.

Yes, and how many years can a mountain exist
before it is washed to the sea?
Yes, and how many years can some people exist
before they're allowed to be free?
Yes, and how many times can a man turn his head
and pretend that he just doesn't see?

The answer, my friend, is blowin' in the wind
The answer is blowin' in the wind.

Yes, and how many times must a man look up
before he can see the sky?
Yes, and how many ears must one man have
before he can hear people cry?
Yes, and how many deaths will it take 'til he knows
that too many people have died?

The answer, my friend, is blowin' in the wind
The answer is blowin' in the wind.







Copyright © Richard Carl Subber 2016 All rights reserved.

Tuesday, January 12, 2016

Mr. Kite et al.


Our notion of the modern circus got its start in a homegrown ring in London in January 1768.
Philip Astley, a former cavalry sergeant major, invited the public to watch him ride his horse around the ring, brandishing his sword while he stood upright with one foot on the saddle and the other on his horse’s head. He was a big hit.

Astley quickly assembled more horsemen, a clown and a band to perform in Astley’s Amphitheatre. His troupe performed for French King Louis XV in 1772. In 1782 a competitor opened the “Royal Circus” in London.

In 1792 an Englishman brought the circus idea  to Philadelphia, and then New York and Boston. One-ring shows turned into two-ring shows and so on, until 1871, when P. T. Barnum and a partner created “The Greatest Show on Earth” with three rings in Brooklyn. Calliope music has been popular ever since.



A footnote to this history:

The Beatles were singing about a real guy in circus history when they sang “Being for the Benefit of Mr. Kite” in their 1967 album, Sgt. Pepper’s Lonely Hearts Club Band.

The “celebrated Mr. K.” worked for a showman named Pablo Fanque, who owned the Circus Royal in the mid-19th century. William Kite was Pablo’s riding master, and also a tightrope walker. Lennon and McCartney speculated that “Mr. K. performs his tricks without a sound.”

With all the hoops and garters and the “Hogshead of REAL FIRE!,” Pablo Fanque’s fair must have been a rollicking good show.

Once you get there, it’s hard to hate the circus.







Copyright © Richard Carl Subber 2016 All rights reserved.