HDTenEightyP/NetNews huggingface dataset:
From: stevena@cory.Berkeley.EDU (Steven Alexander)
Subject: Re: John Gorka: Temporary Road
Organization: University of California, at Berkeley
Distribution: usa
Date: Wed, 9 Sep 1992 21:19:58 GMT

In article <1992Sep8.234741.14099@mips2.ma30.bull.com> ddean@granite.ma30.bull.com (Douglas J. DeAngelis) writes:

>John Gorka really needs to learn how to play the guitar.
>...
>                                                              I can think 
>of a 100 people I'd rather see live.  Give some of them a chance.

Is this some kind of cultural triage?

  Steven
Newsgroups: rec.music.folk,alt.guitar.tab
From: nadel@attatash.aero.org (Miriam Nadel)
Subject: Re: still looking for the authors of these songs
Organization: /usr/lib/news/organization
Date: Wed, 9 Sep 1992 22:49:11 GMT

In article <1992Sep9.204010.29652@pony.Ingres.COM> jonb@ingres.com writes:
>The tune is the ubiquitous "Rosin the Bow", which I've seen almost equally
>often spelled "Rosin the Beau" (but that sounds like yet another parody).
>It shows up in a remarkable variety of settings

If you know the original lyrics, it's obviously spelled "Rosin the Beau."
The chorus of that version ends "I hope that the next generation/ will 
remember Old Rosin the Beau."  I've always pictured Rosin as a rather
debonair sort, serenading all of the local women with his fiddle.

As Jon notes, the tune shows up all over the place.  It was the melody 
for virtually every political satire and a goodly number of campaign songs
in the 19th century U.S. with the best known probably being "Lincoln and
Liberty":

Hoorah for the pride of our nation
the hero of Hoosierdom through
The pride of the Suckers so lucky
For Lincoln and liberty, too.

(I have no idea why the Hoosiers would claim him - his claims to being
from Kentucky or from Illinois make more sense than Indiana - and I have
no idea what the Suckers were, but that's how I remember the song.)

My favorite version is the old one by the Limeliters about "Charlie the
Midnight Marauder" who, getting lost in a suburban tract, enters the wrong
house and is hauled away by police summoned by the distraught housewife.

Miriam Nadel
From: dmr@andromeda.rutgers.edu (Daniel Rosenblum)
Newsgroups: rec.music.folk
Subject: Re: funny math and physics songs
Summary: We're talking about two different songs, folks!
Date: 14 Sep 92 15:23:32 GMT
Organization: Rutgers University, Graduate School of Management, Newark, N.J.

In <1992Sep11.161206.1516@nmt.edu> al@nmt.edu (Al Stavely) answers
an earlier comment about Woody Guthrie's "Talking Atom Blues" by
saying, `Unless my memory fails me totally, this is by Sam Hinton.
. . .  I'm not sure I'd call this a Woody Guthrie parody -- it's
just one of many songs in the "talking blues" genre.'

Then, in <2273@h.cs.wvu.wvnet.edu> hooverb@h.cs.wvu.wvnet.edu
(Bruce Hoover,Armstrong) answers the same reference.  He starts
by quoting from it:

>> 	                                 . . . , but you must include the
>> 	beautiful Woody Guthrie parody, "Talking Atom Blues." I love the line
> 	
>> 	"but the atom don't care ... all he wants to do is sit there and have
>> 	his nucleus bombarded by neutrons."

>Well, I'm not sure about what parodies what, but the song "Talking
>Atomicc Blues", from which the above quote is taken, was written in 1946
>by Vern Partlow. I'm not sure who all has recorded it, but my favourite
>is the  versionby Sam Hinton (first recorded in 1950).

>What about the last line: "Peace in the world, or the world in pieces?"

Just to straighten things out, we're confusing two songs here.

The "Talking Atom Blues" is indeed by Woody, and indeed has the
line quoted above, about the atom just wanting to sit there and
have his nucleus bombarded by neutrons.  I've never liked this
song very much, and I speak as die-hard Woody Guthrie fan -- it's
too corny for me.

The "Talking Atomic Blues" was indeed by Vern Partlow, about whom
I know nothing except that he wrote some good left-wing political
songs in the '50s (another, if I remember correctly who the author
is, is the one that goes "Newspapermen meet such interesting people
. . ."), and it indeed has the ending line "Peace in the world, or
the world in pieces."  That may be the earliest use of that line
around, although it's been used in several other songs, especially
by Pete Seeger ("Listen, children, here is my thesis / Hey li-lee,
li-lee lo / Peace in the world or the world in pieces / Hey li-lee,
li-lee lo", etc.); if I'm right that that's the earliest use of the
line, then Vern Partlow must get credit for it.  Pete recorded
Partlow's "Talking Atomic Blues" on one of his old Folkways "Gazette"
albums, according to my memory, which is subject to error and not
immediately verifiable since those two albums are at my parents'
house.
-- 
Daniel M. Rosenblum, Assistant Professor, Quantitative Studies Area,
   Graduate School of Management, Rutgers University (Newark Campus)
ROSENBLUM@DRACO.RUTGERS.EDU                      ROSENBLUM@ZODIAC.BITnet
dmr@andromeda.rutgers.edu          ...!rutgers!andromeda.rutgers.edu!dmr
From: lopresti@henson.cc.wwu.edu (lopresti robert)
Newsgroups: rec.music.folk
Subject: Indians, music, and American FOlklife Center
Date: 9 Sep 92 22:48:20 GMT
Article-I.D.: henson.1992Sep9.224820.13588
Organization: Western Washington University


 
 
 
        
        
        An interesting article showed up recently in a rather obscure 
        source.  The article is about the Federal Cylinder Project, being 
        conducted by the American Folklife Center at the Library of 
        Congress.  As you know, the AFC contains in its collections many
        early field recordings, done on cylinders.  They have been trying 
        to collect and re-record all the cylinders (including many not at
        AFC) and have been working at restoring copies of American Indian
        recordings to the tribes involved.  Some of these recordings are
        90 years old.  More than 100 Indian communities have been 
        involved.
        
        In some cases tribes have rediscovered sacred or traditional 
        songs they thought were lost forever.  In more cases they had the 
        delight of discovering that oral tradition had carried songs 
        accurately over many years.
        
        Incidentally, the bill to reauthorize the American Folklife 
        Center is currently stalled in the House of Representatives.  If
        House Bill 5058 or a substitute is not passed this year the AFC
        will lose its legal authorization to exist.
        
        The article:
             Gray, Judith. "The Songs Come Home: The Federal Cylinder 
        Project."  CRM.  volume 14, n 5.  1991.  page 32-35.
        (CRM is a magazine published by the Cultural Resources section of 
        the National Parks Service.  This issue just arrived in 
        government depository libraries on microfiche.  The Sudoc number
        (which most depositories use to put docs on the shelf) is:
        I29.86/2:14/5)
From: johnl@yang.earlham.edu (John Fiskio-Lasseter)
Newsgroups: rec.music.folk
Subject: Re: SUMMARY:  Songwriters' "Cover"s
Date: 7 Sep 92 16:46:26 GMT
 <1992Sep4.085432.19425@yang.earlham.edu> <1992Sep4.174521.2387@ringer.cs.utsa.edu>
Organization: Earlham College, Richmond, Indiana

In article <1992Sep4.174521.2387@ringer.cs.utsa.edu>, thughes@lonestar.utsa.edu (Toby . Hughes) writes:

> Perhaps you should read a post a bit more carefully before flaming it!

Sorry, Toby -- didn't mean for that to come across as a flame.  I just try 
to sell people on Jimmy Driftwood whenever I get the chance.  thanks for 
the reference for the tune, too.  I've been trying to remember what it was 
called for awhile now.

Peace,
-- John
+---------------------------------------------------------------------+
|John Howard Eli Fiskio-Lasseter  |     "Is obair-la\ to\iseachadh"   |
|e-mail: johnl@yang.earlham.edu   |    ("Beginning is a day's work")  |
|        JOHNL@EARLHAM.BITNET     |                --Gaidhlig Proverb |
+---------------------------------------------------------------------+
Xref: sparky rec.music.folk:6303 alt.guitar.tab:2313
From: donal@brewich.hou.tx.us (Donal)
Newsgroups: rec.music.folk,alt.guitar.tab
Subject: Re: still looking for the authors of these songs
Date: Mon, 14 Sep 92 23:09:36 CDT
Organization: The Brewer's Witch BBS, +1 713 272 7350, Brewich.Hou.TX.US

readdm@ccwf.cc.utexas.edu (David M. Read) writes:

> In article <> putz@parc.xerox.com (Steve Putz) writes:
> >Battle of New Orleans
> >	(In 1814 we took a little trip...)
> 
> Several people have posted that the words come from "Jimmy Driftwood,"
> but every recording I've ever heard of this song has been by Johnny
> Horton.  It's on his "greatest hits" LP, I know for sure.
> 
> Anyone care to resolve this question?

According to Sing Out publications, the words were written by Jimmy 
Driftwood and the music was a traditional piece called "The 8th of 
January". (C) 1957, 1959 Warden Music Co.

There. resolved.


--------------------
Donal, SysAdmin of The Brewer's Witch BBS -- +1 713 272 7350
(Internet) donal@brewich.hou.tx.us  (Work) bill%pssi@lobster.hou.tx.us
(CIS) 76460,1443 
(SCA) Ld. Donal Dubh, IC of Dun Bruddair, B of the Stargate, K of Ansteorra
From: nmrdb@vms.macc.wisc.edu (BEVERLY SEAVEY)
Newsgroups: rec.music.folk
Subject: Re: Mutant Viola?
Date: 9 Sep 92 13:45:24 GMT
Organization: University of Wisconsin Academic Computing Center

In article <1992Sep9.095025.15133@ttinews.tti.com>, bsmart@bsmart.TTI.COM (Bob Smart) writes...

>In article <Bu0r9G.LwM@usenet.ucs.indiana.edu>,
>ntaib@silver.ucs.indiana.edu (Iskandar Taib) writes:
>> In article <1992Aug26.013017.422@ttinews.tti.com>
>bsmart@bsmart.TTI.COM (Bob Smart) writes:
>> |but there are *8* machines, despite the fact that when I bought it,
>>                 ^
>> Methinks you are the proud owner of a Viola da Gamba (or a Viola d'Amore).
> 
Has anyone looked to see if it is a tamburitza?
Xref: sparky rec.music.folk:6182 rec.music.classical:12568 rec.music.bluenote:6925
From: dahe@cl.cam.ac.uk (David Elworthy)
Newsgroups: rec.music.folk,rec.music.classical,rec.music.bluenote
Subject: Re: train song tape finished (Oh no! it started again!)
Date: 10 Sep 92 11:29:52 GMT
Reply-To: dahe@cl.cam.ac.uk (David Elworthy)
Organization: U of Cambridge Computer Lab, UK

In article <1992Sep8.195802.4168@odin.corp.sgi.com>,
lana@magenta.corp.sgi.com (Lana Mountford) writes:
|> In article <1992Sep7.130515.1304@guvax.georgetown.edu>,
mchenry@guvax.georgetown.edu writes:
|> |> To all who contributed, thanks very much. My nephew may not like
|> |> all these choices, but I hope they will spur some serious musical
|> |> interest. If I didn't use your selection it may not have been available
|> |> to me. I think I have a few here, too, that no one else thought of.
|> |> I have enough suggestions for a Vol.3! 
|> 
|> I meant to post this last week, but if you *do* get around to doing
|> a Vol. 3, ... 

And here's three more. Isaac Gullory "Trains" (which I've already
suggested by email) on the album "Slow Down" is three songs, a fast one,
then a slow one, then a fast one. The format is supposed to be a train
stopping at a station and then moving off again. "Peace Train", by Cat
Stevens. There's also a good version by 10000 Maniacs. And finally,
"Time flies by (when you're the driver of a train)" by Half Man Half
Biscuit. Typical verse: "Time flies by when your the driver of a
train/Speeding out of Trumpton with a cargo of cocaine/I get high when
I'm the pilot of a plane/Coming down in Camberwick and stoned out of my
brain". Of course, if you don't know British children's TV of the 1960s
and 1970s, it's a lot less funny than it might be otherwise. But there
you go: cultural imperialism at its best.

-- david elworthy
Newsgroups: rec.music.folk
From: bsmart@bsmart.TTI.COM (Bob Smart)
Subject: Re: Mutant Viola?
Keywords: identification, instrument, viola, mutant
Reply-To: bsmart@bsmart.TTI.COM (Bob Smart)
Organization: Citicorp+TTI
Date: Wed, 9 Sep 1992 09:50:25 GMT

In article <Bu0r9G.LwM@usenet.ucs.indiana.edu>,
ntaib@silver.ucs.indiana.edu (Iskandar Taib) writes:
> In article <1992Aug26.013017.422@ttinews.tti.com>
bsmart@bsmart.TTI.COM (Bob Smart) writes:
> |but there are *8* machines, despite the fact that when I bought it,
>                 ^
> Methinks you are the proud owner of a Viola da Gamba (or a Viola d'Amore).

Methinks I'm not, although it sounds like fun.  It definitely isn't big
enough for a gamba, since it's really about the size of a viola.  Also,
the VdG normally had 6 strings, tuned in fourths (according to my many
informants here, thanks).  This creature looks to be set up for four
pairs, I'm guessing tuned in unison or octaves, with each pair a fifth
from the neighboring pairs.

Viola d'Amore?  Maybe--those were smaller, right?  This doesn't quite
match the pictures I've seen of those, but if it's a homebrew, I suppose
that might not matter.  Closer inspection reveals that the paddle-shaped
"scroll" with the machines has been spliced onto the neck, so it
probably had something else up there originally.  No telling how many
strings the original scroll took, or whether it used pegs or machines.

The weird part is the concavity at the endpin and where the neck joins
the body.  All the pictures of viols and violins I've seen show both of
these to be smooth, simple, convex curves on the body; the
Frankenfiddle, if stood upright, looks like King Farouk sitting on a
barstool.  And up at the neck, it's as if the body had been melted, and
the neck pushed in toward the bridge an inch or two.

How do you string viols?  If you're holding it like a violin, does the
lowest pitch string go on the left like a violin?  I was under the
impression that viols were generally played in an upright position, like
a 'cello; does that imply that they would normally be strung "backwards"
from under-the-chin violins?  This thing was strung viola-style when I
bought it.

Whatever it is, it ain't an antique.  I can't quite make out everything
that's drawn and written inside, but there's a note about it being made
in 1977.  Unless maybe Nostradamus made it?

> (Thats a new Lutefisk joke  9-)  )

Just when you thought it was safe to go back in the water....

---------

A fanatic is someone who does what he knows that God would do if God knew the
facts of the case.

Some mailers apparently munge my address; you might have to use
bsmart@bsmart.tti.com -- or if that fails, fall back to
72027.3210@compuserve.com.  Ain't UNIX grand?
Xref: sparky rec.music.folk:6253 alt.guitar.tab:2273
From: barber@jazz.concert.net (Scott Barber)
Subject: Re: looking for the authors of these songs
Organization: Center for Communications, MCNC; RTP, NC
Date: Tue, 8 Sep 1992 17:48:30 GMT

In article <1992Sep8.152232.17512@devildog.att.com> jdalin@devildog.att.com (Jimmy Dalin) writes:
>
>I believe that "A.P." stands for "Alvin Pleasant."  If it's really important
>I can check; 

Don't worry on my account, it was primarily about the identity of
the person, rather than the actual name.  

I've got about 20 different Carter Family records, and it's
>bound to be on one of them.  I also agree with another poster - The Carter
>Family claimed authorship of lots of songs that were around long before they
>started singing them.

Interesting.  Does anyone know the history of "Will the Circle Be Unbroken"?

Scott

"How would you react if I    \ Scott Barber            \ "I don't know, 
told you that I'm not from    \ barber@jazz.concert.net >  do you think 
Guildford after all, but from  \  MCNC                 / it's the sort of
a small planet somewhere in the >  RTP, NC            / thing you're 
vicinity of Betelguese?"       /  BVD                / likely to say?" 
						--- Douglas Adams 
Newsgroups: rec.music.folk
From: wrp@pslsrv1.gvl.unisys.com (Bill Pringle)
Subject: Re: Cheryl Wheeler
Organization: Paramax Systems, Ivyland, PA
Date: Wed, 9 Sep 1992 03:59:40 GMT

In article <14458@auspex-gw.auspex.com> johnf@Auspex.COM (John Fereira) writes:
>I've seen several articles over the past few months about Cheryl Wheeler.
>Since the disclaimer has been often posted that she doesn't tour much 
>off the east coast I've tended to ignore those articles.  Recently, though
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
The last time I posted her tour schedule, however, I remarked that
she had gigs in Alaska and Florida.  She seems to be travelling more.
----------------------------------------------------------------
>I've been listening to Maura O'Connells "Helpless Heart" and one of my 
>favorite tunes on the album, Summerfly, was written by Cheryl Wheeler.  If
>this song is indicitvie of here other material I'd be interested in hearing
>more.  So, to whoever, has been raving about her in the past, here is an
>opportunity to rave about her again and tell me everything about any
>recorded material I might be able to find.
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
I have posted a discography of her recordings in the music ftp archives.

She is in the studio even as we type making a new album.  They are still
negotiating with various (independant) labels to see who they want to
market it.

BTW - another person to cover Cheryl's songs is Suzy Boggus.  She did
the song "Aces" on her last album, and is doing another cover on her
next one.  Suzy hosted "Nashville Now" a while back with Nanci Griffith
and Cheryl as guests.  Suzy was clearly a Cheryl fan (or at least she
gushed a lot:^)
============================================================================
Bill Pringle                      Software Tools
Paramax Corporation               Voice: (215)443-7500 X4023
Internet: wrp@ivy.unisys.com      UUCP: ...!uunet!mimsy!widener!gvls1!wrp%ivy
Newsgroups: rec.music.folk,alt.guitar.tab
From: terryk@encore.com (Terence M. Kelleher)
Subject: Re: still looking for the authors of these songs
Organization: Encore Computer Corporation
Date: Mon, 14 Sep 1992 20:23:13 GMT
	<LXNyqB8w165w@brewich.hou.tx.us>

In article <LXNyqB8w165w@brewich.hou.tx.us> donal@brewich.hou.tx.us (Donal) writes:

   joslyn@kong.gsfc.nasa.gov (Cliff Joslyn) writes:

   > jonb@Ingres.COM (Jon Berger) writes:
   > 
   > >In article <TERRYK.92Sep9122218@fenix.encore.com>, terryk@encore.com (Terenc
   > >>
   > >>In article <1992Sep3.002328.14469@parc.xerox.com> putz@parc.xerox.com (Stev
   > >>
   > >>
   > >>   Acres of Clams
   > >>	   (I've traveled this country all over...) [Pete Seeger]
   > >>Old music, from the Scotish song, "Acres of Clans"
   > 
   > >This _has_ to be a joke, surely.  Doesn't it?  It sounds like a
   > >double-barrelled parody to me, anyhow.  
   > 
   > I don't know where the original poster heard this, but in the late
   > 70's Pete and Arlo were touring and protesting Seabrook and supporting
   > the clamshell alliance (the anti-Seabrook group). Arlo did one of his
   > long, silly, rambling, guitar-accompanied stories, this time about
   > giant walking clams. They ended by singing the traditional song we're
   > all referring to, with appropriate lyrics. The final line of the verse
   > was: "Surrounded by acres of clams".

   The complete text to the original and this filk version (by Pete Seeger) can
   be found in _Rise Up Singing_ published by Sing Out! Publications.
   I am sorry but I do not feel like typing in the entire text unless begged to.

   :)

Arlo's long rambling giant clam story was preface to another filk
song, "The Story of Reuben Clamzo & His Strange Daughter In the Key of
A", done to the tune of "Reuben Ramzo", a traditional whaling song.
At least that is how it was performed by Arlo in convert without Pete
Seeger, around 1977, and recorded on "One Night", in 1978.

I think "Acre's of Clams" was recorded on the H.A.R.P LP, by Holly
Near, Arlo Guthrie, Ronnie Gilbert and Pete Seeger.  
--

                                 +----------------+
Terence Kelleher              +--+-------------+  |
Encore Computer Corp.         |  | E N C O R E |  |
terryk@encore.com             |  +-------------+--+
607-687-2644                  +----------------+

Newsgroups: rec.music.folk
From: KR#4@lafibm.lafayette.edu (KR#4)
Newsgroups: rec.music.folk
Subject: RE: looking for the authors of these songs
Date: 7 Sep 92 14:49:07 GMT
Organization: Lafayette College
Originator: news@lafcol

In article <1992Aug29.231358.16022@parc.xerox.com> putz@parc.xerox.com (Steve Putz) writes:
>I've recently discovered the guitar and lyrics archives on
>ftp.nevada.edu and ftp.uwp.edu.  That motivated me to dig out my 150
>song files and submit them to the archives.
>
>However there are several songs for which I do not know the author.  I'd
>like to credit them correctly.  Several are probably "traditional".  I
>have included first lines and in some cases an artist who performs it.
>
>Please email me if you know who wrote any of the following songs:
>
>A Hard Rain's A-Gonna Fall (Where have you been my blue-eyed son?)

-- by Bob Dylan

>Spanish Pipe Dream (She was a level headed dancer...) [Steve Seskin]

-- by John Prine

>That's the Way That the World Goes 'Round (I was sitting in the
>bathtub...)

--  by John Prine
>Who Killed Davy More (how come he died and what's the reason for...)

-- by Bob Dylan
>Would You Like To Learn to Dance? (well I can show you how...) [Mary
>Travers]

-- by Steve Goodman

Hope this helps

Roland Kushner, Department of Economics & Business, Lafayette College,
Easton, PA  18042 Phone: 215-250-5309.
REPLY TO:  KR#4@LAFAYACS.BITNET  or  KR#4%LAFAYACS@LAFIBM.LAFAYETTE.EDU
From: thughes@lonestar.utsa.edu (Toby . Hughes)
Newsgroups: rec.music.folk
Subject: Re: looking for the authors of these songs
Date: 5 Sep 92 03:57:03 GMT
Organization: University of Texas at San Antonio

In article <1992Sep5.024939.9081@rock.concert.net> barber@jazz.concert.net (Scott Barber) writes:
>In article <1992Aug29.231358.16022@parc.xerox.com> putz@parc.xerox.com (Steve Putz) writes:
>>I've recently discovered the guitar and lyrics archives on
>>ftp.nevada.edu and ftp.uwp.edu.  That motivated me to dig out my 150
>>song files and submit them to the archives.
>
>
>>Will the Circle be Unbroken	(I was standing by my window...)
>
>On my "Circle" album, I notice the song was written by one A.P. Carter.
>
>Does anybody know what the A.P. stands for?  This person also wrote
>"Little Darlin', Pal of Mine" (which is my Scruggs 5-String Banjo
>Book).
>
>Scott


A.P. was the patriarch of the legendary Carter Family.  Although the A.P.
undoubtedly stood for something, I cannot recall any reference to anything
other than 'A.P.'

TH
Newsgroups: rec.music.folk
From: neverisk@trintex.uucp (Mike Neverisky)
Subject: Re: John Gorka: Temporary Road
Organization: Prodigy Services Co.
Distribution: usa
Date: Wed, 9 Sep 1992 12:45:00 GMT

In article <1992Sep8.234741.14099@mips2.ma30.bull.com> ddean@granite.ma30.bull.com (Douglas J. DeAngelis) writes:
>
>John Gorka really needs to learn how to play the guitar.
>
>But to think of some of
>the truly well rounded performers that people pass over just so they
>can go hog wild over John Gorka is stunning.  Try Brooks Williams, Patti 
>Larkin, David Massengil, Richard Shindell, blah, blah, blah.  

	My collection contains recordings of all these folks!  I agree with
	your "well rounded" assessment: Brooks is a hot picker, especially
	evident in live performance, and an author of some well crafted
	songs.  But, for my $12-$15, Gorka's guitar playing doesn't bother
	me.  Let's face it - John Gorka's appeal is his wordplay skill and
	an intriguing voice - the timbre of which adds a unique kind of
	emotional subtext to his lyric.  

	
-- 
---------------------------+---------------------------+-------------------
Mike Neverisky             |  philabs!trintex!neverisk | Prodigy: KJRJ75A
Prodigy Services Company   |  1-914-684-0679 FAX       | My opinions, not my
White Plains, NY 10601     |  1-914-993-2402 voice     | employers.