Steve,
Should we load up in the car and go over there? Whose address did you
send him? <G>
Tater
On Mar 13, 9:46 am, Steve Cantrell <[email protected]> wrote:
> I got an email from a neighbor of Phebel who mentioned that he had some
> additional recordings of Wright on cassette. He told me if I sent him an
> address he would send a copy, but so far no dice. Still hoping, though.
>
> ________________________________
> From: Rich DelGrosso <[email protected]>
> To: [email protected]
> Sent: Friday, March 13, 2009 10:38:31 AM
> Subject: RE: Linthead Stomp - the book
>
> It does sound good. I assume you all know the song "Linthead Stomp" by
> Phebel Wright, the Kentucky bluegrass player from the fifties. I would like
> to know more about Wright and I hope this book sheds some light.
>
> -----Original Message-----
> From: [email protected] [mailto:[email protected]]
>
> On Behalf Of 14strings
> Sent: Friday, March 13, 2009 8:02 AM
> To: Taterbugmando
> Subject: Linthead Stomp - the book
>
> Here's a review I just read in the magazine "The Atlantic"; looks
> interesting. Has anybody read this book?
>
> Linthead Stomp: The Creation of Country Music in the Piedmont South
> Patrick Huber
> North Carolina
>
> A new, canny take on Old, Weird America, this colorful, contrarian
> book does much to dispel a spate of antediluvian tropes, musical and
> otherwise. The myth holds that prewar country music was a grassroots
> phenomenon, made and popularized by pickin'-and-grinnin' farmhands.
> But Huber, a history professor and co-author of The 1920s: American
> Popular Culture Through History, argues that it was Piedmont cities
> and mill towns and their industrial workforce that disseminated the
> region's rich sounds. Drawing on a wealth of archival sources and
> recordings, he asserts that country music circa 1922 to 1942 was, "in
> fact, as thoroughly modern in its origins and evolution as its
> quintessentially modern counterpart, jazz." Turning a welcome
> spotlight on talented oddballs such as Charlie Poole, Fiddlin' John
> Carson, and the Dixon Brothers, he elucidates the experiences, equally
> civilizing and compromising, of millhands in a rapidly industrializing
> South. And he contextualizes the give-and-take of the music and its
> makers-how, exactly, new social identities emerged, regional
> allegiances congealed, and a proto-countrypolitan sensibility took
> root and flourished in times both culturally and economically
> turbulent.
--~--~---------~--~----~------------~-------~--~----~
You received this message because you are subscribed to the Google Groups
"Taterbugmando" group.
To post to this group, send email to [email protected]
To unsubscribe from this group, send email to
[email protected]
For more options, visit this group at
http://groups.google.com/group/taterbugmando?hl=en
-~----------~----~----~----~------~----~------~--~---
