Showing posts with label Barry Mazor. Show all posts
Showing posts with label Barry Mazor. Show all posts

Wednesday, August 15, 2012

Appalachia meets the Himalayas


By Ruth Ellen Gruber


Barry Mazor writes in the Wall Street Journal about an interesting collaborative project that intersects bluegrass and Appalachian mountain music with the traditional music of the Himalayas....

Itinerant musicians who play simple, almost instantly recognizable tunes on four-string fiddles, chickens running in the yard, and some strong homemade drink nearby to match the homemade music. These images, surprisingly, come from both Virginia and . . . Nepal. The people of the Appalachian and Himalayan ranges have rarely been depicted as comparable, but their lives and music are compared and intersect in "The Mountain Music Project," a film released in July on DVD, with a set of related intercontinental musical collaborations released on CD under the same title. 
The film and album were the result of encounters in Katmandu between two traditional musicians from Virginia—Tara Linhardt and Danny Knicely—and such rural Nepali musicians relocated to that capital city as Buddhiman Gandharba, a maker and player of the eye- and ear-catching homemade Nepali fiddle called the sarangi. (His surname, Gandharba, is that of his caste; the Gandharba are a longstanding class of performers traditionally avoided by others in Nepal except when they need adept musicians for a wedding or other event.)
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Wednesday, November 19, 2008

Country Music -- Two Views

These two articles -- one from The New Republic and one from the Wall Street Journal -- are about the state of country music in the USA, not in Europe. But the constrasting views are interesting regarding the genre as a whole, so I feel that the links are worth posting together.

The New Republic

Country First?

by

How country music lost the election--and why that may be the best thing to happen to the genre in years

Admittedly, it's difficult to fire up a crowd before a concession speech. Yet on an Arizona stage on election night, there stood Hank Williams Jr. and Big & Rich's John Rich, alone with their guitars and trying, in vain, to rouse John McCain's admirers shortly before McCain officially threw in the towel. In an election full of culturally symbolic moments, here was another: the sight of two country stars, from two different generations, looking testy yet powerless--visual proof that among the many losers in last week's elections was country music itself.

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Why Country Not Only Survived but Thrived

By Barry Mazor

Wall Street Journal, Nov. 18, 2008

Nashville, Tenn.

If you tuned in to the CMA Awards on ABC last week to catch performances by young country stars Taylor Swift, Brad Paisley and Sugarland, or by veterans Alan Jackson and George Strait, you are not alone. This year's telecast of the country music awards was seen by more than 34 million viewers. You might have seen the September telecast of last summer's CMA Music Festival, too -- the only festival of any musical variety that is broadcast on network prime time. If you're not sure who or what the "CMA" behind those events is, you're not entirely alone in that, either. But the Country Music Association, based in Nashville, is marking its 50th anniversary this month.

Today, country music is an exception in the ailing music business, a genre still thriving in tough times.

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