His parents were sharecroppers, who were illiterate enough that they misspelled their own surname on his birth certificate (they spelled it Perkings, but he always used Perkins in later life). His family had been so poor that when young Carl, inspired by listening to the Grand Ole Opry on the radio, asked if he could have a guitar, his parents couldn’t afford one, and so his father made him one from a cigar box and a broom handle. However, young Carl got good enough that soon his dad bought him a real guitar. He was so poor that when he broke strings, he had to tie them together because he couldn’t afford new ones, and he ended up developing a unique guitar style — bending strings to get different notes rather than fretting them normally — to avoid the knots in the strings, which hurt his fingers.
From "Episode 124: 'People Get Ready' by the Impressions":
[Curtis] Mayfield grew up in Chicago, in the kind of poverty that is, I hope, unimaginable to most of my listeners. He had to become “the man of the house” from age five, looking after his younger siblings as his mother went out looking for work, as his father abandoned his family, moved away, and changed his name. His mother was on welfare for much of the time, and Mayfield’s siblings have talked about how their special Christmas meal often consisted of cornbread and syrup, and they lived off beans, rice, and maybe a scrap of chicken neck every two weeks. They were so hungry so often that they used to make a game of it — drinking water until they were full, and then making sloshing noises with their bellies, laughing at them making noises other than rumbling.
I do think it's wrong to romanticize poverty or to indulge in the convenient belief that deprivation brings out creativity, but those are the stories of 2 men who were deprived and undaunted.
Anyway, there are many many stories in the podcast, very well told, with a distinctive style. (Hickey has a heavy accent and deliberately slows his speech because we Americans would not understand it if he spoke at his normal pace, as he demonstrated on one of his bonus Q&A episodes.)
२१ टिप्पण्या:
I tried that podcast on your recommendation, and absolutely love it. Thank you.
Your posts got me to start listening. It is very very well done. As you previously mentioned, I too could do with a bit less woke apologies, but the stories and detail are fully worth that annoyance.
He clearly loves this stuff and does a great job telling the story. I am only on episode 10, but I have already completely revised my understanding Western Swing and its impact.
I've been bingeing the podcast since you starting blogging about it and it's really great. I've spread the word quite a bit in my small world and always get thanked for doing so. Also, it's always pretty safe for kids, and mine love it. I will definitely subscribe to the Patreon as soon as I figure out how to do it.
The hand-wringing over not wanting to use the word "gypsy" is a bit too dear, and so he comes off as an effete, third-rate David Attenborough Dissecting The Exotic.
Ken Burns's fantastic, sensational, extraordinary Country Music is filled with those stories. Can't remember whether any of the giants of the industry didn't have such a childhood.
His accent is Scouse or more properly Liverpudlian, North of England way...
Read the lyrics, or listen to the lyrics to Curtis Mayfield's "Gypsy Woman". He was 19 years old when he wrote it, and it is remarkable that someone from his background, at his age, was able to imagine the scenes he evokes in the song. I still listen to his songs like "People Get Ready ", "It's Alright"-- even "Freddy's Dead," but the song about the gypsy woman dancing around a campfire floors me.
Oh. This is simply delicious.
I love you more than even now. Can we run away and prudent we are 13 again?
Seriously, thank you for this.
I and one of my coworkers thank you for the recommendation! I make it through a couple episodes (maybe) in a day, so I've just made it to about #86. After hearing your recommendation, and trying out an episode or so, I recommended it to a coworker of mine, and he is loving it as well.
Hickey's accent threw me at first, but now I look forward to hearing it - I find it soothing! As a storyteller, he's amazing.
I encourage this. It’s very interesting to me too although I rarely comment on this subject. There’s other things that interest you that I just have little curiosity about. This subject is endlessly fascinating.
"As you previously mentioned, I too could do with a bit less woke apologies...."
It wasn't me. It was commenters. I did not criticize anything as "woke" or apologetic. I like his approach of gentle but serious attention to violence against women, sexism, and racial injustice. He's not telling anyone what to do, simply setting an example and I think the example is good.
I did not criticize anything as "woke" or apologetic. I like his approach of gentle but serious attention to violence against women, sexism, and racial injustice. He's not telling anyone what to do, simply setting an example and I think the example is good.
Thanks to your recommendation, I've listened to a number of his podcasts and I think they are excellent. Lots of information and insights presented in a clear, concise way.
I think he handles racial issues well. And his discussion on cultural appropriation are nuanced and don't follow the current politically correct line.
But in some of the podcast I've heard, he makes some loopy comments that strike me as being made under the influence of the woke movement. Here are three examples I remember:
For "Satisfaction" he gave an elaborate trigger warning that a rape would be discussed. The discussion wasn't particularly graphic - no worse than mentioning rape multiple times in the repeated trigger warnings.
For "Mr. Tambourine Man" he made a big deal that he would not reveal Roger McQuinn's original name, because he made the change for religious reasons. He equated that to using a trans person's previous name. He than undermined his sensitivity by saying that one could easily find the name on Google. If he really thought it was an issue, why even mention it?
For "Like a Rolling Stone", he added this note after his podcast was published: "This episode went up before the allegations about Dylan, in a lawsuit filed on Friday, were made public on Monday night. Had I been aware of them, I would at least have commented at the beginning of the episode." If his Podcast is dealing with history, then he should at least make an effort to see if the lawsuit is really of historical interest and not a speculative lawsuit made by lawyers and clients trying to get some publicity. It now appears that it is the latter. The woman who filed the lawsuit is a psychic who has counselled a client that she was abused by Dylan and other rock stars in a pre-life.
For me these are puzzling quirks that won't stop me from listening to and enjoying his podcasts.
I too started listening to this podcast on your recommendation. Almost everything about it is pleasing. I have as a result recommended it to others.
Thank you.
Amexpat, I haven't gotten as far as the examples you listed, but agree that there is just something slightly off-putting when he gets into social commentary. Still very well done and very enjoyable, but the social commentary detracts from rather than adds to the experience.
The historical elements, particularly about the way the music industry operated and even copyright law, but also about the discrimination and racism involved, are very much welcome. I don't even necessarily disagree with this social commentary, or at least much of it, but the facts speak for themselves - I'd prefer any opinionating be limited to the music.
But it's more of a quibble - I'm still listening and still finding lots of new-to-me music to enjoy.
I agree: excellent history and very well done. I Thought he had a British accent along with a speech impediment: not being able to enunciate the "r" sound. Am I wrong?
I'm loving the podcast and am grateful for the recommendation.
I wondered about the slow talking; whenever I start one of his podcasts after listening to something else, I think that I've somehow switched on a slowed down mode on my podcast app. Then, after a few seconds, I either get used to it or he speeds up a little, I'm not sure which, because I stop noticing it.
His view of Rock is not identical to mine. Some of what he calls "rock" is not something I would identify as such. The British have traditionally been way more into R&B than mainstream Americans. The whole "Northern Soul" (that's the British "North") phenomenon is a bit of a head scratcher for me. So he tends to emphasize R&B more than I would and leaves out more of the Blues than I would (although perhaps he fills in more about that later, I'm not even to Elvis yet). But that's not a drawback since it just means more of the material will be new to me.
I basically agree with Amexpat about the "woke" stuff. Sometimes it strikes me as a bit over the top. The one that really baffled me was that Hickey felt it necessary to offer some words of apology for Sam Phillips' belief that "if other white people could just see the humanity, and the talent, in black people the way he could, the world would be a much better place." That was odd.
I'll join the crowd thanking you for bring this to our attention. I'm not a podcast guy but I've started reading the transcripts and listening to the songs mentioned. I love it. I'm OC enough that I have to start at episode 1 and I'm only up to 7. So far, it's been great.
If you're not troubled by youtube, The Professor of Rock channel is very good. His enthusiasm is infectious, and he gets top-tier (Brian Wilson) interviews.
I am really enjoying this podcast. I was born in 1946, so I lived most of this history, and remember it well. Mr. Hickey seems hung up on the word "massive". A minor quirk. Also, the constant social commentary is off-putting, but overlookable.
I intend to watch the videos too based upon your positive experience, Ann, but I'll admit to being discouraged in the very first video. The narrator makes familiar but misleading claims about stiff white audiences being scandalized by dangerous black music. My understanding, however, is that in earlier days there was a fairly strict distinction between sacred music and secular music, and that this distinction was just as relevant in the black community as the white community. That is, religious black Americans might have been as put off as religious white Americans about musical genres such as blues and jazz.
In this telling of history, what elevates music like blues and jazz is not that it is authentically black, but that it is the kind of black music that white audiences were willing to spend money on. White Americans have been happy to "cross the tracks" when it suits them, and have given financial support for the secular black music over the sacred black music.
I intend to start listening to this but have been pre-occupied with real life lately ... thank you. Music podcasts, music blogging, music anything ... literally nothing is more interesting to me (which is why I blog about music more than anything else).
Re: social commentary in a music podcast, it just comes with the territory. I don’t care for it either, but the artistic and creative world revolves around feelings and emotions as a necessary precondition ... it’s where the truth and beauty comes from, too. I can tolerate it as long as such comments are a very small piece of the pie.
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