Tag Archives: Clearwater Festival

We Need Pete Seeger Now More Than Ever

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At the opening to this year’s Great Hudson River Revival, a music festival an hour north of Manhattan that was founded by the late Pete and Toshi Seeger 40 years ago and emphasizes environmental activism, I think it might have been either folksinger Josh White Jr. or Tom Chapin who invoked the words “a musical antibody for a political virus” while leading a few thousand people in song. Participatory group singing has always been the calling card of the Seeger clan and their extended family, and that spirit continues.

Pete Seeger had said that “No one can prove a damn thing, but I think that singing together gives people some kind of a holy feeling. And it can happen whether they’re atheists, or whoever. You feel like, ‘Gee, we’re all together.’ I like the sound of average voices more than trained voices, especially kids singing a little off pitch. They have a nice, rascally sound.” (New York Times)

June 18, 2018: McAllen, Texas — Inside an old warehouse in South Texas, hundreds of children wait in a series of cages created by metal fencing. One cage had 20 children inside. Scattered about are bottles of water, bags of chips and large foil sheets intended to serve as blankets. More than 1,100 people were inside the large, dark facility that’s divided into separate wings for unaccompanied children, adults on their own, and mothers and fathers with children. The cages in each wing open out into common areas to use portable restrooms. The overhead lighting in the warehouse stays on around the clock. Stories have spread of children being torn from their parents’ arms, and parents not being able to find where their kids have gone. A group of congressional lawmakers visited the same facility Sunday and were set to visit a longer-term shelter holding around 1,500 children — many of whom were separated from their parents. (Associated Press)

Throughout Father’s Day weekend as I wandered through the festival grounds, it was hard to tamp down the taste of bile emanating from the actions of a despicable and morally bankrupt administration that has ripped to shreds the values and morals of our great land. And yes, while a folk festival is indeed a clustered group of mostly white progressives, and despite the shortcomings of inclusion, it still felt like a better place to spend a hot summer day. As the sweet sounds came pouring from the stages, there were many musicians raising their voices and sharing their anger and frustration, occasionally tempered with hope. At a small workshop beneath a tent, Rhiannon Giddens spoke a harsh truth: “If you want to know what’s happening today, don’t read newspapers. Read the history books.” This song seemed fitting for the day: “Mal Hombre.”

Willie Nelson has issued a statement on the separation of immigrant children from their parents at the U.S.-Mexico border. The country-music icon and Texas native ripped the Department of Justice’s policy under President Trump. “What’s going on at our Southern border is outrageous. Christians everywhere should be up in arms. What happened to ‘Bring us your tired and weak and we will make them strong?’ This is still the promise land,” Nelson says, citing lyrics from songwriter David Lynn Jones’ “Living in the Promiseland.” (Rolling Stone)

Willie does not stand alone.

Singer Sara Bareilles wrote: “I am so sad and feel so helpless about the families being separated. This is beyond inhumane … I am just appalled. I am grateful for those sharing how to engage and help, thank God for you. The idea that there is anyone who believes this is justice is simply heartbreaking.” When House Speaker Paul Ryan sent out a “Happy Father’s Day” message, singer John Legend replied: “Seriously, f**k you. Reunite the families at the border and we can talk about father’s day.” (Channel 3000)

I imagine that many of you would rather read about the Dave Alvin and Jimmie Dale Gilmore set at the festival — it was better than I could possibly have imagined, and the new album has been No. 1 on the Billboard Blues Chart since its release. And there were a few dozen other singers and bands I had been looking forward to hearing that didn’t disappoint. And maybe I could have shared a little about the concert I saw earlier in the week with Steve Earle, Lucinda Williams, and Dwight Yoakam. It could have been a great week for music, but much of it was buried under sadness for the families torn apart.

June 19, 2018: A group of more than 600 United Methodist clergy and church members are bringing church law charges against Attorney General Jeff Sessions over the Trump administration’s “zero tolerance” immigration crackdown. The group accuses Sessions, a fellow United Methodist, of violating Paragraph 270.3 of the denomination’s Book of Discipline. He is charged under church law with child abuse, immorality, racial discrimination and “dissemination of doctrines contrary to the standards of doctrine of the United Methodist Church.” (NBC News)

“The world is like a seesaw out of balance: on one side is a box of big rocks, tilting it its way. On the other side is a box, and a bunch of us with teaspoons, adding a little sand at a time. One day, all of our teaspoons will add up, and the whole thing will tip, and people will say, ‘How did it happen so fast?’ ”

— Pete Seeger

This article was originally published as an Easy Ed’s Broadside column over at No Depression: The Journal of Roots Music.

Clearwater Festival, Los Lobos and The Power of Dancing In The Rain

Singin'_in_the_Rain_trailerLast weekend I went to what we might have once called a folk festival and was blown away by the power and majesty of a pure kick-ass electric set. It seems to be an affliction when you dwell in this house of roots music fandom that after a period of time you can become overwhelmed with a false notion of authenticity that only comes with acoustic instrumentation and some sort of lineage that will lead you back to Appalachia or New Orleans or Greenwich Village or any other place you can come up with that reeks of heritage and history. As I seem to have forgotten on occasion, there is a time and place to forget about trying to figure out where and when, and just shut your eyes as the music washes over you from head to tapping toes.

Perhaps its a condition of age. Or not. Given that some of the most muscular rock music comes from people now in their fifties, sixties, and seventies is not necessarily all nostalgia, no matter how it may be marketed and packaged. Although I can guess that many in the audience are in large part reacting to a trip down memory lane, it ain’t all be rice and beans. There’s got to be steak on the plate to create a meal of sonic treats that will leave you feeling satisfied and fulfilled.

What has made me slow to a crawl in going to see loud amplified music at larger venues for any genre has been the production and scale. The moves are all the same, the set list rarely changes, the cost and opportunity to acquire tickets are beyond my pay grade, and the lighting, set design, and ambiance are designed to elicit emotion. Sort of like what Disneyland does. Or a Broadway play. Or a show in Vegas. None of which are wrong or bad, but just not my thing.

It does not escape me that many of my peers think that my usual preference for a simpler form of entertainment is some sort of elitism, and that I choose to stay clear of the mainstream because of some sort of inadequacy or inability to blend. And I won’t disagree too hard with that. I don’t like to blend. And I don’t like to dance. It can be a problem.

Last Saturday morning it was cool and drizzly when I got to Clearwater, the festival known for being founded by Pete Seeger. I bypassed the big stages to start my day at a song circle that was led by a trio  of talented local musicians who did a great job of setting my mood straight. I caught Mike and Ruthy’s new band, which did a great set. Kate Pierson from the B-52s was next; an odd choice, I thought, but young hipsters in long beards and flowing dresses danced like lobsters as I slouched off towards the river toward the dance tent. The Klezmatics! Who doesn’t like an accordion, fiddle, horns, and clarinet? Hundreds were dancing the hora. I stood outside with my umbrella.

I really had come to see just one band. They were scheduled mid-afternoon on the main stage, and by now the rain was steady and umbrellas were up. As festivals go, Clearwater is very orderly and neat. People come early, put out their chairs and blankets, and when they get up to wander to other areas in the park, anyone is allowed to occupy their empty spaces. But everything was soaking wet, so I made my way to the small area at stage left that is reserved for dancing.

Los Lobos. Damn. It’s been so long since I last saw them; most likely in LA during the eighties. I’ve been a fan, but hardly a fanatic. My old friend Chris Morris, who has authored their soon-to-be-released biography, has lately been posting on Facebook about them and it piqued my interest. And from the opening chords of the first song to the last, the mighty and powerful wolves played music that seeped into the cracks and crevices my soul and made my feet frolic in the puddles. Loud. Driving. A wall of amazing sound that shot out across the field like a bolt of lightening against a soundtrack of thunder. I’m screaming, dancing, and done. Like the bunny, I’m energized again.

Have about 80 minutes to spare? Probably not. But here’s the full 1999 Woodstock set that the band did. I’m going for it.

This was originally published by No Depression, as an Easy Ed’s Broadside column. The original title was “If You Want To Dance With Me”.