Agreed, exactly like GM.
Sent from my iPhone
> On Sep 22, 2014, at 10:52 AM, Steven Smolian <[log in to unmask]> wrote:
> Indeed. Like Mahler!
> Steve Smolian
> -----Original Message-----
> From: Association for Recorded Sound Discussion List
> [mailto:[log in to unmask]] On Behalf Of Aaron Levinson
> Sent: Monday, September 22, 2014 10:36 AM
> To: [log in to unmask]
> Subject: Re: [ARSCLIST] Records Ruin the Landscape
> For another perspective, I don't think it's entirely accurate to suggest
> that later generations "distort" history by highlighting an otherwise
> neglected or overlooked figure. In any golden age when so much talent is
> concentrated in a field some figures resonate and become popular while
> others do not. To suggest that popularity is the sole yardstick (or
> contemporary acclaim) leaves a lot of interesting people standing on the
> Sometimes it does take a later generation to shine a little light into the
> corners and discover some one who may have eluded attention in the earlier
> Sent from my iPhone
>> On Sep 22, 2014, at 9:44 AM, Tom Fine <[log in to unmask]> wrote:
>> Hi Mike:
>> In fairness to Petrusich, she addresses the issue of obscure Paramount and
> other blues sides being hyped up through the "blues mafia" and associated
> reissuers, so they take on unwarranted prominence in the cultural "canon."
> And, this comes at the expense of blues records that actually WERE popular
> and sold thousands of copies when they were new and different (Bessie Smith,
> Lonnie Smith, others). One of the modern reissuers calls Skip James a
> "freak" who couldn't get a Victor or ARC contract.
>> I think part of this is the same thing driving Avakian and Keepnews/Grauer
> jazz reissues in the late 40s and early 50s, plus the Harry Smith anthology
> -- each new generation collectors (generally but not always social outcasts
> and people not of the mainstream cultural tastes or norms) has to "discover"
> some "neglected gold" and create a fetish around it. There's also an
> underlying ecomic element, especially with the blues records, in fact one
> could call it hucksterism intended to keep prices high and this maintain
> collection values. This is much more pronounced in modern times and with
> blues records vs "jass" records in earlier times, although collectors like
> John Tefteller and Richard Nevins generally reissue at reasonable prices
> records for which they've paid mega-bux. In any case, it's the age-old fact
> of history -- each succeding generation distorts the past context and
> usually the past facts to suit its own perspectives, tastes and prejudices.
> Petrusich also touches on this, but on scratches the surface of the issue.
>> Overall, I found her book to be entertaining enough to read through
> quickly, but lightweight in authority and very short on new facts or
> perspectives. The fact that she really digs the music is a plus as far as
> readability, but not as far as adding anything new to the facts or
> conversation. As always when he's involved, Joe Bussard entertained me the
> most. He is a rare bird anyway, but super-rare in that he's an extrovert in
> a collector-world of introverts. I'm sure other 78 collector-cultists resent
> the attention Joe gets, but they aren't nearly as interesting so they
> shouldn't be surprised.
>> -- Tom Fine
>> ----- Original Message ----- From: "Michael Biel" <[log in to unmask]>
>> To: <[log in to unmask]>
>> Sent: Monday, September 22, 2014 8:49 AM
>> Subject: Re: [ARSCLIST] Records Ruin the Landscape
>>> I kept on expecting Alan Funt to appear.
>>> If this guy had recorded on Paramount -- especially if they had put
>>> this 15 minute piece out on a set of 2-78s, then Amanda Petrusich's
>>> cult of collectors would be going apesh-t over it and fighting to bid
>>> tens of thousands of dollars on it. I'm unimpressed with this and am
>>> unimpressed with most of what her cult is overbidding for.
>>> (Did you really listen to ALL 15 minutes of that crap????)
>>> Mike Biel [log in to unmask]
>>> ------- Original Message --------
>>> Subject: Re: [ARSCLIST] Records Ruin the Landscape
>>> From: Tom Fine <[log in to unmask]>
>>> Date: Sun, September 21, 2014 7:56 am
>>> To: [log in to unmask]
>>> Let's be clear, this is the "artiste" discussed in the essay:
>>> If 15 minutes of the same 3 chords with often out of tune humming
>>> along is your thing, then have at it. Many people play acoustic
>>> guitar into a portable home recorder. Very few of those recordings
>>> are worth hearing. Almost none of them are worth canonized as
>>> "undiscovered gold."
>>> I understand the frustration with modern commercialized popular
>>> music, but the modern impulse (often by younger writers with little
>>> historical perspective, writers "born digital" and raised on digital
>>> pop music glop) to "discover" performers from what is glorified as a
>>> "wonderful past," many of whom don't really deserve to be canonized,
>>> is annoying. It seems to be an academic, navel-gazing pursuit.
>>> And, it smacks of ignorance, of not listening to enough
>>> commercially-released music from the same time periods. That sort of
>>> listening will often reveal that there were many excellent examples
>>> in the selected genre, musicians who could actually play and thus
>>> make commercially viable recordings.
>>> -- Tom Fine
>>> ----- Original Message ----- From: "WS" <[log in to unmask]>
>>> To: <[log in to unmask]>
>>> Sent: Friday, September 19, 2014 6:35 PM
>>> Subject: [ARSCLIST] Records Ruin the Landscape
>>>> The link below is an excerpt (published in WIRE magazine) from David
>>>> Grubb's upcoming book called "Records Ruin The Landscape".
>>>> I thought it might be of interest to some ARSCLIST members, as it
>>>> explores the implications of recorded material from an earlier era
>>>> that only finds an audience much later than it was created.