Contents: Editorial; CD Review; Flashbacks

IFS has videotaped many concerts over the years. Carol can no longer store them. If you wish to house them for IFS, please let Carol know otherwise they will be wiped.

Many of us believe, or at least we think we believe, that people who write, perform, and listen to folk music are by nature "liberal." There are several definitions of the word liberal in my dictionary. The one that is pertinent to our discussion describes a liberal person as having an open mind and not being subject to precon- ceptions or prejudice. On the face of it, such a description would seem to be applicable to the vast majority of folk music and its proponents. It goes without saying that I am referring here to Anglo Saxon, which is to say American, folk music of the last century and a half or so. Most of us like to think of ourselves as opposing persecution, prejudice, hunger, poverty, war and all those mean, nasty and ugly things. I call to mind the words of that wonderful satirist Tom Lehrer who said: "We know we all ought to love each other. And I know that there are people in this world who do not love each other. And I hate people like that." He also said of singers of folk songs of protest: "You have to admire these people. It takes a lot of guts to stand up in front of an audience and sing out on behalf of all those things that the audience opposes, such as peace, love and justice." I think that what Mr. Lehrer is trying to tell us is that liberals are not a better breed of humanity. Whether they like it or not, liberal people are subject to the same innate prejudices that make the rest of us inferior human beings tick. This is true especially when dealing with issues that strike close to home. When you dig beneath the liberal surface and get to where we really live, everyone, including folk people, is subject to the same stereotypes and prejudices as the rest of us.

Take for instance the following example. At the recent Jacob's Ladder Festival, Marianne Navon, a very popular singer and songwriter, sang a witty and funny song recounting a recent incident involving a Palestinian acquaintance. This person had allegedly been unduly harassed by border guards at the Erez check post. Marianne told me that her purpose in writing and performing the song was twofold. First, she wished to graphically describe the mistreatment of her Palestinian friend.

Secondly, she wanted to somehow convey a message that whatever the rights and wrongs in the current conflict, Israel had to clean up its act and make a better attempt to distinguish between those who mean to cause us harm and those who are just trying to make some kind of a living.

I must confess that when I first heard Marianne perform the song I had mixed feelings. The song is a gem and was performed wonderfully well, as is usual with Marianne. The point she was trying to make was well taken. But coming hard on the heels of the terrorist attack at Mike's Place in which friends of mine had been victims, I couldn't help but wonder whether this was the appropriate time for such a song. I also felt that whatever the indignities suffered by the Palestinian, at least he had lived to tell the tale, which could not be said of some of the victims of the Mike's Place attack. However, I was forced to reexamine my position when, upon her completing the song, protests erupted from the audience which were very ugly. Some walked out and actually protested to the festival organizer who felt it necessary to ask Marianne to send him the offending lyrics.

This helped me realize that the issue was bigger than the lyrics of the song. The question was whether a performing artist at a folk festival has the right to sing lyrics with which not everyone agrees, particularly if those lyrics are not incendiary and are within the bounds of good taste. I believe that Marianne has that right, as do each and every one of us. It is a sad commentary that as a matter of routine, anyone can sing such songs as Blowing in the Wind, or Dark as a Dungeon without anyone batting an eyelash, but they bristle when someone dares to sing a protest song about what is happening today in the Middle East. Indeed, Marianne feels that the English speaking folk community in Israel is characterized by a clamorous sound of silence regarding any kind of protest song about anything that has to do with the State of Israel. In light of what happened to her at Jacob's Ladder, I think she has a point. It seems to me that we are going to have to choose whether we will follow the philosophy of the old Steppenwolf song: "You're free to say just what you want as long as you agree with me," or that of Voltaire who said: "I disagree with what you say, but I'll fight to the death for your right to say it." I know not what course others may take, but as for me, give me Voltaire.

--Larry Gamliel

Sea Wolf.

I know it sounds weird, but I kinda felt that the grassy knoll in back of the bleachers of the chess arena, had absorbed some of the wonderful positive energy that reflected off the marble chessboard stage the night before. It stuck to the grass like dew. Or was this, during my 7 am jog, just a bit of sleep deprivation caused by, no - not chess, but by perhaps too much late live music two nights in a row? a-huh

The sudden flashback feeling can often be pleasurable as the brain clicks through a slide show of the triggered event faster than the speed of light. What an ultimate digital processor, since it not only does visuals but also plays back all the senses simultaneously. A familiar musician walks into Mike’s Place and suddenly there’s an acrid smell in the air, and a phantom deafness followed by a split second of ringing in the ears, as the visual slide show courses through the brain. All the senses are letting loose at once in this terrible instant horror replay. And then it passes and a deep breath is drawn. Hi – how are ya? How’re ya feelin'? Smiles all around.

The hero and former security guard enters, wearing a sling and a neck brace. Or the young bass player gets up on stage, his hair not totally grown in, but he sure can cook. Flashback again. For those that lived through the horror, this goes on at Mike’s Place on and off all night long while the heavy blues solos roll through and build up to tremendous crescendos of sounds and riffs – whew – what a blast – whoops (shouldn’t of said that). This is a blues pub that has paid some heavy dues, and produces some really heavy blues because the real stuff is rooted in sorrow and redemption; and they sure have it in spades. Playing with the band on an open mike night is indeed a joy.

I was fortunate to trade riffs with the amazing guitar virtuoso of the Blues Messengers – didn’t catch his name, but he reminded me of a young long-haired Roman Polanski. Barry Gilbert opened and managed the stage, and graciously invited musicians to join from the audience. There was a lawyer type guy with a beautiful adoring wife that played some decent harp, and he was happy to get my thumbs up. Around 1:30 am the audience was swayin' and grooving, and then Judy B. Z. got up there and brought the house down (whoops – you know what I mean) with her raucously ravaging rocking soul. Judy and Barry survived the explosion and defiantly continue to grace that stage. In comparison, my park hoot the next night, was a walk in the sun. Candles lit the checker board marble stage as the performers and groups got up to do folk, country music, blues, and even some Elvis & Gershwin. After a few opening songs I invited Barry Gilbert up (hadn’t seen him in a while – like 24 hours?). He did some of his own wonderful songs such as Restricted View and a heart wrenching memorial tribute to Yanai who died at Mike’s Place. Tears welled up in my eyes as Barry’s song evoked such deep sorrow. Oy. It was a hard act to follow but Michael T with his Sizzling Strings guitar duo did a few nice country songs and a whining Thai pop song that just kept going on and on. Larry Fogel then got the audience into a Simon & Garfunkle mood followed up by a James Taylor song, and the magic started growing in the air. A new guest singer named Livia did some Joan Baez and Scottish songs with a lovely voice. Ariela Orion followed with some crowd pleasers. The Brazilian style song she wrote was especially beautiful that contrasted a ballad style verse with a soft pursing samba reprise chorus. Eliot Dobin had everyone eating out of his hand as he sang & strummed his entertaining show stoppers. He was undoubtedly the star of the show. Then it was the premier performance of a new country music band called P. Country (sounds like pikanti? Oh well) led by Hillel Mogel and featuring a female string bass player and a beautiful yellow- haired maiden as lead singer. Hillel’s doin' just fine and played some mean Scruggs banjo. Then Judy B. Z. backed up by Saby, Eli Marcus and myself, did her great music. She is consistently an outstanding blues belter, be the venue a smoky blues club or an outdoor arena. She brings her own versions of Bessie Smith, Billie Holiday and Etta James to life. What a thrill. It then was the turn of Judy’s sidemen to do their things and Eli Marcus was terrific on National Steel guitar and his always eclectic and pleasing blues. Saby who hadn’t been in our neck of the woods for a few years proved that the old rock & roll war-horses were still alive and kicking. Son of a gun, we were havin' a lot of fun far from the bayou. His Elvis medley was simply terrific. He’s still got it. People from the audience were then invited to publicly perform the songs normally done in the shower, and surprisingly enough a few actually did get up and Peleg and crew did a rousing Summertime. Finally Shay Tochner led a superb grand finale jam session of country favorites, bawdy songs, and of course Goodnight Irene.

It was a lovely night of summer music. The patrolling armed guard was surprised at what he was securing. He thought he was invited to secure a birthday party. In our reality, it’s vital to keep the good times rolling so that the flashbacks this time are just the good ones.

--Harold Jacobs

June Carter Cash died in May of complications from heart surgery. She was born in 1929 into the famous singing Carter family whose songs have permeated the repertoires of countless musicians over the past several decades. The earliest recordings of the Carters, in the late 1920's, were among the first country recordings ever made.

Ms Carter, her mother Maybelle and her sisters became regulars at the Grand Ole Opry in Nashville from the late 1930's. She later moved to New York to

study acting, but ended up singing with the up-and- coming Johnny Cash, whom

she married in the late 1960's.

Apart from being a singer and some-time actress, Ms Cash was also a songwriter and author. She collaborated on many successful songs with Johnny Cash, and won the Grammy several times over the years for her

recordings.

The Cashes visited Israel several times over the past decades, often making

documentary films about their spiritual journeys in this land.

In her unwavering support of her husband during tough times, Ms Carter Cash became something of an icon. As such, she will certainly be missed among her family and friends. As a fine musician and songwriter, she will be sorely missed in the American music community. RIP.

-- Jill Rogoff

Refuah Shlema; to Ray Scudero

Happy Birthday to: Gila Cook, Charles Greenbaum, Lenny Labensohn, Dave Lewis, Dena Maltinsky, Margo Schotz

(NIS 5 for members).

**The New Country Klezmers – a foot-stompin' good time – 2-5 musicians for your simchah. Call David Baron (054) 955-997 or Bruce Brill (051) 565-479.

**CAPA (Computer Assisted Production and Arranging) -From your musical masterpiece to demo, playback, finished CD? Call David Baron (054) 955-997.

DISCLAIMER: FolkNotes is the official publication of the Israel FolkStuff Society. Views are those of the writers, not necessarily those of IFS. FolkNotes and all of the articles, photographs and material contained therein

are, unless otherwise noted, copyrighted by IFS 2002. The disclaimer is so that

people do not "steal your article." In every case that people turn to FolkNo for permission, we refer them directly to the author of the article.

Advertisement tariffs for FolkNotes are available on request.

FolkNotes Staff: Sherry Whetstone, Larry Gamliel, Carol Fuchs, and Cecile

Panzer

C A L E N D A R

Monday, August 11th. BSMN (Bet Shemesh Music Nite), (after Tish'a B'av) at 8:15pm - at Rehov Shimon 84 (Givat Sharret) - 12 NIS - with Judy & Lynn Lewis and Aviella Trapido.

Try to get your information to us for the Calendar, as early as possible, so we can meet publication deadlines (15th of each month). Contact Larry Gamliel at (053) 801-202, or by email: carolf@savion.huji.ac.il

To receive the (more or less) twice-weekly email updates, write Carol: carolf@savion.huji.ac.il

ISRAEL FOLKSTUFF SOCIETY Membership (clip and MAIL today) Oh, YES! I'd like to become a member of/renew my membership in IFS. Includes a subscription to FolkNotes, discounts on IFS-sponsored concerts and Home Hoots, etc.