Friday and Saturday - workshops galore: belly dancing; Circassian culture; banjos and brass; spoons; voice; pennywhistle and dulcimer ****

Friday night will be a delicious communal kosher dinner followed by music by the All Stars – all those stars who want to perform.

Saturday workshop and time to tour Kfar Kama (Circassian village)

Saturday afternoon until Motzei Shabbat – music jam and good company.

For last minute queries:

***If you have a pennywhistle – bring it along to Sarona

I expect all of you know by now that Johnny Cash has passed away. I'm not a Johnny Cash expert. I don't have his entire catalog of recordings in my possession. I just know that I liked him a hell of a lot. I liked him as a man and I always liked his music. In fact, I heard him for the first time when I was six years old, way back in the Fifties. He has turned up in my life every now and then ever since.

I don't know anyone who didn't like Johnny Cash. That in itself is an achievement in the world of today. I think the reason for that might be that Johnny Cash was always easy to listen to. He had such an identifiable voice. Some have called it "gravelly”. I never thought of it as such, home- spun would be more accurate. He started out as a rock-n-roll singer and moved through the protest era and came to be regarded as the icon of country music. He always had a place in his heart for gospel and spiritual music. Whatever genre he did was done without pizzazz or panache. His charisma spoke for itself. The people who heard him for almost fifty years loved it. He was part of every era and every genre, but he trans- cended all of them. While he grew musically over the years, he was ever himself. He was not subject to the passing fads although he served as a well spring for many of them.

Another reason why Johnny Cash has been so popular is that in his own unadorned and simple way, he sang about life in a manner that was always immediate and current. Maybe he didn't have anything new or startling to tell us, rather he always somehow told us things that we wanted to say ourselves. You might tell me that this is what every good folk singer does. And you would be quite right. That is why Johnny Cash is one of the greatest folk singers of the century and is recognized as such by his peers.

Another wonderful thing about Cash is that he managed to "walk the Line" to quote one of his first hits. He was up and down. He had a drug problem and a drinking problem and a marriage problem and he licked them all. The fact that he married June Carter certainly didn't hurt. Their love stood the test of time unlike so many other music people. The last years of his life were not spent in good health. Yet he somehow kept on recording and performing. His children became stars in their own right and he was always there for them.

In short, he was a island of non-turbulence in the stormy sea or our times. His music crossed borders, both musical and political. This will be his heritage and his testimony, as well as an ongoing living memorial.

May he rest in peace

--Larry Gamliel

Well, the response to last month’s article on the future of IFS was, to say the least, underwhelming. The consensus of those who did reply is that we go forward with the legal disbanding of the Amuta. To this end, we will consult with the people at Rasham Amutot, to understand more clearly the needed legal procedures.

We will continue to publish the FolkNotes monthly in paper form until such a time as the last subscriptions run out.

Any monies remaining after expenses of disbanding will be used for the publishing of the newsletter.

To this end, we will hold a (short) Extraordinary General Meeting, just prior to the December 31^st, 2003, Tzora Folk Club, at which time, the membership will vote formally on the disbanding and any other issues which may arise in the meantime.

Anyone who wishes to take an active part in the disbanding or act as scrutineer (keep an eye on what is happening), please be in touch with Carol or Larry by email or phone.

--Larry Gamliel and Carol Fuchs

In an effort to keep you abreast of the ever-changing world of musical terminology, we provide you with some terms with which you should be

familiar:

Adagio Fromaggio: To play in a slow and cheesy manner.

AnDante: A musical composition that is infernally slow.

Angus Dei: To play with a divine, beefy tone.

Anti-phonal: Referring to the prohibition of cell phones in the concert hall.

A Patella: Unaccompanied knee-slapping.

Appologgiatura: A compo- sition, solo or instrument, you regret playing.

Approximatura: A series of notes played by a performer, not intended by

the composer.

Approximento: A musical entrance that is somewhere in the vicinity of the correct pitch.

Bar Line: What musicians form after a concert.

Concerto Grossissimo: A really bad performance.

Coral Symphony: (see Beethoven-Caribbean period).

Cornetti Trombosis Disastrous: The entangle-

ment of brass instruments

that can occur when musicians exit hastily down the stage stairs

Dill Piccolino: A wind instrument that plays only sour notes.

Fermantra: A note that is held over and over and over and ...

Fermoota: A rest of indefinite length and dubious value.

Fog Hornoso: A sound that is heard when the conductor's intentions are

not clear.

Frugalhorn: A sensible, inexpensive brass instrument.

Gaul Blatter: A French horn player.

Good Conductor: A person who can give an electrifying performance. or, alternative use, one who obeys the orchestra and/or chorus

Gregorian Champ: Monk who can hold a note the longest.

Kvetchendo: Gradually getting annoyingly louder.

Mallade: A romantic song that's pretty awful.

Molto bolto: Head straight for the ending.

Opera buffa: Musical stage production by nudists.

Poochini Musical: perfor- mance, accompanied by a dog.

Pre-Classical Conservatism: School of thought which fostered the idea, "if it ain't baroque, don't fix it."

Spritzicato: Plucking of a stringed instrument to produce a bright, bubbly sound, usually accompanied by sparkling water with lemon (wine optional).

Tempo Tantrumo: When a young band refuses to keep time with the conductor.

Tincanabulation: The annoying or irritating sounds made by extremely cheap bells.

Vesuvioso: A gradual buildup to a fiery conclusion.

ZZZfortzando: Playing REALLY loud in order to wake up the audience.

--from an email sent anonymously

If the accordion is not your favorite instrument, beware: Larry G. now has bagpipes.

Apologies to Hadar Matmon for missing his birthday recently.

Happy Birthday: Sandy Cash, Sashi Clarsfield, Batsheva Fleishman, Adi Katz, Tali Rogoff, Shay Tochner,

Mazal Tov: to Debra Whetstone on her Bat Mitzva

(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 2003. The disclaimer is so that

people do not "steal your article." In every case that people turn to FolkNotes 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

Try to get your information to us for the Calendar, as early as possible, so we can meet publication deadlines (15^th of each month). Contact Larry Gamliel agamliel@bezeqint.net or Carol 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.