• FEATURE ARTICLES

    ANATOMY OF A BAND: SUSIE GLAZE & THE HILONESOME BAND 2003 TO 2016

    [Anatomy of a Band:Welcome to the next installment in this series of articles for FolkWorks. We asked Susie Glaze and the members of the Hilonesome Band to write individual essays about their insights and experiences with the band. It was intentionally left open ended so that they could present their individual take. The Band started in 2003 and officially ended in 2016. Susie's new band, The Susie Glaze New Folk Ensemble is the latest incarnation which started last year. The series is being presented weekly, each member of the band in turn. We hope you enjoy this. ]

    Hilonesome wide


    Fred Sanders, Bass, Lead and Harmony Vocals

    Fred SandersI was born in Philadelphia and spent ages 6-10 in Ohio, then two years in Colombia (where my Dad worked for the Peace Corps), then finally settled in the New York City area for high school, college, and the beginning of an acting career. I first met Steve Rankin when we were each new acting company members at Actors Theatre of Louisville in 1981. We became roommates before discovering we were both musicians as well. Steve had a rock band called Steve Rankin and the Pine Valley Band that morphed into Steve Rankin and the Legend in their Spare Time Band, with Steve on lead vocals and guitar and me on electric bass and vocals. Steve also introduced me to Bluegrass, a style I was not that familiar with as a rock'n'roller from the Northeast. Fortunately, we also saw lots of Bluegrass bands while at Louisville, including New Grass Revival, Jim and Jesse, and even Bill Monroe himself.

    Read more: ANATOMY OF A BAND: FRED SANDERS - SUSIE GLAZE & THE HILONESOME BAND

    IMARHAN

    Touring Desert Blues at the Echo, April 21 - 5:30pm

    By Tom Cheyney

    IMARHANThunderclap of raw electric, brief hush, familiar lopey gait acrisscross the sands.

    It’s that thing again, the desiccated goodness, that treasure of the Sahelian harmonic distortion.

    Tinariwen kicked it off, held Kalashnikov in one hand, knockoff-off guitar in the other.

    Guit won. At least in their hearts.

    Now they pass it on to the next generation.

    Which brings us to Imarhan.

    Read more: IMARHAN

    CONCERT REVIEW

    ARLO GUTHRIE AT THE SABAN THEATRE

    WITH SARAH LEE AND ABE GUTHRIE

    APRIL 5, 2018, 8:00PM

    THE ROLLING LAUGHTER REVIEW

    By Ross Altman, PhD

    Arlo Guthie Regeneration posterThe concert poster says it all: at the top you see Woody’s famous guitar, with four words that define his mission and stature as an artist: “This Machine Kills Fascists.” Beneath that you see a profile in courage~ of Arlo Guthrie, and to either side his daughter Sarah Lee and son Abe. It shows the flow of time down to three generations of Guthries since Woody~ and the title “Re: Generation Tour.”

    So my question is who best captured the indomitable spirit of Woody last night? One would have thought going into it that it would be Arlo, but I’m not so sure. 

    Read more: ARLO GUTHRIE AT THE SABAN THEATRE

    SPOTLIGHTS

    MAMAK KHADEM

    Mamak Khadem

    THURSDAY, APRIL 26, 2018 - 8:00PM

    ArtPower – University of California San Diego – The Loft
    9500 Gilman Dr. Price Center East, San Diego, CA 92093

    Read more: MAMAK KHADEM April 26

    MARTHA REDBONE

    Martha Redbone

    THURSDAY, APRIL 26, 2018 - 8:00PM

    Carpenter Performing Arts Center (Cal State Long Beach)
    6200 Atherton St., Long Beach, CA 90815

    Read more: MARTHA REDBONE April 26

    COLUMN OF THE WEEK

    March-April 2018

    GET OUT MORE OFTEN: PLAY A SMALLER INSTRUMENT AND RIDE A MOTORCYCLE

    By Roland Sturm

    picture 1 triumph mandolin smGetting around Los Angeles can be quite time consuming in a car; there are just too many of those. While I commute by bicycle (and ride it a lot otherwise, too), bicycles are not very practical for getting to more distant parts of L.A. Then I take a motorcycle. I don't like sitting in a car and if going out would also require sitting in clogged traffic in a car, staying home becomes the dominant choice.

    Read more: GET OUT MORE OFTEN: PLAY A SMALLER INSTRUMENT AND RIDE A MOTORCYCLE

    everything but ...

    FolkWorks thanks all those involved in making the 2018 Festival SUCH A SUCCESS

    Festival Thank You

    Read more: FOLKWORKS THANKS ALL

    FULL CALENDAR

    MUSIC       DANCE

    TODAY'S CALENDAR 4/26/18


    MUSIC


    6:00pm PETER HARPER WITH JASON MANDELL

    SOHo Restaurant and Music Club

    1221 State St., Santa Barbara, CA 93101

    805-962-7776


    fwpick

    7:00pm TAO: DRUM HEART

    UCSB Campbell Hall

    574 Mesa Road, Santa Barbara, CA 93106-5030

    805-893-3535


    7:30pm DENNIS ROGER REED AND DON SEGIEN

    Alta Coffee

    506 31st St., Newport Beach, CA 90814

    949-675-0233


    fwpick

    7:30pm MÉLISANDE

    Great Quebecois band

    Theatre Raymond Kabbaz

    10361 W. Pico Blvd., Los Angeles, CA 90064

    310-286-0553


    7:30pm MITCH HAYES

    Genghis Cohen Cantina

    740 N. Fairfax Ave., Los Angeles, CA, 90046-7206

    323-653-0640


    7:30pm OFF MY HEAD

    with Erika Brooks Adickman, Robyn Samuels, Dutch Merrick, Richard Donatone, Mike Lambert, Ty Fance

    Coffee Gallery Backstage

    2029 N. Lake Ave., Altadena, CA 92675

    626-798-6236 This email address is being protected from spambots. You need JavaScript enabled to view it.


    fwpick

    8:00pm MAMAK KHADEM

    ArtPower – University of California San Diego – The Loft

    9500 Gilman Dr. Price Center East, San Diego, CA 92093

    858-822-3199


    fwpick

    8:00pm MARTHA REDBONE

    Carpenter Performing Arts Center (Cal State Long Beach)

    6200 Atherton St., Long Beach, CA 90815

    562-985-7000



    DANCE


    NO EVENTS TODAY


    RECURRING EVENTS


    MUSIC


    5:00pm KEN O'MALLEY

    every Thursday

    Auld Dubliner

    71 S Pine Ave., Long Beach, CA 90802

    562-437-8300

    This email address is being protected from spambots. You need JavaScript enabled to view it.


    6:00pm - 9:00pm WEST VALLEY OLD-TIME JAM

    third & fourth Thursday

    Jerry's Pizzeria

    22035 Sherman Way, Canoga Park, CA

    Pete Tinker 818-346-5213 This email address is being protected from spambots. You need JavaScript enabled to view it.


    6:00pm - 9:00pm WEST VALLEY OLD-TIME JAM

    second & fourth Thursday

    Jerry's Pizzeria

    22035 Sherman Way, Canoga Park, CA

    Pete Tinker 818-346-5213 This email address is being protected from spambots. You need JavaScript enabled to view it.


    6:30pm - 9:00pm ENCINITAS BLUEGRASS JAM

    every Thursday

    Today's Pizza and Salad

    481 Santa Fe Drive, Encinitas, CA

    This email address is being protected from spambots. You need JavaScript enabled to view it.

    Jason Weiss 619-238-8331 This email address is being protected from spambots. You need JavaScript enabled to view it.


    7:00pm - 10:30pm BLUEGRASS THURSDAYS AT THE GRAND VIEW MARKET (JAM)

    fourth Thursday

    Grandview Market

    12210 Venice Blvd., Los Angeles, CA

    Jeff Fleck 310-773-6753 This email address is being protected from spambots. You need JavaScript enabled to view it.


    7:30pm PLOUGHBOYS CELTIC

    second, third, fourth & fifth Thursday

    Tam O' Shanter (Ale & Sandwich Bar Lounge)

    2980 Los Feliz Bl, Los Feliz, CA 90039

    323-664-0228

    818-507-8445 This email address is being protected from spambots. You need JavaScript enabled to view it.


    DANCE


    8:00pm VAN NUYS ISRAELI DANCING

    every Thursday

    Dance Revolution

    6626 Valjean Ave, Van Nuys, CA

    Sagi Azran


    FEATURED VIDEO

Sam Hinton: The Road Not Taken

An Appreciation

By Ross Altman

Sixty years ago San Diego folk singer and marine biologist Sam Hinton had something quite astonishing for a traveling medicine show performer (Major Bowes Vaudeville Show)-a certified hit song. It was written by LA newspaperman (and co-founder of the Newspaper Guild in Southern California) Vern Partlow, in the wake of the bombing of Hiroshima and Nagasaki: Talking Ol' Man Atom, or The Talking Atomic Blues. It was that song in which Partlow came up with a closing couplet worthy of Alexander Pope:

Listen, folks; here is my thesis:

Peace in the world, or the world in pieces.

Sam Hinton: The Road Not Taken

An Appreciation

By Ross Altman

Sixty years ago San Diego folk singer and marine biologist Sam Hinton had something quite astonishing for a traveling medicine show performer (Major Bowes Vaudeville Show)-a certified hit song. It was written by LA newspaperman (and co-founder of the Newspaper Guild in Southern California) Vern Partlow, in the wake of the bombing of Hiroshima and Nagasaki: Talking Ol' Man Atom, or The Talking Atomic Blues. It was that song in which Partlow came up with a closing couplet worthy of Alexander Pope:

Listen, folks; here is my thesis:

Peace in the world, or the world in pieces.

Sam's Decca recording became a minor novelty radio hit, until a wave of red scare propaganda during the beginning of the McCarthy era took it off the radio, and put Sam in front of the House Committee on Un-American Activities. It wasn't the only popular progressive song that was blacklisted-the same fate befell Yip Harburg's and Earl Robinson's paean to the newly formed United Nations: We're In the Same Boat, Brother, as recorded by Howard Keel, who had starred in a 1940's production of Showboat.

Keel's recording aired nationally just once on CBS radio, but once was enough to unleash a right wing storm of protest similar to the sort now making news at Tea Party Revivals, Town Hell Meetings and Health Care Rallies attended by assault-weapons armed super patriots determined to wave their automatic rifles in the president's face.

Both Sam Hinton's prophetic recording-the harbinger of a forty years Cold War, and Howard Keel's visionary recording, a pre-John Lennon hymn to One World (Imagine), disappeared overnight, the only two genuine peace songs to disturb the Hit Parade until the folk scare of the 1960s. (Fortunately, Leadbelly also recorded We're In the Same Boat, Brother, so, like Galileo, the song managed to survive the Inquisition.)

Even before The Weavers were fired by Decca Records and joined the ranks of blacklisted artists like Paul Robeson, Lillian Hellman, Arthur Miller, and The Hollywood Ten, Sam Hinton's brief commercial recording career was over. He too had the distinction of being fired by Decca Records-in the land of the free...

Sam did what Pete Seeger would eventually have to do-recorded for Moses Asch's fearless Folkways label (now Smithsonian Folkways), a non-commercial label that welcomed political artists like Woody Guthrie, Huddie Ledbetter (Leadbelly) and Pete.

Sam Hinton was Moses Asch first and last "singing biologist," a strange scientific-artist hybrid who recorded songs that celebrated and actually taught subjects like Darwin's theory of Evolution. In my recent FolkWorks column, Evolution Mama: Folk Music and The Culture War, I pay homage to Sam's groundbreaking recording of It's a Long Way From Amphioxus, which in its own delightful way struck a blow for academic freedom and scientific progress.

But Sam soon realized that the road Pete Seeger was able to take was not for him-to make a full-time career as a barnstorming musician and be able to support a family too. Commercial success was an accident for Sam, and he didn't see it as something he could count on again. So he took the road not taken, which in his case meant pursuing a full-time academic career as a marine biologist, out of the spotlight of the entertainment world that had led to his unwelcome attention from HUAC. He became a professor at UC San Diego and began his long association with their Scripps Institute of Oceanography, of which he eventually became the director.

It provided the necessary cover for this authentic American folk singer, straight out of East Texas, who had inherited and diligently collected a song-bag richly integrated with songs from African-Americans, Cajuns, and Anglo-Saxon sources, all of whom congregated in or near his home.

But the songs Sam became most closely and affectionately associated with were what he called "old songs for young people." His records and live performances of children's songs, barnyard classics like I Have a Goose, novelty performances like The Arkansas Traveler, in which he regales the audience with a miniature harmonica he tucked inside his cheek to play the tune, while telling the story of the encounter of the farmer and the traveler, and tongue twisters like Whoever Shall Have Some Good Peanuts, have charmed schoolchildren and folk audiences for more than fifty years.

He played them all on his ancient Washburn acoustic guitar, unlike any on the folk circuit, and he played in his own unpretentious but quite sophisticated and delicate finger-style that perfectly complemented each song with back harmonies and musical call-and-response passages. His folk festival appearances in Southern California were always looked forward too and treasured memories afterwards.

Without any of the fanfare that accompanied the musical careers of better-known folk singers, Sam created a body of work that seems almost effortless in its scholarly detail, tracing a "family tree of folk songs" from old Ireland to the American west on one album, and recalling those songs from his East Texas childhood on another. When you heard Sam you knew you were getting the real history of each song he sang-they were never just "cowboy songs" to Sam-he could tell you which side of the Rio Grande they came from, and which cowboy Carl Sandburg (or Sam himself) collected them from.

Friends of Sam Hinton in San Diego put together a perfect biography of Sam-a combination of oral history and written accounts of his many lives as a folk singer and passionate scientist of the sea.

But for me the song that brought both sides of his dual personality into sharp relief remains Talking Old Man Atom, a song which satirizes both politicians and scientists in one unified plea to humanity as a whole:

Gonna preach you all a sermon ‘bout Old Man Atom

And I don't mean the Adam in the Bible datum,

I don't mean the Adam that Mother Eve mated

I mean the one that science liberated-

The one that Einstein's scared of-

And brother, when Einstein's scared-I'm scared!

Long after his Decca recording career was over, Sam still preached that sermon, from the bully pulpit of a folk festival stage. He may have been preaching to the choir, but we were all delighted to hear him take on the powers that be-both those in Los Alamos who created the bomb, and those in Washington who decided to use it-the only weapon of mass destruction ever dropped on a civilian population.

Sam was one of a kind-an American troubadour and marine biologist who left more than his footprints in the sand. He left a treasury of folk music that will continue to charm and educate children and adults alike long after he is gone. But those on the road less traveled will miss him.

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