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Dangers And Delights Of Period Pieces


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I've heard the term "politically incorrect" used incorrectly by some in the past few months. If you want to see something actually and delightfully "politically incorrect" and pushing the boundaries of cultural appropriation in an interesting way then revisit my page for "Princess Poo-Poo-Ly has Plenty Pa-Pa-Ya" with our barely rehearsed version of this hapa haole Hawaiian Classic.

 

Also available on my CD, track #4 of "Sing to Me, Concertina Boy" in a slightly cleaned up version. I still bravely sing this song live on occasion when I think the audience will appreciate it. Not everywhere, as I do try to be sensitive to audience taste. Still, I love this song as a period piece and can't let it go from my active rep!

Edited by Jody Kruskal
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IMHO, boundaries are deliciously fluid.

 

"Art" in the "politically compromised, humour and satire" world should be offered a separate and distinct status from the merely rude and boorish behavior of unpleasant individuals bent on societies destruction. But to make those distinctions is a nuanced thing and not immediately obvious from your own stand point.

 

I can think of many hilarious and compromised examples that cross boundaries and risk insult but are too culturally delicious to merit destruction. What to do with those? Keep 'em says I.

Edited by Jody Kruskal
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I can think of many hilarious and compromised examples that cross boundaries and risk insult but are too culturally delicious to merit destruction. What to do with those? Keep 'em says I.

Well put, Jody!

Political correctness is the death of poetry!

 

Seriously, those of us who sing folk and traditional songs must bear in mind that we are the sounding-board for the thoughts, ideals and, yes, prejudices of earlier epochs of our respective cultures. Politically correct bowdlerisation of the lyrics renders them largely useless as historical sources.

 

Cheers,

John

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Seriously, those of us who sing folk and traditional songs must bear in mind that we are the sounding-board for the thoughts, ideals and, yes, prejudices of earlier epochs of our respective cultures. Politically correct bowdlerisation of the lyrics renders them largely useless as historical sources.

 

I agree, and when singing period songs I'm very reluctant to alter the lyrics to suit modern sensibilities. Yet tricky cases come up.

 

Here's one: "The War In Snider's Grocery Store" (1914) is a wonderful American anti-war song, which manages the neat trick of poking fun at nearly every European nationality without (to my mind) really insulting any of them--with one exception: a reference to "dago salami." When I was working up an arrangement last year I struggled with that word. Not because I found it impossibly offensive--especially by the standards of its time, it's pretty mild as slurs go, and I'd sing it in front of any audience (just possibly with the briefest "trigger warning" in my introduction)--but because it's jarring now in a way that it wasn't in 1914. I found that it drew too much of my attention, and interfered with the song's artfulness. So in the end I changed it to "spicy salami." I've tweaked a W.C. Handy line or two in a similar way.

 

I very much want to preserve the integrity of the old songs I sing, even when they reflect attitudes we're well rid of (if we are indeed rid of them; these days one has to wonder). But they're not just texts, or museum pieces; I also want them to be entertaining, and to become, once again, *contemporary*; to touch listeners directly, not through a scrim of scholarship. If that means very, very occasionally substituting for an expression that touches a particularly sore spot, or simply defies translation...well, I suppose that's a form of artistic license I'd be unwilling to forgo.

 

Bob Michel

Near Philly

Edited by Bob Michel
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This message is not directed at any person, comment, point of view, or particular part of this thread. It is for all. It is based on a lot of experience with threads that drift away from our common interest and the inevitable work such drift creates. I need to say that first.

 

I've been concerned ever since I saw the title of this thread. If you want to talk concertinas or music (e.g., "Period Pieces"), have at it. Other topics belong somewhere else on the internet. Thanks for helping us maintain the intended focus of this site.

 

Ken

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Well, I for one am enjoying this thread, so on "The Dangers and Delights of Period Pieces":
I often make small changes to broadside texts to make them more understandable, or relevant to modern audiences, but I certainly wouldn't clean up the saucy bits! Perhaps "filthy bits" is a better term, since the sexuality in broadside ballads tends to be a lot more "in your face" than in either folk songs, or the music hall repertoire. The Black Joke probably ties with The Buxsome Lass of Westminster as the most filthy of the songs we've done, but having first cleared it with the organiser, we recently sung it in a church! I suppose you just have to judge your audience and make programme changes if you feel they might be too shocked, (unless of course that is your intention!) especially for an elderly, or sensitive audience.

Adrian

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There are some phrases that have connotations now which they would previously have lacked, of course, e.g. in Lord Thomas and Fair Eleanor. As I sing it (primarily from Hedy West's version), the opening verse is

 

 

"Mother, O Mother," Lord Thomas he said

As he went out at the door

"Shall I marry fair Eleanor,

Or bring the brown girl home?"

 

Now, I wouldn't bother explaining to a folky audience that the phrase "the brown girl" has nothing to do with race but is about hair colour -- but would I feel comfortable singing it to a non-specialist audience without either being aware of potential sensitivity or providing some additional context? No.

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Bravo Ken and right you are. I've edited my OP to stick closer to "the intended focus of this site." I can't edit the title, though you are welcome to change it to "Dangers and Delights of Period Pieces" if you want.

Done, thanks Jody.

 

Ken

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