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Topic: Robert Randolph Headlines New York Times Arts section |
Sage
From:
Boulder, Colorado
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Posted 30 Apr 2001 10:20 am |
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Sacred Steel prodigy Robert Randolph is in the Monday, April 30 New York Times newspaper, The Living Arts section. Remember the posts after the Sanford show- "Report from the future", and "I have seen the future"? Well, you can read about the future, and it is now. When was the last time a pedal steel guitarist was featured as a full color headliner in the New York Times? Don't miss it.
Here is Robert's website for tour info- www.robertrandolph.net/main/in2.htm |
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Sage
From:
Boulder, Colorado
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Posted 30 Apr 2001 11:58 am
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Bob Stone
From:
Gainesville, FL, USA
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Guest
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Posted 1 May 2001 5:16 pm
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I am always glad to see any steel player get attention, and Robert Randolph is certainly deserving. Unfortunately, I can't seem to read a New York Times article anymore without being reminded why I hate the Times so much. It's partly the arrogance that seems to be bred into Times reporters, it's partly the shallowness of the reporting, and it's partly the provincial attitude that the New York Times embodies, an attitude that says "If we didn't report it, it doesn't count."
The tone of the article implies that Robert is the first musician to play the steel guitar as a serious instrument. Let's face it, when the Times describes the steel guitar as "a resonant instrument more associated with languorous Hawaiian music and weepy country songs", it has in one sentence both demeaned the instrument and completely erased the contributions of countless steel guitar players over the past eighty years. It comes as no surprise to me that the Times reporter is ignorant of the history of steel guitar and the great musicians who expanded the instrument in so many ways.
The reporter continues "the steel guitar found its way into the House of God in the 1930's when the sound of the Hawaiian steel guitar became a Tin Pan Alley trend." In fact, the steel guitar was a staple of American popular music from the turn of the century, and it was far more than just a "Tin Pan Alley trend". In fact, the true history of steel guitar lies primarily outside Tin Pan Alley, but I'll harp no longer on the reporter's lack of knowledge.
What really gets me is the implication that this wonderful instrument has been held back all these years by the fact that its been primarily used by a bunch of hicks to play "weepy" country music. I am glad that Randolph is getting attention -- he deserves it. I am sad, and once again outraged, that a newspaper as authoritative as the Times could write an article with so little knowledge or depth.
Well, it's par for the course.
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ebb
From:
nj
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Posted 1 May 2001 5:52 pm
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amen. doesn't credit Jimmy Day, as the sacred players do, as the impetus to the movement.
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Jim Cohen
From:
Philadelphia, PA
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Posted 1 May 2001 6:19 pm
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| Stephen, I love you like a brother. But do you mean to say that the public-at-large does not associate steel guitar with hawaiian and weepy country sounds? I know I don't but everybody else I meet seems to... |
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Guest
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Posted 1 May 2001 6:30 pm
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I feel it's the job of the Times, and any newspaper, to provide a perspective that is more informed than that of the public at large. Otherwise, what value are they providing?
Besides, I respectfully think you may be underestimating people. The association of steel guitar with weepy country songs is outdated and not as widely held as you think. |
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Sage
From:
Boulder, Colorado
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Posted 1 May 2001 8:10 pm
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The wall street journal is reportedly written with an eighth grade reading level in mind. I suspect that the times is no different. The value they provide is the same as radio stations- they ultimately give value to their advertisers. I am not defending the stereotype expressed in the article (about weepy country songs). I happen to LIKE weepy country songs but I do not like the stereotype, it is an insult to the great souls that inspire us and the instrument we are devoted to.
In my take on reality, there is a large and everpresent stereotype that looms over the steel guitar. Consider the fleeting awareness of the steel in the minds of MOST music listeners. Try to describe what it is that you play to someone who doesn't listen to country music and the first thing to get past is that unfortunate, typecast impression. From the stories that Chuck Campbell has told me about reactions from his peers in the secular R&B music scene, this stereotype remains FIRMLY in place. It takes a lot of ba))s, and serious chops to take the instrument boldly where no steel guitar has gone before. The House of God players are doing that, and doing it with with honor and integrity. The steel guitar stereotype is a form of prejudice- and the sacred steelers' work is going to help change and heal that prejudice. Think about that for a moment.
Stephen, I share your dissapointment about the lack of depth and understanding in the article as it relates to the steel, exascerbating that cursed stereotype- but they did not take it upon themselves to make that a part of their job. I guess that makes it ours. I know that it is preaching to the choir most of the time here, but new ones join our ranks all of the time. And more will soon be joining us from unheard of places, some with little to no background on the instrument, because they found out about it for the first time from Robert Randolph and Chuck and Darick Campbell, Calvin Cooke and Josh Taylor. So we can work to overcome it HERE. Unfortunately, I am guessing that this media thing you touched upon, Stephen, will get worse before it gets better. The stereotype is a flashy contrasting story line that is easy to throw into an article, and it is also based upon some truth- and we all have to face that in our own way. Respectfully, Sage[This message was edited by Sage on 01 May 2001 at 09:14 PM.] [This message was edited by Sage on 01 May 2001 at 09:44 PM.] [This message was edited by Sage on 01 May 2001 at 09:55 PM.] [This message was edited by Sage on 02 May 2001 at 05:47 AM.] [This message was edited by Sage on 02 May 2001 at 05:55 AM.] |
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Guest
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Posted 2 May 2001 3:34 am
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I truly appreciate your comments and you have a good point. I guess I felt that the article, rather than lighting a candle in the darkness, was just reinforcing a negative stereotype.
I do not expect the Times writer to know a lot about steel guitar -- that would be expecting way too much. But at the least, they should not reinforce negative stereotypes.
Can you imagine a Times writer describing the saxophone as "an instrument associated with polkas and marching bands"? Of course not, because as any Times writer would know, the sax is associated with "legitimate" musical forms like jazz and blues. But to way too many New Yorkers, country music of any kind (and believe me, they don't make distinctions) is not a form of music worth taking seriously.
I'm particularly sensitive on this point largely because I lived in Manhattan for fifteen years and was exposed on a daily basis to the kind of bias the Times and many of its readers live on. While I no longer live there, that arrogance and small mindedness still galls me. It's all too common for otherwise intelligent New Yorkers to look down on country music in the most patronizing way. Say "steel guitar" and they think toothless hillbillies with washing machines on the front porch.
Anything that elevates the instrument will eventually bring more respect to it and all those who have contributed to it. I applaud the House of God players for that and wish them continued success. And we can hope that someday the Times might recognize some of the other players who deserve it.[This message was edited by Stephen O'Brien on 02 May 2001 at 06:04 AM.] |
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Jim Cohen
From:
Philadelphia, PA
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Posted 2 May 2001 3:43 am
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| Amen. |
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Ron Castle
From:
West Hurley,NY
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Posted 2 May 2001 5:26 am
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Despite the negative aspects of the Times article that Stephen points out, the story is
still great for steel guitar (and of course for Robert). If the NY TIMES 'culture sheep' hold those stereotypes, than the article will go far to change minds and attitudes. But many people read the Times who do not subscribe to the 'hillbilly' prejudice towards country music, yet they know little
of PSG. Just to get this type of exposure will get more people interested in steel.
But I think the best thing about all the Sacred steelers is thier role as lead players
which should go far in generating respect for
the instrument, which for the general public
has remained in a backup/support role since
Alvino Ray. |
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Guest
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Posted 2 May 2001 5:58 am
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| I agree. Let's not let the negative overshadow the positive. I'm with you. |
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Bob Stone
From:
Gainesville, FL, USA
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Posted 2 May 2001 6:22 am
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I too can find a lot of fault with the NYT article. There were several inaccuracies and the writing was not so hot.
But the article succeded on at least one level. It presented an exciting and exceptionally talented young African-American musician who is playing some very up-to-date music on an instrument, which in the minds of most people (including many of the players), is stuck in the country and Hawaiian genres. Don't get me wrong. I love country and Hawaiian and, in fact, will be playing both tonight at a monthly jam.
People of African descent have been major contibutors to the shaping of American music, which many say is this country's biggest artistic contribution. It is big news that not just Robert, but dozens of young African Americans, have taken up the instrument based on a solid 60-year sacred music foundation. These guys and gals represent the 3rd and 4th generation of a strong religious community musical tradition based on the steel guitar.
Despite its faults,I see the article as very positive for anyone who is trying to expand the horizons of the steel guitar. Consider the rich variety of music played on violin-family instruments: everything from Tommy Jarrell fiddle tunes to Chines ehru, Gypsy music, jazz and Paganini. Wouldn't it be great to see the steel guitar, which is only about 115 years old, expand its musical scope in a similar manner? |
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