Cozied Up in the Old Church

After work on Thursday, I met up with The Dulcinea for dinner at Vientiane Palace. I had my usual 25B while she her normal 24B. Having filled our bellies, we traipsed down to the First United Methodist Church where some Future of Folk festival festivities were going to happen. We took seats in a pew up front. First the writer and music historian Bart Plantenga gave a lecture on the history and future of yodeling. (His definition of yodeling: "...is distinguished from other vocalizations by its emphasis on that jolt of air that occurs as the voice passes from bass or low chest voice to high head voice or falsetto, and vice versa. No glottal jolt, no yodel.") He gave an overview of the debate over yodeling's origins and demonstrated how many a new band/artist incorporates it into their work. As he read off a list of current bands that yodel today, he mentioned Son Volt. I searched my mind to find a song in which Jay Farrar yodeled and I could think of nary a one. But I let it slide. (I wonder if he mistook the song "Jodel" for a tune that actually has yodeling in it.) He also mentioned Jewel which humored me because I think the best bit of music she ever did was that brief snippet of yodeling in a commercial for Target or to whomever it is she sold out. Perhaps the most interesting parts of his lecture were the samples of music from various countries that featured yodeling. He played not only the typical Swiss incarnation but also Native American, African, and South American. When he finished we were treated to a few songs by Bruce Bollerud of the legendary (around here, anyway) Goose Island Ramblers! He played a few tunes on his accordion, sang, and, of course, yodeled. He played "The Chicken Polka" and made these fowl noises on his squeeze box. It made me feel stupid for never having gone to see GIR when they were still playing. I've had 15 years or so to do it but no – I failed.

There was a brief intermission before John Fabke, Bill Malone, and Mike Seeger(!) came onstage. For the first part, they played some tunes and Malone engaged Seeger in conversation. Apparently Bill is writing a book about Seeger and his role in the folk revival of the 1960s. It was weird to be sitting there with such a legendary figure onstage before me. I mean, he helped form the New Lost City Ramblers in 1958, and "discovered" & recorded many a folk musician. He told some funny and interesting stories before they played. They mentioned names with which I was familiar like Doc Boggs and Elizabeth Cotton and I felt all folky-knowledgeable and proud of myself. They played "Freight Train" by Cotton and a murder ballad – I think it was "Pretty Polly". For the last half of the performance, it was Seeger by himself. He played a really great tune on the autoharp, the name of which I cannot recall. He also did something on the Jew's harp as well as a bit of hollerin'.

At some point, The Dulcinea began to feel chilly and beckoned me to move closer to her. So I did. After a while, we were holding hands and she started to rub my arm. It felt really good but odd. We are still defining our relationship to one another. It is certainly a friendship – but more and I don't think either of us quite know what more is to include. Whatever it shall be, it was nice to have her company. Going out to dinner and a performance as we did was something we never got around to when we were dating.

Leaving the church, I found myself determined to get me some Goose Island Ramblers and check out Plantenga's book on yodeling.