Wow! That back memories in a very vivid way. I played in a show band in '82 that would do two shows with flood lights, me in a white tuxedo, NYC Spats, and a Panama type hat. Called "Street Life" featuring Nancy London. We played mainly fancy hotels. I LOVE that style so much...Thanks.
Today was oldies day. A few years ago, in preparation for handing over all my 45's to my son, I actually took my time over a few days, found (all but two) on YouTube and saved them in playlists. So much more convenient than putting them on the turntable one at a time using those plastic 45 inserts! Here are two of the songs I listened to a couple of times today:
Oh, it was so exciting. Every night there were concerts, and during the day you'd be in a eucalyptus grove listening to someone making music with nothing between you and them. Every day I'd hear something new, Doc Watson or the Greenbriar Boys. Something about it just invited me to start playing it.[1]
She began picking simple songs on the guitar, then the fiddle. After high school, she drifted away from the music, but always kept her fiddle under her bed, not knowing exactly why.[1]
In her early 20s, she discovered the Bay Area bluegrass scene. To her, it was . .
like opening that door all over again. Here were all these people making music together, and I could immediately see myself as part of it. It woke up all that excitement I felt as a teenager, and I knew this was what I wanted to do with my life.[1]
The bluegrass scene of Northern California was a powerful mix of the region's historic progressivism and ardent devotion to musical tradition. Nobody minded that young Laurie was a woman, a non-southerner, or a novice. They didn't mind if she didn't want to learn, chapter and verse, the gospels of Bill Monroe and Ralph Stanley. The scene gave her a rock-ribbed foundation in the rudiments of American roots music.
It really was a different deal coming to bluegrass in the San Francisco Bay area. There weren't a lot of cutting contests; it was all about making music together, a focus on interdependency rather than individual prowess.[1] "
Following his father's death, Garcia's mother Ruth took over her husband's bar, buying out his partner for full ownership. She began working full-time there, sending Jerry and his brother to live nearby with her parents, Tillie and William Clifford. During the five-year period in which he lived with his grandparents, Garcia enjoyed a large amount of autonomy and attended Monroe Elementary School.[33] At the school, Garcia was greatly encouraged in his artistic abilities by his third grade teacher: through her, he discovered that "being a creative person was a viable possibility in life." According to Garcia, it was around this time that he was opened up to country and bluegrass music by his grandmother, whom he recalled enjoyed listening to the Grand Ole Opry. His elder brother, Clifford, however, staunchly believed the contrary, insisting that Garcia was "fantasizing all [that] ... she'd been to Opry, but she didn't listen to it on the radio." It was at this point that Garcia started playing the banjo, his first stringed instrument.[34]"