Nice Work If You Can Get It

My chosen profession is not without its rewards. I performed a Christmas concert in December and, when it was over, a tall young man in his early twenties approached the CD table. “Mr. Miller,” he began, “You won’t recognize me, but you played at the library in Placerville, California, about fifteen years ago, when I was a little kid. We bought your CD: Along Came a Giant – Traditional American Folksong for Young Folks. “And,” the young man’s mother added, “He still knows all the words to all the songs on that album!” Motioning toward his teenage sisters standing nearby, the young man explained, “They were at that concert, too, but they were just toddlers.” “Thanks!” I told him, “You made my day. And you’ve validated the past twenty years of touring and performing. That’s more than I had ever hoped for!” Nice work if you can get it!   Continue Reading

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Political Correctness and Traditional Folksongs: Can They Exist in the Same Time and Space?

Last week, a friend shared an email with me, written by a songwriter I have never met. The songwriter said that she was deeply offended by songwriters who recycle a melody that, “still has the symphonic stench and terrible tune of racism.” She felt that contemporary composers should refrain from using traditional melodies that were once associated with the black face minstrel show or contained politically incorrect language. Her expressed position reminded me of an August 20, 2015 article published in the Atlanta Black Star called, “12 Childhood Nursery Rhymes You Didn’t Realize Were Racist.” This week I noticed several people posting references to this article on Facebook and vowing to “clean up their repertoires.” If I feel a song is offensive, I won’t sing it (unless I am using it in an instructional or historical context). But if I try to control what songs other people can or cannot sing, Continue Reading

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