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Comedy Central’s TV Funhouse by Check Price
John Work III: Recording Black Culture by Check Price
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1. joe frazier record Review – Comedy Central’s TV Funhouse

Comedy Central

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When you were a kid, cartoons were on Saturday mornings, TV show hosts were beloved, and puppets were friendly, caring and kind. Well, you’re not a kid anymore. That’s why Comedy Central’s TV Funhouse, featuring host Doug and his Anipals, is packed with enough twisted cartoons, crass puppets, live animals and guest stars to send you to bed weeping over your lost youth.

Fans of the groundbreaking Comedy Central series TV Funhouse know that ‘sophomoric humor’ is no insult, but a high badge of honor. This series–only for grownups, Mom and Dad–took the conceit of a kids’ show, complete with puppets, live animals, a goofy host, and cartoon, and peppered the whole menu with enough crass jokes of every stripe to reduce viewers to helpless giggles. The boxed set features eight full episodes, each of which has more gross, but hilarious, bits than an average Farrelly brothers or Judd Apatow film. Hapless host Doug (Doug Dale) tries to wrangle his kiddie-show ‘Anipals,’ who consist of real dogs and cats, but also crude, fouled-mouthed puppets like Chickie the Rooster, Fogey the Dog (voiced by subversive creator Robert Smigel), and his cousin, Triumph the Insult Comic Dog, who would go on to his own fame and fortune as Conan O’Brien’s sidekick.

Each episode involves adventures of the Anipals–off to Tijuana for a cockfight (where Chickie comes out the worse for wear), Atlantic City to catch Triumph’s gig and run into Robert Goulet (who appears, a great sport, as himself), to an animal lab where the Pals envision lucrative new careers for themselves. The humor is gross, and the outtakes in this set even more so (is there such a thing as animal porn?) Guest stars appearing gleefully include George Wendt and John Ritter, and memorable, but R-rated cartoons include the adventures of ‘Wonderman,’ and ‘Stedman.’ –A.T. Hurley

Number of Customer Reviews: 52 customer reviews
Average Review Rating: 4.4 out of 5 stars

2. joe frazier record Review – John Work III: Recording Black Culture

John Work III: Recording Black Culture

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Grammy winner 2008 for Best Liner Notes.


Adding notes to a Folklorist’s tunes:

[Work] argued that our appreciation of the black roots music of the era would have been greatly enriched had the writings of the researchers reached a wider audience. With the release of Recording Black Culture, an album consisting largely of newly unearthed acetates made by one of the collectors, John Work III, we now have the music itself to buttress this claim.

Mr. Work, the most eminent of the black folklorists, was not merely an acolyte of Mr. Lomax but clearly had ideas of his own. Where Mr. Lomax tended to treat black vernacular music as an artifact in need of preservation, Mr. Work sought to document it as it was unfolding. Thus on Recording Black Culture, instead of spirituals harking back to the 19th century, we hear febrile gospel shouting set to the cadences of what soon would become rhythm and blues and rock ‘n’ roll.

Robert Gordon, who edited Lost Delta Found with Bruce Nemerov, cites the hot, driving piano on Mr. Work’s recording of a group of Primitive Baptist women singing a song called I Am His, He Is Mine, as an example.

‘There is nascent boogie-woogie in that music’, said Mr. Gordon, who has also written a biography of the blues singer Muddy Waters, whom Mr. Work and Mr. Lomax recorded on their trip to Coahoma County, Miss., in 1941. That piano would have made many loyal churchgoers angry: a harbinger of the response to R&B and rock ‘n’ roll.

The pressing harmonic and rhythmic interplay of the Heavenly Gate Quartet singing If I Had My Way offers further evidence of this evolution. The heavy syncopation heard there and in Mr. Work’s recording of the Fairfield Four’s Walk Around in Dry Bones presage doo-wop a good decade before vocal groups like the Clovers and the Coasters would establish it as the soundtrack for young black America in the 1950s.

This isn’t to claim Dead Sea Scrolls-like significance for the music on the new CD. Black Americans, though, were making the transition from rural to urban life. Spirituals were being supplanted by music that was more agreeable to black communities in which congregations were buying pianos so they could play the songs of contemporary gospel composers like the Rev. Thomas A. Dorsey during worship. Mr. Work was committed to capturing these changes as they were happening rather than after the fact.

Issued by Spring Fed Records, a label based in Woodbury, Tenn., Recording Black Culture demonstrates not only Mr. Work’s understanding of the dynamic way vernacular music functioned in black culture but also his omnivorous musical appetite. In addition to dramatic examples of gospel singers anticipating rock ‘n’ roll, the selections include rare recordings ranging from black Sacred Harp singing to the virtuoso banjo playing of Nathan Frazier, performing as half of the banjo-and-fiddle duo Frazier & Patterson.

Why Mr. Work did not publicize the acetates that have been meticulously remastered on Recording Black Culture remains unclear. When Mr. Nemerov found the discs in the attic of the Work home near the Fisk campus a few years ago, they appeared to have been played frequently, suggesting that they were dear to Mr. Work.

Some of the recordings that he had made with Mr. Lomax, largely the work songs and spirituals favored by Mr. Lomax, had been deposited in the Archive of American Folk Song at the Library of Congress. The rest of the performances, which have gone unheard by the public for the better part of seven decades, give a more expansive view of the black vernacular music of the time.

‘Professor Work had big ears’, Mr. Nemerov said. The overarching theme here is just how much music there was in the black community before World War II. It just seemed to be everywhere, and in every layer of black culture. –Bill Friskics Warren December 2 2007 New York Times

Sound quality is excellent. The visual presentation is marvellous, and the notes by Bruce Nemerov are informative and well argued. This is an outstanding example of how to compile and present a historical release. –Ray Templeton, Blues and Rhythm

Då då då söndag 2 december 2007, 13:55 Familjen Lomax hade inte ensamrätt på musikhistorisk utgrävning och förvaring i början och mitten av nittonhundratalet. Den svarte Lomax-adepten John Work III gjorde inte bara egna field recordings, han hade också egna tankar kring deras syften och ändamål. På en ny CD betitlad »Recording Black Culture« kommer grundbulten av materialet från hans inspelningar, till stor del tidigare outgivet material som ytterligare cementerar gospelmusikens betydelse på det som sedermera blev rock n roll. Läs mer och lyssna på smakprov hos New York Times. Tillbaka –Pierre Hellqvist, Sonic Magazine

Number of Customer Reviews: 2 customer reviews
Average Review Rating: 5.0 out of 5 stars

3. joe frazier record Review – SAXON Women’s Fashion Butterfly Boxer Bare Midriff Sexy Low Cut T-Shirt


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