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	<title>Comments on: The Folk Theory</title>
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		<title>By: Kendrick Bushfield</title>
		<link>http://www.awalkaroundbritain.com/knowledge/album/the-folk-theory/comment-page-1/#comment-2872</link>
		<dc:creator>Kendrick Bushfield</dc:creator>
		<pubDate>Tue, 13 Apr 2010 06:24:47 +0000</pubDate>
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		<description>He is basically so cute!</description>
		<content:encoded><![CDATA[<p>He is basically so cute!</p>
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		<title>By: James</title>
		<link>http://www.awalkaroundbritain.com/knowledge/album/the-folk-theory/comment-page-1/#comment-206</link>
		<dc:creator>James</dc:creator>
		<pubDate>Fri, 12 Jun 2009 01:10:00 +0000</pubDate>
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		<description>I believe Tolkien spoke of how one should value food and cheer and song above gold, but also how, little by little, one travels far. The Fool’s Journey is one that seeks song above gold, and the Fool travels as he sings, and sings as he travels. The Fool entertains, yet he moves ever conscious of the Road, while never seeking its end.  ‘Folk’ is the language of the Road. You walk the path of the Fool, yet it is the path of song and cheer; more valuable than any gold. The Fool is wiser than any king.</description>
		<content:encoded><![CDATA[<p>I believe Tolkien spoke of how one should value food and cheer and song above gold, but also how, little by little, one travels far. The Fool’s Journey is one that seeks song above gold, and the Fool travels as he sings, and sings as he travels. The Fool entertains, yet he moves ever conscious of the Road, while never seeking its end.  ‘Folk’ is the language of the Road. You walk the path of the Fool, yet it is the path of song and cheer; more valuable than any gold. The Fool is wiser than any king.</p>
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		<title>By: Patrick Hutchinson</title>
		<link>http://www.awalkaroundbritain.com/knowledge/album/the-folk-theory/comment-page-1/#comment-197</link>
		<dc:creator>Patrick Hutchinson</dc:creator>
		<pubDate>Tue, 09 Jun 2009 03:10:49 +0000</pubDate>
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		<description>&quot;Our understanding is that all music is ‘folk’, is rooted in the musical traditions that came before. Even music that apparently rebels, that hopes to sound different and move away from earlier styles, is being directly influenced by old music. The old is always the point of departure for the new.&quot;

Most interesting &amp; sympathetic, those ruminations, as is your whole project! 
As a musician, I&#039;ve always enjoyed Leadbelly&#039;s definition, when asked by some earnest type if he played folk music: &quot;well, it must be folks music: I ain&#039;t never heard no mule sing it!&quot; 
I grew up with traditional music; both directly from my parents, and via recordings; and no radio or TV worth mentioning until I was 8 or so (1970), when we moved from the West Highlands to rural Lincolnshire. 
I was always aware of traditional music; both by oral tradition and by recordings, largely of music my parents knew by oral tradition.
Some of my earliest non-parental musical memories were of learning by oral tradition from the kids I walked home from my one-room school with: one day it could be Yellow Submarine (long before I ever heard a Beatles recording) another it could be &quot;dirty&quot; WWII army songs, another could be &quot;We&#039;re all off to Dublin in the green, in the green, to join the IRA.&quot;
I dived into rock&#039;n&#039;roll, punk, &amp; reggae (both as a fan and then as a musician) as I became exposed to it later, but could always bond with my parents over the inspired ancient/modern fusions of the Steeleyes &amp; Fairports.
These days, 3000 miles away in Montreal, I play mainly folk music (Celtic, Canadian &amp; American, East European: see website) but it seems quite natural to me to sing the odd Clash or Ian Dury song at a trad session.

Here&#039;s a health to you lot &amp; your worthy endeavour, and give my best to the Auld Sod: who knows when I&#039;ll ever get to walk it again myself.
Cheers, Patrick</description>
		<content:encoded><![CDATA[<p>&#8220;Our understanding is that all music is ‘folk’, is rooted in the musical traditions that came before. Even music that apparently rebels, that hopes to sound different and move away from earlier styles, is being directly influenced by old music. The old is always the point of departure for the new.&#8221;</p>
<p>Most interesting &amp; sympathetic, those ruminations, as is your whole project!<br />
As a musician, I&#8217;ve always enjoyed Leadbelly&#8217;s definition, when asked by some earnest type if he played folk music: &#8220;well, it must be folks music: I ain&#8217;t never heard no mule sing it!&#8221;<br />
I grew up with traditional music; both directly from my parents, and via recordings; and no radio or TV worth mentioning until I was 8 or so (1970), when we moved from the West Highlands to rural Lincolnshire.<br />
I was always aware of traditional music; both by oral tradition and by recordings, largely of music my parents knew by oral tradition.<br />
Some of my earliest non-parental musical memories were of learning by oral tradition from the kids I walked home from my one-room school with: one day it could be Yellow Submarine (long before I ever heard a Beatles recording) another it could be &#8220;dirty&#8221; WWII army songs, another could be &#8220;We&#8217;re all off to Dublin in the green, in the green, to join the IRA.&#8221;<br />
I dived into rock&#8217;n'roll, punk, &amp; reggae (both as a fan and then as a musician) as I became exposed to it later, but could always bond with my parents over the inspired ancient/modern fusions of the Steeleyes &amp; Fairports.<br />
These days, 3000 miles away in Montreal, I play mainly folk music (Celtic, Canadian &amp; American, East European: see website) but it seems quite natural to me to sing the odd Clash or Ian Dury song at a trad session.</p>
<p>Here&#8217;s a health to you lot &amp; your worthy endeavour, and give my best to the Auld Sod: who knows when I&#8217;ll ever get to walk it again myself.<br />
Cheers, Patrick</p>
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