Folklore Centrum

Folklore Centrum Please send us a message.

In memory of Izzy Young 1928-2019

*If you have any additional information regarding photo credits or any other corrections, you are very welcome to let us know.

It was 98 years ago today that our dear friend, Izzy Young, entered his worldly experience. Today we celebrate his birth...
26/03/2026

It was 98 years ago today that our dear friend, Izzy Young, entered his worldly experience. Today we celebrate his birthday, and all the blessed days we were fortunate to spend with him. For all of the concerts, the conversations, and the coffee… he sure had a way of elevating your current state in any number of ways and measures.

Happy Birthday, Izzy!!! We all miss you, dearly.

Today, February 4th, brings us to seven years since Izzy Young completed his venturesome journey upon this earth, and we...
04/02/2026

Today, February 4th, brings us to seven years since Izzy Young completed his venturesome journey upon this earth, and we said our last goodbye.

Let’s take a moment to bask in our memories of all the music, laughter, curiosity and determination that he shared with us during our precious time together. We miss you Izzy.

Photo: Kristina Lugn, Izzy Young, Philomène Grandin - Nobelbanketten - Stockholm, Sweden - 2016

As we started out this year examining the Dylan biopic, A Complete Unknown, it seems somehow fitting to end this year in...
27/12/2025

As we started out this year examining the Dylan biopic, A Complete Unknown, it seems somehow fitting to end this year in the wake of 2025 with Izzy Young’s review of another Dylan-story-based film from sometime before, Don’t Look Back, 1967. Izzy does not hold back in this banger of a reflection upon his impressions of the film.

Agree or disagree with his words of that time, this writing is really something to unapologetically, enjoyingly absorb. From Izzy's fringe-sarcasm, with his inclusion of the ‘roaring reviews’ at the top, through his serious considerations of the implications of what this film meant for Dylan’s erupting legacy,… this article/review, as Izzy would say, is certainly “the proof without the pudding.”

Enjoy, and Happy Holidays from the Folklore Centrum!

– - - - - - - - -

DON'T LOOK BACK.
Folklore Center - Fretted Instruments Newsletter, Monday, Sept. 11, 1967
1 kr

An absorbing film! A special, hip fun!" - New York Times
"Endlessly fascinating! - Newsweek € An essay in cinematic truth telling!"- Time Magazine
Pulls no punches! - The Christian Science Monitor

I've seen so many reviews of the Dylan movie that was released in NYC last week and I didn't care for any of them, so I'll add my notes taken when I saw it in San Francisco in July as my contribution.
"....we went to see D. A. Pennybaker's film on Dylan based on his trip to England in 1965. A sad event. Dylan surrounded by machinations, appearing whenever he is told to, and resenting it. He is abusive to interviewers. Why? He didn't have to agree to it. IF he didn't like England, why go there? He has enough money to stay away from anywhere. Not once is he shown close to the audience as he insincerely sings the songs he made his reputation on in America and had freshly repudiated. Neither is there a rock band that he found so necessary at Newport to communicate his new ideas. Joan Baez comes across like an idiot reduced to making faces for photo people as her main contribution to the film. If you don't like the form of what you are doing don't do it. Don't pick on the dorrman of a hotel. Don't pick on a TV functionary. Pick on an equal. A rockefeller. If you don't respect TV don't do TV shows. If you dislike large hotels and their beaten down unctious staffs don't inhabit them. The communication was on the 'wow, there's where it's at' level. Never more. Never less for that's not possible. Only one good scene. Money. BBC buying Dylan as they might buy Lassie for he just went from 45 to 6 on the charts, ho ho, while Al Grossman, manager, looks on with non-care until the moment of financial triumph. Grossman is always near Dylan at showtime but never speaks to him. He merely indicates to Dylan that it is time to release himself to the audience. More interviews in which he spits back at inferiors. He doesn't like Time, Newsweek. He doesn't read them for the truth. Dylan would rather see a photo of a tramp vomiting next to a picture of a Rockefeller eating. A true statement he doesn't live up to in the film. The film could have been made in Dar Es Salaam for all the contact with the English people shown. These are spoiled capitalistic products enjoying themselves nervously, and at the expense of others. In all of England Dylan finds only one thing to get really angry about, a broken glass thrown out of a window. Joan Baez appears and reappears but never on the stage with Dylan as was originally envisaged. Dylan is bigger now than Baez so who needs her on his stage, just because she squired him on her stages for two years. Sad for Baez, but musically meaningful. She kisses him once on the back of his head to prove that she's close to him while he types something. The camera tries to capture the suggested immortality of the moment by trying to focus as clearly as possible on the words. Quite possible, just the majesty of human thought transferred to paper via clicking typewriter keys. There is one fine moment, though, when he gives an autograph to a girl in a record store and asks her to think for herself, the only warm moment in the film. He should dump the management around him and the prison of his friendships shown in the film." end of notes. Now some more comment. Derroll Adams has a role in the film as a seated stumble bum. He should have at least been given a line to recite. I missed what Donovan had to say as I didn't see the film again. I notice that the film is being released as slowly as possible around the country, as if it were a new soap, to see if the 'put-on' will be accepted by the general American audience that now calls itself 'hip'. I am convinced that the owners of the film are not so sure now that they made the film in the right way. But they're willing to take enough risk to present the film rather than bury it. I hear from friends that the film is a masterpiece in spite of itself, a coup de cinema verité exposing the producers for what they are, and at the same time preserving the genius process, for the first time, so that future professionals will be able to tell what was going on. You know the argument. Just think if we could have done the same for Rembrandt or Bach. Now, if you want to see a good movie underlined by hand-held-camera work, and lousy film technique and terrible sound track - go to see Barbara Rubin's film on Allen Ginsberg's London journey of about the same time where he is caught reading poetry at Albert Hall. You can feel his oneness with the sudience as he enfolds them with a pan-sexual embrace, full of mystery and open love, so unlike Dylan in the same hall, alone and blinded by lights. And there is a wonderful non-rude touch as Allen writes in his journal while sitting on the grave of William Blake. I think that Bob Dylan made a serious mistake in allowing this film to be released. I'd feel worse if he has no control over its destiny.

Signed Israel G. Young

-21-

– - - - - - - - -

Izzy Young, mildly amused with the reaction of his peers to the state of affairs at the 1968 Newport Folk Festival. Were...
23/05/2025

Izzy Young, mildly amused with the reaction of his peers to the state of affairs at the 1968 Newport Folk Festival. Were any of you reading this in attendance? What an amazing line-up!

As a side note, a very happy birthday to “Blind Boy Grunt” who turns 84 this weekend.

- - - - - - - -

The Missing Singer
by Israel G. Young
Other Scenes (NYC)
September, 1968 (written August 22, 1968)

The poor Newport Folk Festival seems to be getting it from all sides today, and particularly from those quarters that you would never expect to get so worked up about something so simple as folkmusic. It all started when an unannounced singer failed to show up on Sunday night to complete the Woody Guthrie memorial concert. The rumor of the singer's appearance was kept wondrously alive by plants in the audience who consider themselves part of the underground and who delight in the propagation of well-seeded stories for a cheap price - the
vain hope that they will be part of where it's at when it finally happens.

Even Richard Goldstein was taken in, why else would he stay four days at an event that presented nothing"new." His petulant reviews in the Village Voice were prefaced by a bon mot - "Blind Boy Grunt's Revenge" and he made varied fun of all the kids who also waited. But he failed to attack his own anger at Grunt's nonappearance, for if he did show up, Goldstein's articles on the vitality of folkmusic, after all, would have appeared in countless organs of the free-world's mass-media. Yippie Jerry Rubin, left in disgust because the "Festival was too dead to disrupt." But before he left he settled for a scene with producer George Wein over a nun that was good for a page in the Berkeley Barb. Rolfe Kaiser, who runs the West German Essen Song Tage Festival, and who hated every minute of his stay in America, stayed around in the hope of snagging Big Brother and the Holding Company or, perhaps, another pop group from San Francisco, settled for David Peel of the Lower East Side for his danger-packed fest.

Paul Williams from Crawdaddy hung around, too, but it seems to me that he's praised Janis Joplin enough not to have to make an extra trip to Newport to hear her one more time. Paul Nelson from Hullabaloo took a chance. He didn't come. Ellen Willis from the New Yorker stayed the whole time so that the venerable magazine she writes for wouldn't be caught short if said singer did arrive. Aside from describing Buell Kazee as a "superannuated mountain singer" and pointing out the main difference between rock and folk (amplification) she came to the conclusion that the Newport Folk Festival needed more than a new home next year, "It needs a whole new rationale."

And, funny thing, that, too, would have been also taken care of by an appearance of the same unannounced singer mentioned at the beginning of this article. Me? I called Square Dances on the Freeway trying to intercept people on their way to some twenty unamplified workshops all around the back area of the festival field ..... .

Not be be published without permission!

- - - - - - - -

Israel Goodman Young

Today we celebrate what would have been the 97th birthday of our dear friend, Izzy Young, born March 26, 1928. A man who...
26/03/2025

Today we celebrate what would have been the 97th birthday of our dear friend, Izzy Young, born March 26, 1928.

A man who lived life by his own rules, who trusted his intuition above all else, and who wasn’t afraid to question everything. In the course of his exploration of life he generously brought us all along for the ride that only he could navigate. What an adventure it turned out to be!

Happy Birthday, Izzy!!! We all sure do miss you.

In honor of Izzy’s memory, here is “A Short Film” - That is, the movie scene he dreamt one day in Stockholm on June 7th, 1993. Enjoy!

- - - - - - -

A Short Film

A 65 year old man is seen in several short scenes: drinking coffee with friends on the terrace of his irregular publishing office on Wollmar Yxkullsgatan, or writing in a large Journal while lying on a grassy field or square-dancing with his friends in happy, light scenes, until, finally he is seen sitting alone on a bench at Mariatorget, licking his lips clean while finishing an ice cream cone.

At the same time there is a speak-over narration, by his daughter, in English, French and Swedish: "My father always worked very hard, never made any money and always managed to solve his problems with Sheriffs, Tax Agencies, Immigration Authorities...... with his easy, simple smile. He often........." Her narration stops suddenly with an "oh, oh" when Death (a well-dressed modern woman) approaches to take him away to her dominion. He bites his lips, looks perplexed, and mutters almost inaudibly: "Damn, what do I do now?" He straightens up, somehow getting out of her grasp, and cries out, rather eloquently: "Please, Death, I didn't choose to be born and raised in the Bronx. Please, Death, only God knows how I ended up in Sweden at the age of 45. It's not fair. Please, Death, give me a chance to live my own life." Death, considering her assignment, is visibly moved by his clearly innocent helplessness. Death turns away and says: "OK, live your own life now."

The man's spoken desire for a new, different life vanishes the moment Death is out of sight. He smiles, as he has done with all the other small victories. We see him pursuing his ordinary life again: writing, talking, dancing or drinking coffee. We see him again at Mariatorget, ten years later, licking bits of ice cream from his lips in his usual, happy manner. Death approaches him, exactly as earlier,
but this time she takes him gruffly by the elbow, allowing him no chance to speak, and drags him off behind some bushes. As he is dragged backwards the camera focuses on his face. The film ends with a foolish grin on his face while he shrugs meaninglessly with his shoulders.

Izzy Young
Stockholm, 7 juni 1993

Today, February 4th, marks six years since the last light went dim at the Folklore Centrum and we said goodbye to Izzy Y...
04/02/2025

Today, February 4th, marks six years since the last light went dim at the Folklore Centrum and we said goodbye to Izzy Young. One life that touched so many, one mind that provoked so much thought, and one collective memory that we all share together. We miss you Izzy… still your spirit echoes around us all who were blessedly destined to cross your path along the way.

"You see I have wild ideas but I do it pretty much at room temperature, I am enjoying myself. That's what I should be doing." Izzy Young - Interview from The Local - February 15th 2010

Photo by Elona Planman

With all the hype surrounding the new Bob Dylan biopic, A Complete Unknown, as some others in our community have already...
25/01/2025

With all the hype surrounding the new Bob Dylan biopic, A Complete Unknown, as some others in our community have already noticed, there is one very important character that is absent from the film. That is of course our friend, Izzy Young. Though his Folklore Center sign and storefront make a brief cameo, the appearance of Izzy, for whatever reason, was obviated from the tale.

In light of this fact, it seems a fitting time to share with you some fresh photos of the original program that Izzy put together for Dylan’s first official concert in New York City.

Izzy recalls the full story of this concert in detail in an essay written in 2008, which will be shared in a future post… for now however, let us just gaze at the program in its purest form, without further examination, scrutiny, or recounting of the truth. Also, just as fun to read, included in the program is an announcement of an upcoming “autograph party” and Izzy’s newsletter. Enjoy!

- - - - - - - -

Front cover:

THE FOLKLORE CENTER
Presents
BOB DYLAN
IN HIS FIRST NEW YORK CONCERT

SAT. NOV. 4, 1961 8:40pm
CARNEGIE CHAPTER HALL
57th STREET • NEW YORK CITY

All seats $2.00

Tickets available at: The Folklore Center
110 MacDougal Street
New York City 12, New York

GR7-5987

or at the door

- - - - - - - -

Inside pages:

Bob Dylan

Bob Dylan was born in Duluth, Minnesota in 1941. He was raised in Gallup, N.M. and before he came to NY earlier this year, he lived in Iowa, South Dakota, North Dakota and Kansas. He started playing carnivals at the age of fourteen, accompanying himself on guitar and piano. He picked up the harmonica about two years ago.

The University of Minnesota gave him a scholarship. He went there for some five months, attended some dozen lectures and left. He learned many blues songs from a Chicago street singer named Arvella Gray. He also met a singer, Mance Lipscomb, from the Brazos River country of Texas, through a grandson that sang rock and roll. He listened a lot to Lipscomb. He heard Woody Guthrie's album of DUST BOWL BALLADS in South Dakota. In fact, Bob Dylan has sung old jazz songs, sentimental cowboy songs, top 40 Hit Parade stuff. He was always
interested in singers and didn't know the term "folk music" until he came to New York.

"people have to name it something so they call it folkmusic-now very few people singing that way. Being taken over by people who don't sing that way. It's all right but don't call it folk music. Stuff I do is nearer to folkmusic. Now singing old blues and Texas songs. I don't want to make a lot of money, want to get along....I want to reach more people and have the chance to sing the kind of music I sing... people have to be ready and have seen me once already. People often say first time that this isn't folkmusic. My songs aren't easy to listen to. My favorite singers are Dave Van Ronk, Jack Elliott, Peter Stampfel, Jim Queskin and Rick VonSchmidt. I can offer songs to tell something of this America., no foreign songs - the songs of this land that aren't offered over TV and radio and very few records."

"Groups are easy to be in. I've always learned the hard way. I will now, too. I dress the way I do because I want to dress this way and not because it is cheaper or easier."

"I started writing my own songs about four or five years ago. First song was to Brigit Bardot, for piano. Thought if I wrote the song I'd sing it to her one day. Never met her. I've written hillbilly songs that Cal Perkins from Nashville, Tenn. sings. I write Talking Blues on Topical things. “California Brown Eyed Baby" has caught on. Noel Stookey gave me the idea for the "Bear Mountain Song" I wrote it overnight but I wasn't there. Never sing it the same way twice because I never wrote it down. "No one is really influencing me now - but actually everything does. Can't think of anyone in particular now."

********
******

THE FOLKLORE CENTER
ON THE OCCASION
Of a new LP
by
MOLLY SCOTT

announces
an
AUTOGRAPH PARTY

Sat. afternoon, Nov. 11, 1961 at the Folklore Center, 100 MacDougal St., from 3 to 5pm.

Cider, apples and cheese will be offered at the stated time. Molly’s new record, on the Prestige label, will be autographed at the same time. All welcome.

- - - - - - - -

Back cover:

Newsletter

The Folklore Center is still open seven days a week from 12 noon. Mondays we close at seven, other days from 11pm to 2 am…. Jimmy Gavin plays the role of Judasin a new passion play written by a Spaniard. "Automobile Graveyard" opens in two weeks…. Martha Schlamme is signed exclusively with Verve Records…. The Travellers Three signed exclusively with Elektra Records…. Odetta goes to Europe to do TV in Holland, Sweden, France, etc. and will return in January…. We have very few copies left of "The Bosses' Song Book @ $.75. They have been sold on the black market for as much as $2.00…. The Society for the Advancement of College Arts and Sciences present Oscar Brand in a "Folk song report" presenting Winnie Winston, Jane Reger, Larry Sandberg, Jon Lipsky, Kay Billig, Artie Traum and Mike Lessac, on Friday Nov. 24; 8:30pm. at Hunter College Assembly Hall. Tickets 1.50, 1.75, 2.00 and 2.50 available at the Folklore Center, Gr7-5987….. We recommend Pete Seeger's new "HOW TO PLAY THE 5-STRING BANJO". It is a tremendous bargain at $2.00…. Write for our new paper back catalogue listing over 150 new paperbackbooks of folkmusic, folklore, etc. It will be ready before Thanksgiving…. We’ve gotten some more copies of the "Leadbelly" 70 songs, with words, music. $2.00…. Jack Ballard works full time, seven days a week at the store now. Please do not ask him to sing every time you come into the store….. Alice Conklin, Theo Bikel’s Secretary, was seen at Feenjon's recently, enjoying herself to the guitar work of Steve Knight….. It's easy to get on our mailing list….You must get Alan Lomax' new LPs of English Folk Music called Songs of seduction and Songs of Courtship. They were recorded in England with Peter Kennedy and display a marvelous variety and strength. On the Caedmon label. We don't play records in the store but we will return your money if you don't think they are great. List 6.00, our price $4.95 by mail, phone or in person…. Ray Boguslav designed the cover for his new album on Monitor Records…. Margrit Hagnauer is Herald at Arms for the Folklore Center and her new Crest will be unfurled at Christmas at a special ceremony.

- - - - - - - -

From the heart and mind of Izzy Young… An introspective walk around NYC in July 1962, along with the thoughts, observati...
01/12/2024

From the heart and mind of Izzy Young… An introspective walk around NYC in July 1962, along with the thoughts, observations, and memories it provokes within him. The original typed manuscript can be viewed in the pictures of the post. Enjoy!

- - - - - - - - - - -

Notes on leaving the Embassy Theatre on 42nd St. at 5:20pm, on Tuesday July 2, 1962. I was reflective on leaving the theatre but I was immediately beset by the light of the street and the activity of the people. I walked as in a dream, all my senses alive. I walked past the orange juice stand where I had fresh orange juice before the show started. I passed the hat stand where the guy was sewing names free on cheap hats for tourists. I crossed the street between the two flowing streets of traffic downtown, with the sounds all around me. I was in a daze but all awake waiting for a break to cross to the other side of Broadway. Suddenly the sun hit me from behind the Paramount Building where I least expected it. People rushing all about. The headline in the morning paper blurting out "Red Superspy Caught", along with the later headlines of JFK meeting the Pope. On 42nd st. I noticed the river, the Hudson river, for the first time, though I was there a thousand times. Ferma e chiara, just like in In the poem by Pavese. And into Grants for a frankfurter. How many· people I had taken there, but now remembering one, one from the high school Music and Art. She wanted me to take her to Sardi’s. So I took her to Grants. She was dressed right out of the New Yorker. Ske was going to be an Opera Star. She was going to sing at La Scala. The frankfurter man shoved a frank at me and a nickel change. I was going to get a drink and I remembered the egg cream around the corner, the best, the most homemade egg cream in nyc, but that girl from Music and Art came back to me. She had a lover in South America, a banker, and he left her. She even came to me to help her get started in folkmusic. You can read all about her in my address book and how she committed su***de by hanging, two years ago. The egg cream is now fifteen cents, but there is a large one for three cents more and that is what I got. And a bar of sesame seeds for I am off chocolate candies and such. The rush for eggcreams. I began to realize that these people were rushing for they were through working. All with their papers ready to absorb more history that had passed them while they were working. A moment of respite, an egg cream. I once took Bob, with crutches, by cab to this same place for an egg cream. I walked on down Seventh Avenue. An old man sat in the street protected by building machinery. Tired. An old woolen cap, torn, on his head. Three carton, of his belongings by his side. Yes, the world was too much for him… Too much belongings and he stopped by the temporary wreckage 'building-for-the-future' leaves all around NYC these days. I just saw a movie, thought out, planned to show the outsides of a man's life and I could do the same in a half hour or less for I didn't know how much longer I would take the walk. Now the headlines were even bigger…. POPE PRAYS OR INTEGRATION….A Spanish woman telling a Jewish woman outside of a garment center building that she could get along with anyone in the world. The Metropolitan Opera House sporting a huge sign "What's new in fabrics?" and which dwarfed a much smaller sign asking you to read the Opera News, The newspaper stands crowded. The garment center buildings engorging themselves of Jewish-Americans and some Puerto Ricans as yellow as the Jewish women are white. Into the fur district but not before an anonymous cart loomed up before me and finally betrayed the force of a negro pushing it forward. A colored sign in a window RAW DRESSED RUSSIAN LYNX and a hand printed sign below it CLOSED UP TO MONDAY, JULY 8th.

The homemade syntax amused me. And overhearing my last sentence in the garment district---"If I tell you something why do you always have to contradict me?" I crossed 34th St. that doesn't allow traffic to make turns from 8am to 8 pm. The first handmade sign on the downtown side announced that Mr. Phillips who used to work for Miss Haircut was now working HERE: and my first sign in Spanish A Qui se habla espanol, in an obviously Spanish diner with an open window to the public. I passed the place that sells foreign magazines for all I had left was 45 cents. Figuring a good magazine would be at least 50 cents. At 21st street I encountered a young girl in high heels, with a doll and a paper cup of ice in her hands. On 18th Street I stopped by an old Italian selling frankfurters, why, I don't know, it was the day. Some Spanish fellows were having franks with onions. He said "When will it ever end" and I ordered a frank with sauerkraut. It was the last one and he smiled and drained the water cabinet with the sodas in it. Said 'sorry' to the fellow after me and started to clean up, and off I walked but not before I saw a serious fellow pass by with a book, Tropic of Cancer, and reading it seriously on such a hot day, and wearing a jacket. I saw him again in front of Barneys, “the only store of its kind in New York!” I bought a suit there when I was a kid and returned it. I said it was too small, or at least my mother did, and I puffed out my chest to show it was too small and he said I surely didn't stand like that normally and I kept my chest out the required length of time. On 16th St., chalked on a wall, was the message "I love, I love Alberto" the first time I had ever seen a Spanish name in such a message and the first time I had seen the message elongated. One Fifteenth St., surrounded by factories and workplaces, a new building is almost up, the Vermeer, and the sign says Greenwich Village but everyone knows that the Village stops at 14th St. I cross 14th St and almost collide with three, beautiful young girls, just like the ones I always fall in love with. Aha, I am back in my Village. I will soon meet people I know. A new building up on McCarthy Square. I heard Governor Lehman speak there two years ago, five years ago, in an apartment a half block away, l tried to have sexual relations with a girl at the end of a party after a concert I. presented earlier that night. There were ten people sleeping except me and this girl,,,,later she said that I ((.....)) like a horse…and into Waverly Place, where by turns Poe and Millay lived. Where I sat in on a Peace Meeting. Where I started a walk around NYC with a Philippine girl but the walk didn't end the way walks around NYC usually do, and where two months ago I met my old girl friend on the way to the bank and I helped her water flowers for three hours in her friends apt. I've had more fun with her since she married than when we lived together on 109 Waverly Place, under her name, where I often visited after everyone else had left. And where I used to live was this girl, consciously, reading the back liner notes of Bob Dylan's new album. I thought that odd for I was displaying his record all over my window. Why just yesterday Bob told me that he was devoting a chapter to me in his new book and so that means I have to keep the store going until at least the book comes out to keep the image intact for I don’t even know what it is. And hurriedly to the store where a photographer was anxiously waiting for me to photograph me drinking a martini and the photo would appear in Time Magazine, but I wanted to get to the typewriter and Lanny wanted to leave and now I am alone by the typewriter. Lou Gottlieb, of the Limeliters, walked in and told me he had nothing to do for two days and reproached me for not visiting them, especially since it was free, at the Basin Street East. I asked if he would like to take a walk around NYC tonight, it is about 95 degrees even now. Sure; first he will see the Premise and then he'll come around. I don’t know why I asked him but I did and I hope he comes for it will be another great walk around NYC and I see it clearly now. ANYTIME I walk around NYC it is like a story for I know the city inside out and every street has memories for me to impart meaning to my every step •••••••••••• Now all I need to do is to love someone.

- -

The above account was written, truly enough, in 1962, and promptly 'lost' as so many other writings of mine. Written for the moment it has withstood time, so to speak, and I find it in a bookcase, or under other papers, every five years or so. When I discovered it last I tried to improve it with my IBM Selectric, and even that, luckily, seems as out of date, now, as the original typescript. I have decided not to change the original, or to retype it with my up-to-date computer. The typewritten account has an air of immediacy that seems charming and truthful 35 years later.

Only 100 copies of this were printed in April 1997, to be rapidly given out to my few friends, who in one way or another like and don't like my writings.

Izzy Young, Folklore Centrum; Wollmar Yxkullsgatan 2, 118 50 Stockholm, Sweden. Tel/ Fax +468 643 46 27

Second Edition: 100 copies: August 1999: I cannot improve on the introduction above: same address.

Israel G. Young

- - - - - - - - - - -

Izzy Young sometimes described his life as occurring in two parts - his “New York life” vs. his “Swedish life”, as if hi...
07/08/2024

Izzy Young sometimes described his life as occurring in two parts - his “New York life” vs. his “Swedish life”, as if his being on earth was reborn in 1973 when he made his big move across the ocean.

Today we share with you an article that Izzy wrote for “SING OUT!” magazine, from the edition: Volume 21 / Number 5 / 1972, just one year before he established his mighty rerooting in Swedish soil.

In it he shares some of his first impressions of the Swedish culture and music scene, guided by the light of his friends, the great Swedish fiddlers Ole Hjorth and Bjorn Stabi. Enjoy!

- - - - - - -

Folklore Revisited - Sweden - by Israel G. Young

The Swedish folkmusic scene is an old one, but for America it started in 1969 when Ole Hjorth and Bjorn Stabi came to the Newport Folk Festival and turned on thousands of listeners to the slightly crazy, powerful, intricate forces set free by Swedish double-fiddle playing. Not one fiddle accompanying the other, as we know it, but rather first fiddle presenting melody and second fiddle asserting differences, nuances and struggle. The second fiddle on an equal basis rather than as a sustaining, rhythmic background. This music moved me deeply, more than the English Morris dance music, which earlier had fulfilled my pre-industrial, pagan, druidical dreams. Ole and Bjorn came to NYC, played on the radio, at a church service, alone at home in the rain, and, magically, on the last day, in a recording studio where they recorded an Ip "Folk Fiddling from Sweden" for Elektra.
They returned to Sweden and I followed soon after. Ole was a violinist for the State Opera and Bjorn was an artist. I soon found this situation to be rather common - classically trained musicians and artists no longer content with archaic classical art forms and finding a new freedom in traditional forms. Ole has since quit the Opera and is happy fiddling and working with young fiddlers and issuing recordings of master fiddlers such as Hjort Anders, a legendary man whose work remains one of the main sources of Swedish fiddling. Alm Nils Ersson hasn't given up the symphony orchestra, but he plays folk fiddle at festivals and nightclubs. Bjorn Stabi has given up as a painter and plays fiddle at "folket parks" around the country. (A "folket park" is a unique Scandinavian idea. It consists of a park area, often containing a small zoo, with picnic areas, walks, and small stages for music presentations. Some of the larger ones also have carnivals. Admission is negligible and might as well be free. Often, a regular feature is a troupe of four or five musicians who travel on a folket park circuit and whose salaries are subsidized by national cultural programs.) Jerker Hallden is a flutist for the symphony orchestra but he doubles with Torgny Bjork who makes a career of singing songs of national poets like Evert Taube and Gustav Froding. Torgny also plays for the communist party and at prisons and whenever there is a strike of workers. There seems to be no contradiction in Sweden between being interested in folk music and being interested in social change. Walter Armsby left the symphony orchestra and makes folk instruments in the North, and I could go on and on.
The Swedish ear has accepted more varied musical forms than the American; even though there are many people and organizations in Sweden that feel classical music, or serious music as it is called, is far more important than anything else. At a "folket park" you might hear a local rock-dance group that is very soft by American standards, and find that people listen politely. Then you might hear a university-trained singer singing a disgusting popular laughing song that isn't even memorized, but sung from music sheets. It really makes you feel bad to see so many well-trained musicians doing such lame work. And then you might hear a magnificent fiddle group or a young singer keeping alive the 200-year-old songs of the great Bellman that seem to be known by everyone in Sweden, young or old. This might be followed by an "international" singer.
Watch out for the word "international" for it always means English and nothing else. It never means Chinese, or French, or Spanish. Only English. Tom Paxton, Leonard Cohen, Joni Mitchell and so on. This "internationalism" carries over to music shops where only American and English albums are seen in the window, and Sweden's culture is on the side or has to be specially asked for. The Swedish hit parade is 80% English, and a separate hit parade is sustained for Swedish music-product, much like our own race records of forty years ago. CBS bought control of the only Swedish record distribution company, Cupol, and Americans control most of the big advertising agencies. Once a week some of the movie houses show free preview snips of violent American films; and it is popular, and it works, just as it worked when the Japanese gave free samples of o***m, in candy form, to willing Chinese children.
The musicians are beginning to ask why this is so and are doing something about it. Roger Wallis, from England, has started a Swedish distribution company for Swedish recordings, called Sam. Recording companies are beginning to pay more attention to Swedish music. The fiddle festival at Delsbo this year brought 20,000 people instead of the usual 4 or 5 thousand. Rock groups fill up parks and museums with counter-establishment music festivals. And soon I hope to report that Swedish music is on its own. (To be continued)

- - - - - - -

Adress

Wollmar Yxkullsgatan 2 Bv
Stockholm
11850

Aviseringar

Var den första att veta och låt oss skicka ett mail när Folklore Centrum postar nyheter och kampanjer. Din e-postadress kommer inte att användas för något annat ändamål, och du kan när som helst avbryta prenumerationen.

Kontakta Affären

Skicka ett meddelande till Folklore Centrum:

Dela