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Music from the True Vine: Mike Seeger’s Life & Musical Journey (review)

Music from the True Vine: Mike Seeger’s Life & Musical Journey (review) Book Reviews Music from the True Vine: Mike Seeger's Life & Musical Journey. By Bill C. Malone. (Chapel Hill: University of North Carolina Press, 2011. pp. xii, 235.) In his modest but significant biographical study of Mike Seeger (19332009), music historian Bill C. Malone admits that he was ambivalent when first meeting the musician in 1962. Acknowledging that Seeger as a young man already possessed "musical brilliance," Malone was nonetheless suspicious: "[Seeger] seemed distant at best, or mildly arrogant at worst. Beyond that, I must confess that I was also skeptical of his intent and motivations. I was interested in his music, largely because I thought it was mine [Malone's italics], but I believed that he and his pals in the New Lost City Ramblers were interlopers: they were dabbling in old-time music because they saw it as exotic or as a welcome relief from the urban culture that seemed stifling to many city youth in the late fifties and early sixties" (2). Malone assumed that Seeger and many of his middle-class, northern-born peers in the urban folk music revival of the late 1950s and early 1960s "had romanticized the Appalachian South and ignored the rest of the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png West Virginia History: A Journal of Regional Studies West Virginia University Press

Music from the True Vine: Mike Seeger’s Life & Musical Journey (review)

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Publisher
West Virginia University Press
Copyright
West Virginia University Press
ISSN
1940-5057
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Abstract

Book Reviews Music from the True Vine: Mike Seeger's Life & Musical Journey. By Bill C. Malone. (Chapel Hill: University of North Carolina Press, 2011. pp. xii, 235.) In his modest but significant biographical study of Mike Seeger (19332009), music historian Bill C. Malone admits that he was ambivalent when first meeting the musician in 1962. Acknowledging that Seeger as a young man already possessed "musical brilliance," Malone was nonetheless suspicious: "[Seeger] seemed distant at best, or mildly arrogant at worst. Beyond that, I must confess that I was also skeptical of his intent and motivations. I was interested in his music, largely because I thought it was mine [Malone's italics], but I believed that he and his pals in the New Lost City Ramblers were interlopers: they were dabbling in old-time music because they saw it as exotic or as a welcome relief from the urban culture that seemed stifling to many city youth in the late fifties and early sixties" (2). Malone assumed that Seeger and many of his middle-class, northern-born peers in the urban folk music revival of the late 1950s and early 1960s "had romanticized the Appalachian South and ignored the rest of the

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West Virginia History: A Journal of Regional Studies – West Virginia University Press

Published: Nov 7, 2012

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