This site brings you a vital part of national culture, the songs and music to which we all listen and that we play and sing.
The songs available to you here are from you, the people of rural areas of the USA. How it got started.
They all now have copyrights, so don't use them as if you wrote them. They are here for you to copy on to your computer or CD for free.
We have a special situation in our society, world wide, but especially in the US, with a dozen law suits, errors, conflicting views, emotions, and ill-feelings. They prevent people singing, enjoying themselves, expressing themselves freely. Rural Business is working to try to figure out solutions or help a little. We hope that you'll help us.
Copying our songs and music in Fog Drip is for you to do freely. There must be no guilt here. This site is different from other sites where copying songs without paying for them isnow illegal.
|What's fog drip, really?
It's the drops of water, sometimes frozen, that form on tree leaves, especially on pines and hemlocks, that are "combed" from them by gravity and winds and fall to the ground. Ignoring the amount that falls causes a big error in estimates of the water entering rural systems of all types.
However, no catch, we'd like a buck ($1.00) as a contribution for each one that you copy. That goes to the author, musicians, and the support of this web site. (It costs a bunch to store music and maintain this thing.) It's as low as sensible. It's the only way we know to help and to encourage the continuing productive work of rural artists for your personal enjoyment and rich experiences. We hope that some people will make contributions to this effort so that we can add more songs, become more secure, and advertise to reach more rural people and their talents. We'll not solicit contributions by mail.
Don't copy the copies. That, we hear, is illegal. Our way is cheap ... even at twice the price ... just download (copy) it again or tell someone else where and how to do it. Don't copy the copy! (It's a legal risk and a kind of guilt that is more expensive than the music.)
We'll add your song to the site if it's not gross, immoral, or asocial. (If these are your "thing", do it freely, no contest, ... elsewhere. Don't fight that; we've got other important things to do to enhance the rural world.) It only costs you $50 to enter each song. You send a photo (a digital camera image) of you or your group. Also send a typed copy of the words to your original song (signed that it is original and written by you). We do not handle the musical score. You or someone over 18 years old also sends a tape or CD of your song or musical piece ... your best effort (not a TV recording). Oh yes, there is always a form.
|Creating a new format for the culture of rural USA|
We apply for a copyright to be held by you and by us. All you get is a rock-bottom- price copyrighted song available in public in a mysterious and rapidly growing and changing arena called the music industry-in transition. We know there is a revolution; we don't know what the landscape will look like afterwards. We think we are reducing your risks for the future.
|Adkins of Clairfield, TN, for example, provides moving original songs, humorous songs, and guitar accompaniment|
Depending on the words, the accompaniment, the ... phase of the moon ... and a dozen other things, they may like you or your work. Maybe they will recognize you. Maybe they will make up your audience when you perform in public. Maybe ... things will remain as they are and have always been for musicians and writers.
Other dimensions of the "cultural revolution"
How it got started ...
I visited Marie Cirillo, Roses Creek Road, in Clairfield, Tennessee, to discuss ideas about how a natural resource business could be created, the profits going into improved land use and restoration in that former strip-mining area. The concept was that of a natural resource conglomerate, entrepreneurial conservation. It was an idea of land as a platform of creativity and development, beyond that of it being for mining and making harvests.
She was right. "There's someone you need to see," she said.
We bumped up the road in her dusty pickup filled with weeds (for mulching a road bank somewhere). Chickens scattered. No one seemed to be present as we turned around in the dusty driveway, backing in and out among the scattered old cars to do so in front of the trailer. Part way down the road, we heard a call and backed up. Ronnie Adkins and Able Cardoza had been a few yards away working. They came to greet us with that modern-day "...well if I have too" attitude that can turn sunny or dark. It turned sunny.
Marie told me a little about them as if they were not there. They were building a "thing." I'm not sure what it was and later I suspected that they may have doubts.
A glass house in which to practice! There was something at odds with convention here, birthplace of ideas.
Ronnie had returned from car work in Detroit; he needed the familiar old country. Able had come North from Florida; he loved the new country.
"Want to hear some?" embarrassed me, for Marie had just said that they loved music. Able moved some more wood. They clucked about which song to sing. I turned my back and Ronnie had gotten a guitar from some mysterious place. I still do not know where. He sat on the edge of their new practice-place, strummed, and sang a beautiful song ... and I cried! I expected tinny radio-county. Voice, words, guitar ... I experienced unimaginable beauty in the worst of conditions. Here was confident primitive talent in a person beat-up by society and life conditions. No matter what, there was good music and it was to be shared. He knew it and now I did too.
He finished, and trying to show approval and hide tears and my voice, in which I had no more confidence, asked where could I see the words.
"There are none written."
I was incredulous.
"As long as I can sing it twice, then I have it" he said, holding both hands to his head, adding more dirt to his tangled, spiky blond hair.
Able nodded, then moved his thumb as if turning on a hand-held tape recorder. "We record them now when he gets going" he said.
We were pushing to get to an appointment. I left, holding my head. I did not know what I was going to do. I had to do something. He shared his music; I had to share the experience. I knew ronnie and able worked together; I had visited too briefly and I could hardly wait to hear what they both must do ... or do together.
As we drove away, Marie told of Ronnie's performance at a local social, his tale of returning home from Detroit in a convertible with a top down that could not work ... and it rained. I knew there was humor, variety, and rich life experience here that might someday, with help, become a local resource for these people, their families, and the community.
On October 26, 2002, I went to a seminar by Dr. John Ryan, department of Sociology and Science and Technology Studies, Virginia Tech.
His lecture: The Production of Culture in the Music Industry: Same as it Ever Was?
Abstract: The music industry today is in considerable disarray. New technologies have combined with issues of law, industry structure, organizational structure, market, and occupational careers to threaten traditional ways of controlling property and making money. At the same time these changes have opened the potential for a new industry model. The "production of culture" perspective was introduced and these changes explored using the perspective.
Comparisons were drawn with similar music industry upheaval in the early part of the 20th century.
I was taken by the strife and conflicts, the vast interest in music, the millions of CD sold and the estimates of illegal action that frustrates the industry music writers, producers, and the courts and legal profession. The lecturer claimed that because of international, legal, and technological issues, there is a cultural revolution underway. No one knows how it will turn out. Changes will affect millions of people and a diverse, multi-million dollar industry.
Since access has changed, new concepts of "taste" may emerge. Rather than people with acquired taste, there may appear the "cultural omnivore." Music stores are financial losers, the "album" will disappear. Because of ready access to books, tapes, data, and information the very concept of having physical property will become less and less important. You will not feel like you have to have the property (e.g., the CD) in hand.
Major laws are very recent (e.g., MP3 case 1992; digital momentum act, 1998). Sales by the major artists have dropped by 25%. After the first week of any major record release, there is a 40% drop-off in sales. In 2002 music CD sales were 0.98 billion dollars. The spoils of legal and other wars are vast. There is rampant piracy and many efforts underway to curb it. Watermarking (as used on paper) has been used. There are technological tools to prevent copying, etc. The successes will be in quality manufacturing, marketing, and distribution. All three are in transition. The Grateful Dead model of free downloading to circumvent the industry is advocated by some. The "celestial jute box" (Paul Golstein 1994) idea is that of open access to a vast number of items with a small monthly bill (like the water or gas utility bill) ... then everyone has an almost excessive abundance and thus no need to copy. Millions of customers, even with a small fee, and new technology,make this idea attractive.
Inspired by the challenge and using ideas suggested by the lecturer and audience, I have formulated the Fog Drip business group as part of Rural System.
Robert H. Giles, Jr., October, 2002
Following a conversation with Mrs. Lara Dichraff, (11/21/06) the potentials for distributed private student classes in music each in a setting with computer units was realized. Use of synthesizers, combining music with TV and other images, developing rural youth and adult choral and musical units and various CD production seemed worth exploring. Folk music may be a part of the units explored and developed as well as creative work by youths.
Perhaps you will share ideas with me about some of the topic(s) above .
Robert H. Giles, Jr.
July 3, 2005