polka – The Celestial Monochord

A Guide to My Amnesia Theater

My new essay on Moonshiner’s Dance, America’s musical geography, and how to revive extinct meanings: What’s the deal?

Monochord headquarters has been celebrating the publication of Harry Smith’s Anthology of American Folk Music: America Changed Through Music, a collection of new essays about the mesmerizing and influential 1952 boxed set of late 1920s and early 1930s recordings.

My contribution to the collection is the product of eleven years of research, thinking, re-thinking, and activism. It’s called “Smith’s Amnesia Theater: ‘Moonshiner’s Dance’ in Minnesota.”

I have oceans of stuff to say about it. For now, I’ll focus on the simple question, “What just happened?”

The new book and essay: What are they?

The book of essays is by a variety of writers, musicians, and scholars, some of whom attended a 2012 conference in London marking the 60th anniversary of Smith’s landmark boxed set.

My presentation at the London conference became the seed of my essay in the book. It focuses on one cut in the Anthology that had been otherwise neglected by historians and other researchers: “Moonshiner’s Dance — Part I,” recorded in 1927 in St. Paul, Minnesota, by the Victoria Cafe Orchestra.

That recording is the Anthology‘s only Northern cut — the only recording unambiguously by musicians from outside the American South. I once made a map of the Anthology — seemingly the only such map anybody’s ever made. It looks a lot like a map of the Confederacy.

For the first time, my essay releases a major chunk of my research into “Moonshiner’s Dance.” To my surprise, I found that answering the simple question “What is this recording?” required a wide-ranging investigation into geography, history, identity, and meaning.

All this new information, the essay argues, matters to how we understand the Anthology, and to how we might encounter any expression left to us by a gone world. The essay is an impassioned plea for open-minded and imaginative curiosity about America’s cultural geography.

“Although ignored, the 1920s recordings of Twin Cities musicians are folk music that, on myriad terms, consciously and sometimes emphatically testifies to the performers’ identities and what they understood to be at stake in their existence.” – Smith’s Amnesia Theater

I meant the essay to feel like a revue, a little like Monty Python’s Flying Circus. The curtain opens on a scene that turns out to be another curtain that opens to reveal a different scene that also becomes a curtain, and so on. If you get bored with my essay, don’t worry — it will take off in another direction soon.

So far, the most consistent comments I’ve received is that the writing is “beautiful” and the scholarship is original. I guess most people try to be kind. If you look for it, you may find humor in there, wisecracks, hidden Easter eggs, and certainly a lot of pictures.

Where can a person read this essay?

This is a scholarly publication, so the authors don’t get paid — I just want my truth out there, and I deeply appreciate your interest.

— Email me. The book’s cost makes this book (and my message) far too rare a commodity. So, if you email me for a copy of my essay, I will very gladly send you a PDF. There are other pieces in the book you’ll definitely also want to read, and holding the book in your hand, you can see a community thinking about the Anthology — it’s a pity it isn’t priced more democratically.

— Please ask your public and university libraries to get the book. Don’t be shy — do it! Providing you with materials that are difficult to get on your own is a big reason librarians exist. Besides, if they get the book for you, it will presumably be there for the rest of your community.

— Please buy the book. For now, Routledge priced the hardback ($152) mainly for university and public libraries, profs in the field, etc. I’m currently seeing buying options on Amazon for around $100. There are Kindle and eBook options for $38-$55.

— At the Minnesota History Center in St. Paul, the book is now available for reading and photocopying at the Gale Family Library. That’s where this whole adventure started for me in May 2006, so I find this very satisfying.

What’s the deal with the Victoria Theater?

When I started all this, nobody who’d heard the Anthology could forget the sound of Moonshiner’s Dance. It was, in its own way and degree, infamous around the world, partly for having mysterious origins.

At the same time, nobody in St. Paul understood that the Victoria building (a familiar, vacant, and deteriorating old building down on University Avenue) was responsible for an utterly unique contribution to an influential American masterpiece. Nobody had ever researched the building beyond an architectural study and cursory literature searches.

I set about trying to reconstruct the meanings of the place. I soon believed St. Paul needed to understand what it had. And I wanted Anthology fans to understand that the mystery was solved, and the answers really matter. I wanted to reconnect the lines and let the power flow.

Then, in 2008, the Victoria Theater was threatened with demolition. The neighborhood association asked me to write the nomination to get the building named as an official heritage preservation site.

Having spent two years editing historic and archaeological survey reports as an editor for a Cultural Resource Management company, I jumped at the chance. And I fought to get the city ordinance passed. Then, I got to work on this essay for the Anthology conference and book.

Although I had spent years in academia, it was this experience that taught me what Harry Smith surely knew—that scholarship matters, and that it can matter as much in its absence as in its presence. – Smith’s Amnesia Theater

Now, local neighborhood and global community would both get the chance to think about the kinship Harry Smith’s art had built between them. Despite some exhilarating successes, I still despair that my message will ever quite sink in. At least I’ve sung a little of my song.

Your questions, requests, or suggestions about the Victoria Theater’s future should go to the director of the Frogtown Neighborhood Association, Caty Royce at caty@frogtownmn.org.

What’s next? A book on “Moonshiner’s Dance”?

I wonder. I already look like “that guy” who won’t stop talking about his old polka record, but readers of my essay will hopefully appreciate that there really are worlds to explore here.

Only a tiny fraction of my findings made it into the essay. HAVE I GOT STORIES. If I died tomorrow, I’d be glad I got this essay into the world, but too many big connections and haunting details would die with me. And to my eyes, each aspect of the story magnifies and multiplies the meanings of the others. I’m not sure what to do about that.

For now, I just hope to go back to what I was up to before the Victoria Theater building, the London conference, and the essay took over my life. I hope I’ll try to write and research and get the stories to you, one way or another, before my time’s up.

Rose Ensemble to Perform Moonshiner’s Dance

Perhaps for the first time in over 83 years, a piece of music that consumes my life is finally performed

The Rose Ensemble will perform “Moonshiner’s Dance” — for the first time, as far as I know, in 83 years

Thursday, June 16, 8 pm — Duluth, Weber Music Hall
Friday, June 17, 8 pm — Saint Paul, Fitzgerald Theater
Saturday, June 18, 8 pm — Saint Paul, Fitzgerald Theater

Minnesota’s own Rose Ensemble, an internationally acclaimed music group, has notified me that they will perform “Moonshiner’s Dance” at upcoming concerts called Songs of Temperance and Temptation: 100 Years of Restraint and Revelry in Minnesota.

This is stunning, partly because these just might be the first performances of Moonshiner’s Dance in more than 83 years.

After five years of work on the piece’s origins and reception, I’ve never heard so much as a rumor of any other performance since the original — the September 1927 performance by the house band of Frogtown’s Victoria Cafe, recorded by the Gennett Record Company and later reissued on Harry Smith’s Anthology of American Folk Music.

What the Rose Ensemble is about to do is rarer than any routine solar eclipse, black swan, or blooming corpse flower.

Moonshiner’s Dance is actually a medley of even older tunes, mind you, and those have been performed and recorded countless times. But right now, I have no evidence that anybody has ever put them back together through that peculiar alchemy that makes them “Moonshiner’s Dance.” (Please write me if you have info.)

Naturally, there must have been other performances over the years. After all, learning and playing the songs and sounds of Harry Smith’s Anthology has been a signature rite of passage for folk revivalists for half a century.

During the 1950s/60s Folk Revival, even those musicians who’d never heard, or heard of, the Anthology learned its songs and musical figures. That is, the Anthology supplied the Folk Revival with a canon — a repertoire of texts that everybody knew, even if they didn’t know why. In turn, the Anthology contributed heavily to the Revival’s influential ideas about America, memory, and meaning.

But Moonshiner’s Dance wasn’t performed. It never made it from the Anthology into the collective performance repertoire. What could this performance history of Moonshiner’s Dance — the Upper Midwest’s sole contribution to the 84 recordings of the Anthology — tell us about how we choose to embrace or ignore our own cultural inheritance?

There’s a hell of a lot to say about that, and I hope to publish a book about it one day. These are questions just too big to blog. They’re so profound, they’re almost … untweetable.

Still, here are a couple things I’ll be thinking about as I look forward to the Rose Ensemble’s performances:

The original Victoria Cafe Orchestra was not as different from the Rose Ensemble as you might think. My evidence indicates they were musically literate, sight-reading professionals, members of the Saint Paul Musician’s Union, and primarily big-city jazz musicians. So why, on Moonshiner’s Dance, were they playing the oldtime ethnic dance music — proto-polka — more associated with rural, outstate Minnesota?

The 1927 Minnesota State Fair had just ended a few days before the recording, and the Victoria Cafe Orchestra must have been playing for a lot of out-of-towners — or for city folk who had themselves been rubbing elbows with those out-of-towners. The band appears to be riffing on that. In Saint Paul, good-natured joshing about Lake Wobegon has deep roots.

If this is right, Moonshiner’s Dance is a product of Prohibition-era Saint Paul in its regional context — but it’s also self-consciously about Prohibition-era Saint Paul in its regional context. Like the newspaper, it was truly a first draft of history.

It’s also clear from my research that the Victoria Cafe was a cabaret-style night club. And it was perfectly commonplace for performers on a cabaret stage to develop simple themes or stories, such as the intermingling of rubes and slickers. That is, we should have expected, all along, that Moonshiner’s Dance might be programmatic.

Thus, we’re hearing only the audible portion of an experience for all five senses. It’s the soundtrack of a full American cabaret environment and, according to my findings, one very narrowly tailored to Saint Paul’s University Avenue circa mid-September 1927.

I can’t wait to see what the Rose Ensemble does with it. In a way, the ensemble’s mission is to provide vivid translations, restating music that was meaningful in a very different time and place and giving it new significance in our time and our place.

I don’t know how rarely they translate across such a long span of time but such a short spatial distance. While Moonshiner’s Dance is certainly a creature of a very different era, it represents a place less than two miles up the road from the Fitzgerald Theater.

If we could tell the Victoria Cafe Orchestra that we’d be watching their tomfoolery recreated by the Rose Ensemble in the 21st century, I imagine they might ask us … “What the heck do you see in it?”

[UPDATE: I’ve also posted a review of the show.]

Anthology’s Victoria Cafe Honored by Saint Paul

For the first time ever, a site gets official historic status due to a connection to Harry Smith’s Anthology of American Folk Music

The Victoria Theater in winter. Its 1927 house band recorded the only unambiguously Northern recording of the Anthology of American Folk Music.

—

It’s official. The Victoria Theater is now a Heritage Preservation Site of the city of Saint Paul, Minnesota.

As a primary cause, the city’s preservation commission cites the building’s role in Harry Smith’s influential Anthology of American Folk Music. The Victoria’s 1927 house band recorded “Moonshiner’s Dance Part One,” now familiar from the 1952 Anthology.

The Victoria appears to be the first historic site— anywhere, at any level of government —protected by means of an Anthology connection.

Five years ago, I faced a different and rather depressing situation, being the only person alive who’d connected the dots between this building, “Moonshiner’s Dance,” and Harry Smith’s Anthology.

Nobody interested in the Anthology knew where the Victoria Cafe had been. And Saint Paulites didn’t know about the recording — including the historians who’d been commissioned over the years to survey the Victoria building. Worst of all, the very day I understood this, the building seemed to be under imminent threat from multiple directions.

Well … now, things have changed.

The point of my work has never been to save any old buildings. My project has always been to deeply understand the cultural context of “Moonshiner’s Dance,” and to develop ideas about what this fresh history really means to us, now.

And yet, when the Victoria Cafe itself — the recording’s immediate context — was about to become a pile of bricks, I knew I had to set aside the microfilm and speak up. I figured I could sleep at night if Saint Paul let the building be torn down — but only if I could have my say first.

In the past 18 months, I’ve attended dozens of hearings, written a slew of nominations and articles, been interviewed by journalists dozens of times, networked feverishly. I’ve also thought a hell of a lot about Wordsworth’s “Happy Warrior,” and decided I am not he.

Now, after a unanimous city council vote and the mayor’s signature, I feel I’ve come out of a dark tunnel, blinking at the sunlight. I intend to re-focus on my history research and writing, and on blogging.

Still, there’s more work to do on the Victoria’s future. It’s a vacant building with an owner who doesn’t respect its history — a point he’s emphasized many times. Until the building finds a respectful use, it will remain threatened.

I also can’t help wondering … would the Victoria’s working-class neighborhood still have this cultural resource if I hadn’t begun poking around at the Historical Society five years ago?

What other buildings, maybe in comparable neighborhoods down South, would benefit from somebody — particularly a fan of the Anthology — just showing up, doing some research, and doing a little writing?

It’s odd to consider how important, as tangible assets, “Moonshiner’s Dance” and the work of Harry Smith have become to a hard-working neighborhood in the capital city of Minnesota.

Here’s a little further reading:

History of the Victoria Theater — a short sketch at the Frogtown Neighborhood Association website.

Save the Victoria Theater — the Facebook group with nearly 700 members.

A Geography of the Anthology — a map of the influential Anthology, a reminder of the geographic element in the idea of American “roots music”.

North Country Blues — thinking about the American musical canon, and what it means that the Upper Midwest is too often neglected.

Moonshiner’s Parking Lot? — when the wrecking ball was coming for the Victoria, I shared a little of my thinking, at the time, on why I thought the building mattered.

Louis Armstrong at the Coliseum, 1939 — Frank Cloutier, the Victoria’s bandleader, moved to the Coliseum at Lexington & University, where he became Musical Director.

Harry Smith Archives — the Victoria’s preservation is announced at the Archives.

Email Me — if you have questions, or answers, about the Victoria or Moonshiner’s Dance, or anything else.

See also “Anthology of American Folk Music” links at the upper left of this blog.