PLAIN FOLK

by Les Pearson
Potty Mouth Folk Music Leaves a Bad Taste!

The Medicine Hat Folk Music Club prides itself on being “family friendly.” And so it was disturbing when Ray Bonneville used the infamous “f” word—not once, but twice—in our first series concert. Ray plays bars more than concerts. In Quebec, where he lives for part of each year, this word may be less offensive than in Medicine Hat. But these are rationalizations.

There is no good reason for offending even a portion of a folk audience. It is the artist’s job to know local standards. This is the professional way. Ray should have known better.

Over the past several summers, rough language has made its tawdry appearance on more than one festival stage. If festivals are “family” vacations, this trend is disconcerting.

That was the basis for my conversations with two performers last summer. One was Dave Lang, a Regina folksinger. Dave has just released his second recording, Big Mountain Indian Plains (Bush Party Records 2006).

Last summer at the Regina Folk Festival, Dave was adamant. Persons who are offended by his lyrics, should walk away from his concerts. This was their problem, not his. He was singing about “real” life and using “real” language.

What about the kids in the crowd? Dave was stolid. If parents do not want their children exposed, remove them from the contagion. I marvelled at his unique “entrepreneurial” spirit.

Maybe enough people left Dave’s concerts. He has reconsidered the marketing strategy. At a recent concert in Regina, Dave rushed to give me his new CD. His first words were “family friendly!” No bad words. But the ideas? I leave it to your taste.

Earlier last summer at the Winnipeg Folk Festival, I had a similar conversation with Martha Wainwright. Daughter of Loudon Wainwright III and Kate McGarrigle, Martha has had every advantage accorded to a member of two folk dynasties.

As folk royalty, Martha’s crowning achievement has been a Parent Advisory on two of her three recordings. I bluntly asked why.

Her reply was thoughtful. It began,“I don’t know why I ended up swearing in my songs.” And then, to avoid a slur on family training, she added, “I’m careful, I’m respectful…I’ve opened for the McGarrigles where the audience may have been a little more conservative. And I’ve been careful too! I don’t want to throw anything in anyone’s face.”

I explained the Folk Club rule. Could we safely book Martha into our series? Her reply was qualified: “I’m going to modify…within reason.”

And then this defence of Explicit Lyrics labels: “Because we live in such conservative times, any recording without it, I don’t trust. I think I swear in a positive way…. It’s 2005. I’m still in my twenties. I think I owe it to my generation to speak the way we speak.”

I’m speechless. What is reasonable? And whose reason will shape future tastes for folk music? Meanwhile, pass the mints! I've got a bad taste.