Questions for Overton Berry:
How did being a musician impact you growing up in the broader context of race relation developments of the 20th century? Did it lead to a more positive or negative experience, or is it more complicated than that?
What was your experience as a student at the University of Washington like? Did you see any large differences over time (including when coming here today) or have you not really paid attention to the institution?
How has recording a releasing music changed over your career? How do you feel about those changes? What about booking and performing kids? How has your audience makeup changed over time, or has it at all?
Who was your favorite artist to work with? Who was your favorite artist to see live?
What was it like playing music with your children?
You have performed a lot in foreign countries. How different are some of their popular music movements and what was your favorite gig overseas?
You have played lots of gigs. Do different instruments wear differently on people? Could you have been so prolific if you had stuck with the tuba?
Abolishing Ethnomusicology: I agreed with many points of this article. The difficulty of defining ethnomusicology and organizing a theory for it shows how it might not need to be a distinct field. With how diverse the topic studied are too it could easily be split up and housed across many departments in an already existing structure. It is definitely a contentious topic, as I can see lots of reasons to keep it though. By preserving the field and its social structures, information sharing and better practices can be more easily developed. Perhaps this could eventually lead to some sort of unifying theory of ethnomusicology. Which makes me wonder, is the lack of definition and theory just from a lack of trying or is it a seemingly impossible task?
Teen Dance Ordinance – luckily I escaped the effects of this, but it must have been horrible, as I am still extremely annoyed by how many shows I miss because they are 21+. One side of it has been popularly documented, but I wonder how effective it was at protecting the welfare of teens? Freaknight deaths and modern rave culture comes to mind. What can we do/have we done to prevent the negative effects of drugs and alcohol on music culture? Is this a problem that follows whatever the kids are into these days, or is it specific scenes and genres that have had drugs and alcohol in them?