I started listening to music in the womb (1952.) My Irish physician-father cut loose at night by singing along with Harry Belafonte, Trini Lopez, Marty Robbins, and others. Later, I hid a transistor radio under my pillow as I listened to hip Dick Biondi of WLS radio in Chicago. Grew up in NW Chicago suburbs and served as “roadie” for local band in teens. Was fortunate to see: Hendrix, Doors, Airplane, Dead; as well as Chicago natives – John Prine, Steve Goodman, Paul Butterfield, Siegel-Schwall, and others. After hearing the Beatles in 1965, I took guitar lessons from 1966-1970; even played and sang in garage bands (including on keyboards which I taught myself.) I have no formal training in music theory — but blessed to have perfect pitch.

Throughout college in Champaign (IL) and Madison (WI) I played solo acoustic guitar and sang until about 1983 (then focused on PhD program, followed by professor and parenting roles.) Started playing guitar again about ten years ago (1997) and bluegrass mandolin – which was easy to take on planes. Then about five years ago started practicing mandolin and guitar along with DVDs of Jerry Garcia, Jimi Hendrix and others. I have learned many riffs (and channel energy in unique ways.) After 20 years of public speaking I have no stage fright and love to perform. My voice had been compared to Johnny Cash or Tom Wait. I am recently been blending some Howlin’ Wolf with Bunny Wailer (sort of Rasta-Howlin!!)

Have many wonderful instruments. My favorite is the 1966 Gibson 160-E guitar (same as used often by John Lennon). Been through a lot and was recently rebuilt. First acoustic guitar to build in a pickup. Recently “discovered “ an awesome red Fender Strat-acoustic that plays and sounds like electric if plugged. Can also play unplugged and it is light!! Have an awesome 1996 F-style, Flatiron mandolin (with a custom built-in pickup.) Now have a Line 6 amplifier with tons of effects!! Recently bought a Casio 900 keyboard so can jam along as marimbas, sax, synthesizer, piano or anything. Big box of percussion instruments. Inherited a “antique” PA and great digital camera. Becoming skilled with audio mixing and video recording. As you will learn in this page I am now working to promote community music in the Chapel Hill-Carrboro part of North Carolina.

Music is Natural and Vital

Music is inherent in human nature and has played a major role in societal evolution and change. Music is an important part of social living – whether we intentionally choose our soundtracks or not. It is part of our creative DNA and exemplifies much of what it means to be human. Music surrounds us in nature — including the constant pounding of surf, the measured rhythm of rain, howling of the winds, and lovely melodic tunes of song birds. Research proves that music has enormous impacts on individual, community, and societal well-being and development.

Music is a key element of popular culture, yet one that has proven difficult to study. During the past two decades social scientists have started to take popular music seriously. Research is underway in psychology, anthropology, and other disciplines, but so far sociologists have made little contribution. There is a great need to describe and model how music and society interact. My research should help build this sub-discipline by looking at the social qualities of popular or folk music.

Some key research questions I explore include: how and what music means to different listeners, as well as the obvious and subtle roles of music in society (e.g., as part of personal and collective identities, a mode of self-expression, and as a spiritual activity). I also focus on the influence of technological change, social norms, and public policies on the production, distribution, and consumption of music.

Music Builds Better Communities

Research indicates those communities that are best able to tap their people’s creativity will be in the forefront relative to economic development. My own scholarly and musical interests have increasingly focused on the importance of popular music (e.g. folk, rock, and reggae) as a readily accessible, yet poorly understood form of bridging social capital. My goal is to model how and why certain communities excel in musical creativity and are able to reap other socio-economic benefits from such bridging social capital. I will pay particular attention to the role of social factors in musical creativity, including: ethnic and cultural diversity; digital democratization of music technology; youth countercultures and the growing generation gap; as well as the important role of political, philosophical, and personal tolerance in fostering individual and community creativity.

Music provides an easy and effective means for unlocking our individual and collective creative potential. Musical talent is actually more easily accessed and developed than other art forms. Music also represents what Robert Putnam calls “bridging social capital.” This notion refers to the associational ties that help create solidarity and empathy among different groups and across lines of social inequality. Bridging social capital is enhanced by a supportive, open, and tolerant social environment, as well as by a diverse blend of cultural practices. In fact, music can serve as the vital force that brings communities together and shapes interpersonal interaction. Ready access to such capital will have important implications for the type and extent of true creativity that a community develops and supports.

The latest trend in community development is to try and foster what Richard Florida calls a “creative economy.” Communities are courting what has become known as the “creative class.” This elite group broadly includes artistic types as well as scientists, lawyers, and other knowledge workers. Society must tap the creativity of our communities to promote development, solve problems, and provide services. Unfortunately, most of the current approaches to community development actually discourage and disadvantage truly creative individuals and businesses that form a counterculture. Such “fringe” groups are now recognized as the source of most true innovation (e.g., organic food, eastern spirituality, personal computers, and other now mainstream products).

Research is clear that community context and culture shapes the extent to which individuals and groups are able to express their creative potential. Richard Florida identifies three key factors to the success of a creative community: technology, talent, and tolerance. While parts of North Carolina are rich in technology and talent, many parts of the state lag far behind. However a more serious concern is the widely-recognized lack of tolerance for diversity, deviance, and progressive politics that handicaps the south in general and North Carolina in particular. When people feel social pressures to conform, their creative spirits shut down.

My Work on Community Music

Popular music has often been a point of conflict among the generations. We now we realize that music has enormous potential for building connections between generations. In fact the enduring popularity of bands like the Beatles, Doors, Grateful Dead, and others provide bridging social capital between the generations. In many ways, today’s youth are asking many of the same questions their parents did in the sixties when this music was created. Additionally, music and dance are among the few creative pursuits that are widely available to all members of society.

The power of streaming radio shows and music videos can now bring the full potential of technology and talent together for relatively low or even no cost. Research shows that music is vital for shaping youth values and attitudes. Music education and appreciation provides a wide range of benefits to people of all ages. While most research has focused on children and the elderly (who are clearly helped by music therapy), more research is needed about the appreciation and performance of music throughout the life course.

My specific interests involve the role of artistic creativity in community development. In particular, music is recognized as a powerful force for socialization and social change. My research will focus on the role of music in fostering or impeding social change. I have been conducting research into the role of creativity in promoting economic development and social responsibility for past five years.

My research will also focus on the increasingly important role of the Internet in the creation and distribution of music. Over the past decade, the power relationships in the music industry have shifted from the music companies and retail outlets to enable direct connections between the actual producers and consumers of music. My research will pay particular attention to the ways in which community musical collaboration can promote a wide range of benefits for individuals and society as discussed above.

Music and the arts are now recognized as a powerful engine for social change, political mobilization and economic development at the state and local level. Music has been shown to create and sustain many social and political movements as has been discussed elsewhere on this site. A growing body of research now even documents the large and ever-increasing dollar amounts that the arts generate, both for private ventures as well as state and local governments. The arts improve quality of life for individuals and communities. The arts create jobs, increase the local tax base, boost tourism, and spur growth in related businesses (e.g., hotels, restaurants, printing).

North Carolina is blessed with a rich diversity of music and arts that can be leveraged in the service of community economic development. In terms of music the Triangle was ranked highly in the past as an independent music scene. This builds on the jazz, blues, rock, and bluegrass that make up the sound tapestry of our region, Appalachian Bluegrass being especially a source of pride for our state as the home of Doc Watson, Thelonius Monk, and Flatt & Scruggs, to name a few. Other states have clearly been able to do a better job of supporting and profiting from their musical resources.

One notable and relevant example of the economic development potential of music the Bonnaroo Music festival held in rural Tennessee. The total estimated business revenue impact of Bonnaroo on Coffee County was more than $14 million in 2005 according to research conducted by MTSU’s Business and Economic Research Center. The festival “created a significant economic impact for Middle Tennessee. Manchester and Coffee Counties enjoyed many positive effects of the festival, including substantial economic and fiscal impacts.” We have similar opportunities for such success here in NC.

Why Music is Important to Me

Music is a form of bridging social capital that brings people together – particularly across the generations. Music is a key element of popular culture, yet one that has proven difficult to study from a social scientific perspective – with the exception of ethnomusicology within the discipline of anthropology. My research aims to help build a “sociology of music;” as I did with the “sociology of food” during the nineties.

My work analyze the social relations associated with folk, rock and reggae music over the past 50 years. I also evaluate the influence of technological change, and public policies on the production, distribution, and consumption of music. My research evaluates how music influences personal creativity, community integration, and social movement dynamics.

My goal is to encourage others (especially the youth) to tap their inner musical creativity in a way that promotes personal growth and community development. My specific interests involve the role of music and the internet in fostering both geographical and virtual creative communities. In particular, research shows that music is recognized as a powerful force for socialization and social change (especially over the past 50 years.)

My own creative artistry focuses on the use of folk, rock and reggae music in fostering social change. Having recently moved to Carrboro, I can now also approach musical creativity as a participant observer and professional performer. This enables me to better understand the role of music in a community where there is truly a creative climate and tolerant culture.

Musical energy and inspiration have always driven my other initiatives. I took guitar lessons from 1966-1970; even played and sang in garage bands. Played solo acoustic guitar and sang until about 1983 (then focused on PhD, professor, and parenting roles). About ten years ago I picked the guitar back up and learned mandolin – easier to take on planes. Spent several years organizing music in various venues across Raleigh and at NC State.

Have created a performance innovation called “HipHappy Jams.” Combining the steady vibe of a DJ with presence of a live performer, I jam along with rare recordings and tributes – singing and improvising on mandolin or guitar. My song selection represents innovative “edu-tainment” through song selection; as well as by providing insights and humor between song mixes. Audience participation can also be encouraged through singing, drumming and dancing.

Dr Tom’s Hip-Happy Jams

This innovative approach reflects my musical interest and is therefore a fusion of Rock, Reggae, Bluegrass and Blues. The real innovation is how I combines the best in live music formats and these genres. I offer the following to enhance any event and create the perfect environment.

• Originality and Presence – Like Professional Performer
• Consistent Vibe, Volume and Variety – Like Good DJ
• Talented Guests to Keep it Fresh – Like Open Mic
• Public Percussion Participation – Like a Drum Circle
• Lyrics to Sing Along with Favorites – Like Karaoke

Having played and studied music for over four decades; Dr Tom jams and sings along with rare recordings and live tributes from his extensive archives ~ improvising on guitar or mandolin. Digital recordings, instruments, and vocals are professionally mixed. Dr Tom provides insights and humor between songs. Audience participation can be actively encouraged through drumming and singing!! If you or anyone is interested, we would choose from the 100’s of unique renditions of classic songs that you know and like. Together we create custom playlists for your event or occasion.

If U can walk U can dance. If U can talk U can sing – African Proverb

Genre 1 = Folk, Bluegrass, and Acoustic Chill

• Acoustic Dead, Byrds and Hot Tuna
• Acoustic Bob Dylan, Bruce Springsteen and others
• Hank Williams, Johnny Cash, Waylon and Willie
• Jimmy Buffett, John Prine, and others
• Frank Sinatra, Rickie Lee Jones and others

Genre 2 = Reggae, Blues, and Instrumental

• Bob Marley and the Wailers, the Marley Brothers
• Peter Tosh, Culture and Burning Spear
• Reggae tributes to Beatles, Dead, and others
• Muddy Waters, BB King and others
• Latest in jazz-bluegrass fusion of familiars

Genre 3 = Rock, Blues and Reggae

• Electric Dead, Doors, Airplane, and others
• Electric Bob Dylan and Bruce Springsteen
• Chuck Berry, Buddy Holly and others
• Rockin’ Reggae Covers and Remixes
• Rare Beatles, Stones, and other favorites

My Current Initiatives in Community Music

I am planning to show how music contributes to local business success, as well the positioning of the Town of Carrboro. Music has been identified as a strategic advantage for Carrboro and surroundings. Research is clear that people like to congregate (and spend money) in areas with music that sets a warm and welcoming environment. In addition, the Internet facilitates a whole new approach to music that allows the most talented to have priority. One of my goals is to understand how the Internet and live music can be integrated within a local community. Toward that end, I have several initiatives at various stages of development, including:

• Community music sessions, such as talent showcases, drum circles and open jams. Working with local businesses to host such sessions, as well as a free film series about “Music and Social Change.” I will introduce and then lead discussion about important historical documentaries. Afterward, we will break out the instruments and jam.
• Support system for street performers as found in other creative places (Key West, New Orleans, San Francisco, and Austin.) Have identified spots in downtown Carrboro where musicians will be able to sign up for time slots. This should be a big draw for visitors. Also have proposed a similar approach for the local farmers’ markets and specialty food retailers.
• Community music clubs to support a variety of musical styles and provide more opportunities for people to make music together (e.g., youth bands, songwriter guilds, jazz ensembles, and community choruses.) The key will be finding facilitators and facilities. Will propose a musician village to provide affordable housing (as proposed by Chapel Hill resident John Edwards.)
• Local internet radio station where local music opinion leaders serve as DJ’s. This will also include a recording studio and other resources for audio and video production. Plan to offer informal music classes where beginners are paired with more experienced mentors. Also exploring online collaboration and instruction – which eliminates barriers of time and space.
• Festivals are an important means of creating community solidarity and building support for important causes. Local business provide food and crafts; while local agencies can raise awareness. Successful festivals already exist in this area (e.g., Shakori Hills Grass Roots and Carrboro music festivals.) Opportunities exist for more neighborhood musical gatherings.

I have discussed these initiatives with the Carrboro Economic Sustainability Commission, The Art Center, and other community leaders. They realize how my plans fit their vision as a creative economy — outlined in a recent report called “Creating Carrboro’s Future.” I am working with local leaders to organize networks of artists and musicians. This will include regular meet-ups at local restaurants aimed at promoting collaboration and communication. I also have started to help them coordinate and publicize music events.