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Author: William G. Roy
Publisher: Princeton University Press
ISBN: 140083516X
Category : Social Science
Languages : en
Pages : 311
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Book Description
Music, and folk music in particular, is often embraced as a form of political expression, a vehicle for bridging or reinforcing social boundaries, and a valuable tool for movements reconfiguring the social landscape. Reds, Whites, and Blues examines the political force of folk music, not through the meaning of its lyrics, but through the concrete social activities that make up movements. Drawing from rich archival material, William Roy shows that the People's Songs movement of the 1930s and 40s, and the Civil Rights Movement of the 1950s and 60s implemented folk music's social relationships--specifically between those who sang and those who listened--in different ways, achieving different outcomes. Roy explores how the People's Songsters envisioned uniting people in song, but made little headway beyond leftist activists. In contrast, the Civil Rights Movement successfully integrated music into collective action, and used music on the picket lines, at sit-ins, on freedom rides, and in jails. Roy considers how the movement's Freedom Songs never gained commercial success, yet contributed to the wider achievements of the Civil Rights struggle. Roy also traces the history of folk music, revealing the complex debates surrounding who or what qualified as "folk" and how the music's status as racially inclusive was not always a given. Examining folk music's galvanizing and unifying power, Reds, Whites, and Blues casts new light on the relationship between cultural forms and social activity.
Author: William G. Roy
Publisher: Princeton University Press
ISBN: 140083516X
Category : Social Science
Languages : en
Pages : 311
Get Book Here
Book Description
Music, and folk music in particular, is often embraced as a form of political expression, a vehicle for bridging or reinforcing social boundaries, and a valuable tool for movements reconfiguring the social landscape. Reds, Whites, and Blues examines the political force of folk music, not through the meaning of its lyrics, but through the concrete social activities that make up movements. Drawing from rich archival material, William Roy shows that the People's Songs movement of the 1930s and 40s, and the Civil Rights Movement of the 1950s and 60s implemented folk music's social relationships--specifically between those who sang and those who listened--in different ways, achieving different outcomes. Roy explores how the People's Songsters envisioned uniting people in song, but made little headway beyond leftist activists. In contrast, the Civil Rights Movement successfully integrated music into collective action, and used music on the picket lines, at sit-ins, on freedom rides, and in jails. Roy considers how the movement's Freedom Songs never gained commercial success, yet contributed to the wider achievements of the Civil Rights struggle. Roy also traces the history of folk music, revealing the complex debates surrounding who or what qualified as "folk" and how the music's status as racially inclusive was not always a given. Examining folk music's galvanizing and unifying power, Reds, Whites, and Blues casts new light on the relationship between cultural forms and social activity.
Author: Alexandre Dumas
Publisher:
ISBN:
Category : France
Languages : en
Pages : 470
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Book Description
Author: Tony Russell
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 124
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Book Description
"An historical examination of the complex relationship between the Negro and White folk music traditions and the importance of the blues in both"--from page [4] of book jacket.
Author: Jeffrey Melnick
Publisher: Harvard University Press
ISBN: 0674040902
Category : Music
Languages : en
Pages : 287
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Book Description
All too often an incident or accident, such as the eruption in Crown Heights with its legacy of bitterness and recrimination, thrusts Black-Jewish relations into the news. A volley of discussion follows, but little in the way of progress or enlightenment results--and this is how things will remain until we radically revise the way we think about the complex interactions between African Americans and Jews. A Right to Sing the Blues offers just such a revision. Black-Jewish relations, Jeffrey Melnick argues, has mostly been a way for American Jews to talk about their ambivalent racial status, a narrative collectively constructed at critical moments, when particular conflicts demand an explanation. Remarkably flexible, this narrative can organize diffuse materials into a coherent story that has a powerful hold on our imagination. Melnick elaborates this idea through an in-depth look at Jewish songwriters, composers, and perfomers who made Black music in the first few decades of this century. He shows how Jews such as George Gershwin, Irving Berlin, Al Jolson, and others were able to portray their natural affinity for producing Black music as a product of their Jewishness while simultaneously depicting Jewishness as a stable white identity. Melnick also contends that this cultural activity competed directly with Harlem Renaissance attempts to define Blackness. Moving beyond the narrow focus of advocacy group politics, this book complicates and enriches our understanding of the cultural terrain shared by African Americans and Jews.
Author: Mezz Mezzrow
Publisher: New York Review of Books
ISBN: 1590179455
Category : Biography & Autobiography
Languages : en
Pages : 465
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Book Description
Hailed as an “American counter-culture classic,” this “funny” and candid musical memoir offers a delicious glimpse into the 1930s jazz scene (The Wall Street Journal) Mezz Mezzrow was a boy from Chicago who learned to play the sax in reform school and pursued a life in music and a life of crime. He moved from Chicago to New Orleans to New York, working in brothels and bars, bootlegging, dealing drugs, getting hooked, doing time, producing records, and playing with the greats, among them Louis Armstrong, Bix Beiderbecke, and Fats Waller. Really the Blues—the jive-talking memoir that Mezzrow wrote at the insistence of, and with the help of, the novelist Bernard Wolfe—is the story of an unusual and unusually American life, and a portrait of a man who moved freely across racial boundaries when few could or did, “the odyssey of an individualist . . . the saga of a guy who wanted to make friends in a jungle where everyone was too busy making money.”
Author: Hari Kunzru
Publisher: Vintage
ISBN: 0451493702
Category : Fiction
Languages : en
Pages : 289
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Book Description
White Tears is a ghost story, a terrifying murder mystery, a timely meditation on race, and a love letter to all the forgotten geniuses of American music and Delta Mississippi Blues. "An incisive meditation on race, privilege and music. Spanning decades, this novel brings alive the history of old-time blues and America’s racial conscience."—Rabeea Saleem, Chicago Review of Books Two twenty-something New Yorkers. Seth is awkward and shy. Carter is the glamorous heir to one of America's great fortunes. They have one thing in common: an obsession with music. Seth is desperate to reach for the future. Carter is slipping back into the past. When Seth accidentally records an unknown singer in a park, Carter sends it out over the Internet, claiming it's a long lost 1920s blues recording by a musician called Charlie Shaw. When an old collector contacts them to say that their fake record and their fake bluesman are actually real, the two young white men, accompanied by Carter's troubled sister Leonie, spiral down into the heart of the nation's darkness, encountering a suppressed history of greed, envy, revenge, and exploitation.
Author: Ulrich Adelt
Publisher: Rutgers University Press
ISBN: 0813547504
Category : Music
Languages : en
Pages : 204
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Book Description
In the 1960s, within the larger context of the civil rights movement and the burgeoning counterculture, the blues changed from black to white in its production and reception, as audiences became increasingly white. Yet, while this was happening, blackness-especially black masculinity-remained a marker of authenticity. Blues Music in the Sixties discusses these developments, including the international aspects of the blues. It highlights the performers and venues that represented changing racial politics and addresses the impact and involvement of audiences and cultural brokers.
Author:
Publisher: Pavilion
ISBN: 9781909108288
Category : Cooking
Languages : en
Pages : 256
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Book Description
“I trawled through the University Handbook trying to locate an activity that was a) cheap and b) would render me irresistible to women. And then I saw it. The Oxford University Wine Circle: £2 a term, four tastings. I would be a wine taster – suave, elegant, worldly ... Nirvana beckoned.” Oz Clarke, Pembroke College, Oxford University blind wine-tasting competitor 1970, 1971 2013 marks the 60th Anniversary of the Oxford & Cambridge Varsity Blind Wine-Tasting Competition. Started in 1953 by the legendary Harry Waugh of John Harvey & Sons, the competition has been sponsored by Champagne Pol Roger since 1992. The oldest contest of its kind, the tasting match has fostered the careers of many leading members of the wine trade and press, including a number of Masters of Wine, and has cultivated fine wine enthusiasts internationally and encouraged the discipline of blind wine tasting, a notoriously difficult feat. To celebrate this iconic rivalry – rife with politics, subterfuge, camaraderie and enduring friendships – its history over six decades has now been documented, through a lavishly illustrated collection of special contributions and vivid oral histories. With contributions from notable blind wine-tasting competitors and competition judges including: Robert M Parker Jr; Harry Waugh; Hugh Johnson OBE; Jancis Robinson OBE MW; David Peppercorn MW; Serena Sutcliffe MW; Oz Clarke; Charles Metcalfe; Jasper Morris MW; Arabella Woodrow MW; Will Lyons; Nancy Gilchrist MW; Sir Ewen Fergusson GCMG GCVO; Mark Savage MW; Julian Jeffs QC; the Rt Hon Sir Timothy Sainsbury; the Rt Hon the Lord King of Bridgwater CH; Robin Don MW; John Harvey; John Avery MW; the Hon Michael MacKellar AM; Bill Gunn MW; James Simpson MW; Lisa Barnard; Jeremy Seysess; Alex Hunt MW; Andrew Comrie-Picard; Michael Broadbent MW; Nicholas de Rothschild; Hsien Min Toh and many, many more ...
Author: Bebe Moore Campbell
Publisher: One World
ISBN: 0345401123
Category : Fiction
Languages : en
Pages : 450
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Book Description
"ABSORBING...COMPELLING...HIGHLY SATISFYING." --San Francisco Chronicle "TRULY ENGAGING...Campbell has a storyteller's ear for dialogue and the visual sense of painting a picture and a place....There's a steam that keeps the story moving as the characters, and later their children, wrestle through racial, personal and cultural crisis." --Los Angeles Times Book Review "REMARKABLE...POWERFUL." --Time "YOUR BLUES AIN'T LIKE MINE is rich, lush fiction set in rural Mississippi beginning in the mid-'50s. It is also a haunting reality flowing through Anywhere, U.S.A., in the '90s....There's love, rage and hatred, winning and losing, honor, abuse; in other words, humanity....Campbell now deserves recognition as the best of storytellers. Her writing sings." --The Indianapolis News "EXTRAORDINDARY." --The Seattle Times "A COMPELLING NARRATIVE...Campbell is a master when it comes to telling a story." --Entertainment Weekly YOUR BLUES AIN'T LIKE MINE won the NAACP Image Award for Best Literary Work of Fiction
Author: Paul Oliver
Publisher: Cambridge University Press
ISBN: 9780521787772
Category : Music
Languages : en
Pages : 380
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Book Description
Yonder Come the Blues combines three influential and much-quoted books: Savannah Syncopators; Blacks, Whites and Blues and Recording the Blues. Updated with additional essays, this 2001 volume discusses the crucial early development of the blues as a music of Blacks in the United States, explaining some of the most significant factors that shaped this music. Together, these three texts emphasise the significance of the African heritage, the mutuality of much white and black music and the role of recording in consolidating the blues, thus demonstrating the importance of these formative elements in its complex but combined socio-musical history. Redressing some of the misconceptions that persist in writing on African-American music, this book will be essential reading for all enthusiasts of blues, jazz and country music and will be important for students of African-American studies and music, popular music and popular culture.
