Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Can a type of music be "owned"? Examining how music is linked to racial constructs and how African American musicians and audiences reacted to white appropriation, Blues Music in the Sixties shows the stakes when whites claim the right to play and live the blues. In the 1960's, 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. Crossing color lines and mixing the beats of B.B. King, Eric Clapton, and Janis Joplin; the Newport Folk Festival and the American Folk Blues Festival; and publications such as Living Blues, Ulrich Adelt discusses these developments, including the international aspects of the blues. He highlights the performers and venues that represented changing racial politics and addresses the impact and involvement of audiences and cultural brokers.

Blues (Music) --- Blues (Songs, etc.) --- Jive (Music) --- African Americans --- Folk music --- Popular music --- Rhythm and blues music --- Washboard band music --- History and criticism.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

The Blues Encyclopedia is the first full-length authoritative Encyclopedia on the Blues as a musical form. While other books have collected biographies of blues performers, none have taken a scholarly approach. A to Z in format, this Encyclopedia covers not only the performers, but also musical styles, regions, record labels and cultural aspects of the blues, including race and gender issues. Special attention is paid to discographies and bibliographies.

Blues (Music) --- Blues musicians --- Blues (Songs, etc.) --- Jive (Music) --- African Americans --- Folk music --- Popular music --- Rhythm and blues music --- Washboard band music --- Musicians

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

From October 1959 until sometime in 1974, Paul Oliver and Mack McCormick collaborated on what was to be a definitive history and analysis of the blues in Texas. Both men were prominent scholars and researchers: Oliver had already established an impressive record of publications; and McCormick was well on his way to building what would eventually become a sprawling collection of primary materials, consisting primarily of field recordings and interviews with blues musicians from all over Texas and the greater South. But the project eventually fell apart of its own weight, a victim of ongoing disagreements between the two authors. Despite being eagerly awaited by the blues historians and ethnomusicologists who knew about the Oliver-McCormick collaboration and being openly discussed in various interviews and articles by Oliver, the intended manuscript was never brought to completion and the book was never published. In 1996, Alan Govenar, a respected ethnomusicologist in his own right, began a conversation with Oliver, whose work he had long admired, about the unfinished book on Texas blues. At Oliver's request, he arranged a meeting with McCormick, hoping to act as an intermediary, with the goal of aiding the project toward completion. His attempts were unsuccessful. Subsequently, Oliver invited Govenar to assist him in finishing the work. Much like the site report from an archaeological dig, The Blues Come to Texas: Paul Oliver and Mack McCormick's Unfinished Book provides not only a fascinating view into the results of a massive fieldwork and writing effort that is unlikely to ever be duplicated, but also affords scholars of American roots music a glimpse into the minds and work methods of two giants of blues scholarship.

Blues (Music) --- Blues (Songs, etc.) --- Jive (Music) --- African Americans --- Folk music --- Popular music --- Rhythm and blues music --- Washboard band music --- History and criticism.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

African Americans --- Blues (Music) --- Blues (Songs, etc.) --- Jive (Music) --- Folk music --- Popular music --- Rhythm and blues music --- Washboard band music --- Detroit (Mich.) --- Detroit --- Diṭroiṭ (Mich.) --- Deṭroyṭ (Mich.) --- Town of Detroit (Mich.) --- City of Detroit (Mich.)

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Adam Gussow takes the full measure of the devil's presence in the blues. Working from original transcriptions of more than 125 recordings released during the past ninety years, Gussow explores the varied uses to which black southern blues people have put this trouble-sowing, love-wrecking, but also empowering figure.

Devil in music. --- Blues (Music) --- Music --- Blues (Songs, etc.) --- Jive (Music) --- African Americans --- Folk music --- Popular music --- Rhythm and blues music --- Washboard band music --- Religious aspects. --- History and criticism. --- Johnson, Robert,