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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.
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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.
"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.
A PEN/JEAN STEIN BOOK AWARD FINALIST ONE OF THE BEST BOOKS OF THE YEAR: The Washington Post • San Francisco Chronicle • NPR • GQ • Time • The Economist • Slate • HuffPost • Book Riot Ghost story, murder mystery, love letter to American music--White Tears is all of this and more, a thrilling investigation of race and appropriation in society today. Seth is a shy, awkward twentysomething. Carter is more glamorous, the heir to a great American fortune. But they share an obsession with music--especially the blues. One day, Seth discovers that he's accidentally recorded an unknown blues singer in a park. Carter puts the file online, claiming it's a 1920s recording by a made-up musician named Charlie Shaw. But when a music collector tells them that their recording is genuine--that there really was a singer named Charlie Shaw--the two white boys, along with Carter's sister, find themselves in over their heads, delving deeper and deeper into America's dark, vengeful heart. White Tears is a literary thriller and a meditation on art--who owns it, who can consume it, and who profits from it.
"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
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.
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.”
WARNING: if you are a Donald Trump minion . . . then this book is probably NOT for you. "KEEP THE SHINY SIDE UP" Biker, street performer, cab driver, magician, IT/IS specialist, long-haul trucker, soldier, and oil field worker John Richard "Little Ricky" Hall has done damn near everything in this life-and taken more than his fair share of hard knocks in the process. Red, White, and the Blues is both a riveting account of a fateful cross-country motorcycle ride and a searing indictment of the American dream. In 2011, North Dakota's Bakken oil boom was turning the earth (literally) and men (figuratively) inside out, even as it generated unprecedented wealth. John R. Hall was on the verge of securing his future in the Bakken when a confrontation with a coworker led him to leave it all behind and head across the US on his Harley "Deuce." Pursued by the screeching demons of abuse, financial distress, and his own tortured thoughts, John would find heartache and rough terrain on the open road-but also the kindness of strangers and sights of heartbreaking beauty. Part memoir, part collection of essays, part political treatise, Red, White, and the Blues is a must-read for motorcycle enthusiasts and anyone who's struggled to find their place in the world. At turns funny, emotionally devastating, and incisive, Hall's work will enthrall readers as he offers affecting commentary on racism, politics, and depression-as well as friendship and the incomparable freedom of riding long and hard. JOHN R. HALL is author of the HuntingForThompson.com writers blog. John studied journalism, communications, psychology, and the dramatic arts while attending City College in San Diego, California. A lifelong motorcycle enthusiast, John has been a street performer, cab driver, magician, IT/IS specialist, long-haul trucker, soldier, and oil field worker-all while struggling with PTSD, childhood abuse, parental abandonment, and dyslexia. At sixty-two, John now lives in Las Vegas, Nevada, where he penned the stories of his travels while hoping to get back home to Seattle, Washington.