Roots, Radicals and Rockers


Book Description

SHORTLISTED FOR THE PENDERYN MUSIC BOOK PRIZERoots, Radicals & Rockers: How Skiffle Changed the World is the first book to explore this phenomenon in depth - a meticulously researched and joyous account that explains how skiffle sparked a revolution that shaped pop music as we have come to know it. It's a story of jazz pilgrims and blues blowers, Teddy Boys and beatnik girls, coffee-bar bohemians and refugees from the McCarthyite witch-hunts. Billy traces how the guitar came to the forefront of music in the UK and led directly to the British Invasion of the US charts in the 1960s.Emerging from the trad-jazz clubs of the early '50s, skiffle was adopted by kids who growing up during the dreary, post-war rationing years. These were Britain's first teenagers, looking for a music of their own in a pop culture dominated by crooners and mediated by a stuffy BBC. Lonnie Donegan hit the charts in 1956 with a version of 'Rock Island Line' and soon sales of guitars rocketed from 5,000 to 250,000 a year. Like punk rock that would flourish two decades later, skiffle was a do-it-yourself music. All you needed were three guitar chords and you could form a group, with mates playing tea-chest bass and washboard as a rhythm section.




Hill Folks


Book Description

The Ozark region, located in northern Arkansas and southern Missouri, has long been the domain of the folklorist and the travel writer--a circumstance that has helped shroud its history in stereotype and misunderstanding. With Hill Folks, Brooks Blevins offers the first in-depth historical treatment of the Arkansas Ozarks. He traces the region's history from the early nineteenth century through the end of the twentieth century and, in the process, examines the creation and perpetuation of conflicting images of the area, mostly by non-Ozarkers. Covering a wide range of Ozark social life, Blevins examines the development of agriculture, the rise and fall of extractive industries, the settlement of the countryside and the decline of rural communities, in- and out-migration, and the emergence of the tourist industry in the region. His richly textured account demonstrates that the Arkansas Ozark region has never been as monolithic or homogenous as its chroniclers have suggested. From the earliest days of white settlement, Blevins says, distinct subregions within the area have followed their own unique patterns of historical and socioeconomic development. Hill Folks sketches a portrait of a place far more nuanced than the timeless arcadia pictured on travel brochures or the backward and deliberately unprogressive region depicted in stereotype.




Selling Folk Music


Book Description

Selling Folk Music: An Illustrated History highlights commercial sources that reveal how folk music has been packaged and sold to a broad, shifting audience in the United States. Folk music has a varied and complex scope and lineage, including the blues, minstrel tunes, Victorian parlor songs, spirituals and gospel tunes, country and western songs, sea shanties, labor and political songs, calypsos, pop folk, folk-rock, ethnic, bluegrass, and more. The genre is of major importance in the broader spectrum of American music, and it is easy to understand why folk music has been marketed as America's music. Selling Folk Music presents the public face of folk music in the United States via its commercial promotion and presentation throughout the twentieth century. Included are concert flyers; sheet music; book, songbook, magazine, and album covers; concert posters and flyers; and movie lobby cards and posters, all in their original colors. The 1964 hootenanny craze, for example, spawned such items as a candy bar, pinball machine, bath powder, paper dolls, Halloween costumes, and beach towels. The almost five hundred images in Selling Folk Music present a new way to catalog the history of folk music while highlighting the transformative nature of the genre. Following the detailed introduction on the history of folk music, illustrations from commercial products make up the bulk of the work, presenting a colorful, complex history.










Folkways


Book Description




Negro Folk-songs


Book Description




Kentucky Folkmusic


Book Description

In 1899, a fundraising program for Berea College featured a group of students from the mountains of eastern Kentucky singing traditional songs from their homes. The audience was entranced. That small en-counter at the end of the last century lies near the beginning of an unparalleled national—and international—fascination with the indigenous music of a single state. Kentucky has long figured prominently in our national sense of traditional music. Over the years, a diverse group of people—reformers, enthusiasts, the musically literate and the musically illiterate, radicals, liberals, a British gentleman and his woman companion, amateurs, local residents, and academics—have been sufficiently captivated by that music to have devoted considerable energy to harvesting it from its fertile ground, studying its various manifestations, and considering its many performers. Kentucky Folkmusic: An Annotated Bibliography is a guide to the literature of this remarkable music. More than seven hundred entries, each with an evaluative annotation, comprise the largest bibliographic resource for the folkmusic of any state or region in North America. Divided into eight sections, the bibliography covers collections and anthologies; fieldworkers and scholars; singers, musicians, and other performers; text-centered studies; studies of history, context, and style; festivals; dance; and discographies, check-lists, and other reference tools. A subject index, an author index, and an index of periodicals provide access to the materials. From early hymnals and songsters to Kentucky performers of traditional music, the bibliography is a comprehensive guide to music which has for many years been one of the major emblems of American traditional music.




The Traditional Tunes of the Child Ballads, Volume 1


Book Description

This is the musical counterpart to the famous Francis James Child collection of English and Scottish ballads from the 13th to the 19th centuries. Professor Child's canon established the texts; Professor Bronson’s work provides both tunes and texts. Originally published in 1959. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.




I Wonder as I Wander


Book Description

Louisville native John Jacob Niles (1892--1980) is considered to be one of our nation's most influential musicians. As a composer and balladeer, Niles drew inspiration from the deep well of traditional Appalachian and African American folk songs. At the age of sixteen Niles wrote one of his most enduring tunes, "Go 'Way from My Window," basing it on a song fragment from a black farm worker. This iconic song has been performed by folk artists ever since and may even have inspired the opening line of Bob Dylan's "It Ain't Me Babe." In I Wonder as I Wander: The Life of John Jacob Niles, the first full-length biography of Niles, Ron Pen offers a rich portrait of the musician's character and career. Using Niles's own accounts from his journals, notebooks, and unpublished autobiography, Pen tracks his rise from farm boy to songwriter and folk collector extraordinaire. Niles was especially interested in documenting the voices of his fellow World War I soldiers, the people of Appalachia, and the spirituals of African Americans. In the 1920s he collaborated with noted photographer Doris Ulmann during trips to Appalachia, where he transcribed, adapted, and arranged traditional songs and ballads such as "Pretty Polly" and "Black Is the Color of My True Love's Hair." Niles's preservation and presentation of American folk songs earned him the title of "Dean of American Balladeers," and his theatrical use of the dulcimer is credited with contributing to the popularity of that instrument today. Niles's dedication to the folk music tradition lives on in generations of folk revival artists such as Jean Ritchie, Joan Baez, and Oscar Brand. I Wonder as I Wander explores the origins and influences of the American folk music resurgence of the 1950s and 1960s, and finally tells the story of a man at the forefront of that movement.