Southern Register Spring 2018.Indd

Total Page:16

File Type:pdf, Size:1020Kb

Southern Register Spring 2018.Indd SPRING/SUMMER 2018 Mississippi Institute of Arts and Letters Honors Center with Two Awards The Center for the Study of volume of The New Encyclopedia of Southern Culture will be well repre- Southern Culture. In The Potlikker sented at this year’s Mississippi Papers, he traces how the food of Institute of Arts and Letters (MIAL) working-class southerners became a awards banquet in Jackson. pivotal part of American cuisine. The For the second time in four years, book has been roundly praised by the Mississippi Institute of Arts major news outlets, from the New York and Letters will honor the Center Times to making NPR’s list of 2017’s for its work in publishing. At this Great Reads. The Atlanta Journal- year’s awards banquet, to be held Constitution asks, “Is The Potlikker at the Two Mississippi Museums on Papers a history of the South by Saturday, June 2, MIAL will present way of food stories, or a story about Ted Ownby, Charles Reagan Wilson, southern food by way of our history? Ann J. Abadie, Odie Lindsey, and By the time you come to the end of James G. Thomas, Jr. with a Special this rigorous volume, you’ll know that Achievement Award for their work the two are indivisible.” on the Mississippi Encyclopedia, The Mississippi Institute of Arts published in May 2017 by the and Letters recently announced all University Press of Mississippi. of its award winners for works first MIAL presented the Center with published, performed, or shown in a Special Achievement Award for the year 2017. The award recipients, their work on The New Encyclopedia chosen by out-of-state jurors promi- of Southern Culture (University of nent in their respective fields, will North Carolina Press) in 2014. The be honored at the MIAL annual Mississippi Encyclopedia has also awards banquet. In addition to the won an Award of Merit from the awards banquet, Fischer Galleries Mississippi Historical Society and the in Jackson will feature the work of Heritage Award from the Mississippi winners Jack Spencer and Charlie Heritage Trust this year. Buckley on Friday evening from Also receiving an award at this 5:00 to 7:30. MIAL will also offer year’s banquet is John T. Edge, a tour of Pearl River Glass Studio director of the Center’s Southern on Saturday morning from 10:00 to Foodways Alliance. Edge is the 11:00 and readings and book sign- winner of the Nonfiction Award for ings by award winners at Lemuria his recent book, The Potlikker Papers: A Bookstore Dot Com Building at Food History of the Modern South. Edge 1:30 on Saturday afternoon. has written or edited more than a dozen books, including the Foodways continued on page 18 DIRECTOR’S COLUMN Stopping in a parking lot on a rainy morning. With parking spaces for the minister apologies to Robert Frost, I am stopped in a parking lot and people with physical on a rainy morning. It is too dangerous to drive, so I’m challenges, and a marquee waiting next to a church in northern Mississippi. I don’t mentioning multiple weekly know anyone in this church or community, but I feel sure services. This seems to be a they wouldn’t mind me stopping here. solid, successful institution that might confound any quick As I wait, I’m looking out the window, pondering how expectations about church life in the rural South. Across the things I can see from this rainy parking lot might the road, a different sign advertises a nondenominational relate to various approaches in Southern Studies. The church group I have not heard of, and I wonder if it community where I’m parked is named for a secessionist competes with this one. politician who had an important role in Reconstruction. From my window or just a few miles from here, one The church belongs to the most popular denomina- can see connections to the wider range of more recent tion for newly freed people after emancipation. From questions in Southern Studies. History and memory? my window, there is nothing but fields and trees in two A few hundred yards behind the church, several dozen directions. And I’m noticing that one car after another is small monuments honor the dead. And a Southern having trouble navigating a big puddle near the rail- Studies colleague studies slavery and current under- road tracks, a scene reminiscent of a moment in William standings of it in a community just a county or two Faulkner’s The Reivers. For the Southern Studies scholar, south of here. Literature? Another Southern Studies the potential problem is that the combination of the Civil colleague studies the fiction of an author from that War, emancipation, Reconstruction, race and religion, same community, and The Mississippi Encyclopedia tells rural life, and a scene from Faulkner start to seem like a me that at least two important poets live or grew up stereotype of Southern Studies, as though those are the close to this spot. Music? We could ask how people in only topics that define the South and how to study it. this community relate to the hill country blues with But the view out the window immediately complicates heroes not far from here. Protest? We’re pretty close assumptions that Southern Studies only cares about a to the home of antilynching activist Ida B. Wells. few predictable topics rooted in the past. Modern tech- Foodways? Aside from a cornfield or two, I see no nologies appear in every direction. I sit next to several examples of foodways, but there’s a community a few train cars at a railroad crossing, there are powerlines, a miles north where people have put out intriguing signs new bridge, and a small sign advertises cheap access to that read “Family Table.” Sports? Behind the church the Internet. One can see the hand of multiple govern- is a solitary basketball goal, a sign of the city game ments in transportation, safety (seven signs at two inter- in the rural South, and the National Bird Dog Hall of sections urge caution), electric power, and I think I see a Fame is located not far from here in Tennessee. The post office in the distance. If an older Southern Studies environment? Unlike Frost, I wouldn’t assume I know tended to concentrate on African American churches for whose woods these are. Education? The highway just a few topics—perhaps traditions of speech, music, and moves through an important area for innovations in theology—this church seems likely to complicate any easy religion and education, with colleges associated with expectations. It is brick, with a large and well-marked multiple religious groups. Architecture? I’d like to parking lot, and it has multiple church buses, special explore the houses I can’t really see from here, and a Southern Studies scholar of economics and family life wants to know more about an advertisement for “repo THE SOUTHERN REGISTER mobile homes.” In contemporary Southern Studies, we A Publication of the Center for the Study of Southern Culture • The University of Mississippi listen and look for languages other than English, and signs along this highway advertise a number of iglesias STT S ATERLY OXFORD, MISSISSIPPI, U.S.A T Published by (“churches”). And if one could get out of the car and The Center for the Study of Southern Culture The University of Mississippi start talking to people, things would get even more Telephone: 662-915-5993 • Fax: 662-915-5814 complicated. E-mail: [email protected] • southernstudies.olemiss.edu There are times we may want to hurry up (in Frost’s Spring/Summer 2018 language, “to give the harness bells a shake”) and ask too-quick questions. Who do these people vote for and REGISTER STAFF why? How has rural life changed, or how is religion changing? What’s the central theme or the most pressing Editor: James G. Thomas, Jr. problem, and how might they relate to ideas about the Editorial assistants: Rebecca Lauck Cleary and Margaret Gaffney Graphic Designer: Susan Bauer Lee South? But a responsible form of Southern Studies does Page 2 Spring/Summer 2018 The Southern Register 2018 Living Blues Festival Guide ® Living Blues News © Issue #253 Vol. 49, #2 Spring and summer have finally over as bandleader when Calvin WARNER WILLIAMS hit down here in Mississippi. My Owens left in 1984 and remaining & JAY SUMMEROUR orchard is in full blossom, and the in that position until King’s death daffodils are blasting yellow joy by in 2015. Bolden, who joined King the thousands, signaling the end to after leaving the Duke Ellington yet another winter—at least here in Orchestra, carries on King’s JAMES Mississippi. legacy with his own band and And with the end of winter comes as a member of the B. B. King Boogaloo the beginning of the blues festival Blues Band. BOLDEN season. This issue, #254, contains Success doesn’t always come EUGENE our 2018 Living Blues Festival Guide, to even the most talented musi- the original festival guide for the cians. Sometimes things just Hideaway $6.95 US $6.95 CAN blues industry. The first to publish don’t work out as planned. www.livingblues.com BRIDGES every year, it gives you the chance to Take the case of Louisiana-born Belton Sutherland sit back and plan for the season. LB bluesman Eugene “Hideaway” Breaking Out with Roosevelt Collier will be at several festivals this year, Bridges. Bridges has all the so stop by and say hello. talent—a good songwriter, vocalist, This issue’s cover artists are and guitar player—but he never record.
Recommended publications
  • Whose Blues?" with Author Adam Gussow November 14, 5Pm ET on TBS Facebook Page
    November 2020 www.torontobluessociety.com Published by the TORONTO BLUES SOCIETY since 1985 [email protected] Vol 36, No 11 Sugar Brown (aka Ken Kawashima) will discuss "Whose Blues?" with author Adam Gussow November 14, 5pm ET on TBS Facebook Page CANADIAN PUBLICATIONS MAIL AGREEMENT #40011871 MBA Nominees Announced Loose Blues News Whose Blues? Blues Reviews Remembering John Valenteyn Blues Events TORONTO BLUES SOCIETY 910 Queen St. W. Ste. B04 Toronto, Canada M6J 1G6 Tel. (416) 538-3885 Toll-free 1-866-871-9457 Email: [email protected] Website: www.torontobluessociety.com MapleBlues is published monthly by the Toronto Blues Society ISSN 0827-0597 2020 BOARD OF DIRECTORS Derek Andrews (President), Janet Alilovic, Jon Arnold, Ron Clarkin (Treasurer), Lucie Dufault (Vice-President), Carol Flett (Secretary), Sarah French, Lori Murray, Ed Parsons, Jordan Safer (Executive), Paul Sanderson, Mike Smith Musicians Advisory Council: Brian Blain, Alana Bridgewater, Jay Douglas, Ken Kawashima, Gary Kendall, Dan McKinnon, Lily Sazz, Mark Stafford, Dione Taylor, Julian Taylor, Jenie Thai, Suzie Vinnick,Ken Whiteley Volunteer & Membership Committee: Lucie Dufault, Rose Ker, Mike Smith, Ed Parsons, Carol Flett Grants Officer: Barbara Isherwood Office Manager: Hüma Üster Marketing & Social Media Manager: Meg McNabb Publisher/Editor-in-Chief: Derek Andrews Many thanks to Betty Jackson and Geoff Virag for their help at the Managing Editor: Brian Blain Toronto Blues Society Talent Search. [email protected] Contributing Editors: Janet Alilovic, Hüma Üster, Carol Flett Listings Coordinator: Janet Alilovic Attention TBS Members! Mailing and Distribution: Ed Parsons Due to COVID-19 pandemic, TBS is unable to deliver a physical Advertising: Dougal Bichan [email protected] copy of the MapleBlues November issue.
    [Show full text]
  • Selective Tradition and Structure of Feeling in the 2008 Presidential Election: a Genealogy of “Yes We Can Can”
    Selective Tradition and Structure of Feeling in the 2008 Presidential Election: A Genealogy of “Yes We Can Can” BRUCE CURTIS Abstract I examine Raymond Williams’s concepts “structure of feeling” and “selective tradition” in an engagement with the novel technical-musical-cultural politics of the 2008 Barack Obama presidential election campaign. Williams hoped structure of feeling could be used to reveal the existence of pre-emergent, counter-hegemonic cultural forces, forces marginalized through selective tradition. In a genealogy of the Allen Toussaint composition, “Yes We Can Can,” which echoed a key campaign slogan and chant, I detail Toussaint’s ambiguous role in the gentrification of music and dance that descended from New Orleans’s commerce in pleasure. I show that pleasure commerce and struggles against racial segregation were intimately connected. I argue that Toussaint defanged rough subaltern music, but he also promoted a shift in the denotative and connotative uses of language and in the assignments of bodily energy, which Williams held to be evidence of a change in structure of feeling. It is the question of the counter-hegemonic potential of subaltern musical practice that joins Raymond Williams’s theoretical concerns and the implication of Allen Toussaint’s musical work in cultural politics. My address to the question is suggestive and interrogative rather than declarative and definitive. Barack Obama’s 2008 American presidential election and the post-election celebrations were the first to be conducted under the conditions of “web 2.0,” whose rapid spread from the mid-2000s is a historic “cultural break” similar in magnitude and consequence to the earlier generalization of print culture.1 In Stuart Hall’s terms, such breaks are moments in which the cultural conditions of political hegemony change.2 They are underpinned by changes in technological forces, in relations of production and communication.
    [Show full text]
  • Dr. Richard Brown Faith, Selfhood and the Blues in the Lyrics of Nick Cave
    Student ID: XXXXXX ENGL3372: Dissertation Supervisor: Dr. Richard Brown Faith, Selfhood and the Blues in the Lyrics of Nick Cave Table of Contents Introduction 2 Chapter One – ‘I went on down the road’: Cave and the holy blues 4 Chapter Two – ‘I got the abattoir blues’: Cave and the contemporary 15 Chapter Three – ‘Can you feel my heart beat?’: Cave and redemptive feeling 25 Conclusion 38 Bibliography 39 Appendix 44 Student ID: ENGL3372: Dissertation 12 May 2014 Faith, Selfhood and the Blues in the lyrics of Nick Cave Supervisor: Dr. Richard Brown INTRODUCTION And I only am escaped to tell thee. So runs the epigraph, taken from the Biblical book of Job, to the Australian songwriter Nick Cave’s collected lyrics.1 Using such a quotation invites anyone who listens to Cave’s songs to see them as instructive addresses, a feeling compounded by an on-record intensity matched by few in the history of popular music. From his earliest work in the late 1970s with his bands The Boys Next Door and The Birthday Party up to his most recent releases with long- time collaborators The Bad Seeds, it appears that he is intent on spreading some sort of message. This essay charts how Cave’s songs, which as Robert Eaglestone notes take religion as ‘a primary discourse that structures and shapes others’,2 consistently use the blues as a platform from which to deliver his dispatches. The first chapter draws particularly on recent writing by Andrew Warnes and Adam Gussow to elucidate why Cave’s earlier songs have the blues and his Christian faith dovetailing so frequently.
    [Show full text]
  • October 1-3, 2017 Greetings from Delta State President William N
    OCTOBER 1-3, 2017 GREETINGS FROM DELTA STATE PRESIDENT WILLIAM N. LAFORGE Welcome to Delta State University, the heart of the Mississippi Delta, and the home of the blues! Delta State provides a wide array of educational, cultural, and athletic activities. Our university plays a key role in the leadership and development of the Mississippi Delta and of the State of Mississippi through a variety of partnerships with businesses, local governments, and community organizations. As a university of champions, we boast talented faculty who focus on student instruction and mentoring; award-winning degree programs in business, arts and sciences, nursing, and education; unique, cutting-edge programs such as aviation, geospatial studies, and the Delta Music Institute; intercollegiate athletics with numerous national and conference championships in many sports; and a full package of extracurricular activities and a college experience that help prepare our students for careers in an ever-changing, global economy. Delta State University’s annual International Conference on the Blues consists of three days of intense academic and scholarly activity, and includes a variety of musical performances to ensure authenticity and a direct connection to the demographics surrounding the “Home of the Delta Blues.” Delta State University’s vision of becoming the academic center for the blues — where scholars, musicians, industry gurus, historians, demographers, and tourists come to the “Blues Mecca” — is becoming a reality, and we are pleased that you have joined us. I hope you will engage in as many of the program events as possible. This is your conference, and it is our hope that you find it meaningful.
    [Show full text]
  • The National Harmonica League Harmonicauk
    formerly- The National Harmonica League HarmonicaUK Registered Charity (England and Wales) No. 1131484 http://www.harmonica.co.uk - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Chairman Ben Hewlett +447973 284366 [email protected] Treasurer Phil Leiwy +447979 648007 [email protected] Membership Secretary David Hambley [email protected] 7 Ingleborough Way, Leyland, Lancs, PR25 4ZS, UK +447757 215047 Editor Dave Taylor +44797 901 1106 [email protected] Chromatic Davina Brazier Education Dick Powell / Eva Hurt Publicity Sam Wilkinson Secretary Dave Taylor Tremolo Simon Joy Health Rollen Flood Archivist Roger Trobridge +44771 2671940 [email protected] President Paul Jones Patrons Lee Sankey, Brendan Power, Adam Glasser US Vice President (vacancy) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Harmonica World is published every two months, and is the magazine for members of HarmonicaUK ( formerly- National Harmonica League ). Any views expressed might not be the o!cial views of HarmonicaUK. All material in this magazine is copyrighted, and may not be reproduced without the prior consent of the Editor. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Cover: Apr - May 2020 design by Dave Taylor Welcome to HARMONICA WORLD Magazine... _____________________________________________________________________________-_______________________________________________________________________________
    [Show full text]
  • Influencing Reed Pitch Ask the Hohner Service Center
    Har monica happenings A quarterly publication of the Society for the Preservation and Advancement of the Harmonica The 2011 spah Convention Issue! Fall, 2011 Vol. 45 No. 4 Harmonica happenings In this issue: Vol. 45, No. 4, Fall 2011 ©2007, The Society for the Preservation and Advancement of the Harmonica. Cover photos by Danielle Bradley, Ernie Roberts and JP All rights reserved. No portion of this Pagán. publication may be reproduced in any form without permission in writing from SPAH, Inc. Printed in U.S.A. Harmonica Happenings Contents: is published quarterly by SPAH, Inc., a nonprofit organization, incorporated in the State of Michigan on October 23, 1963. 6 SPAH 2011 THROUGH MY EYES & EARS— What SPAH is like... if you’re Charles Spranklin. SPAH correspondence should be sent to: SPAH, Inc. P.O. Box 865 12 CONVENTION CHATTER— Troy, MI 48099-0865 SPAH convention attendees tell their stories EDITOR & PUBLISHER JP Pagán ASSOC. EDITOR Jaine Rodack 15 SPAH 2011 IN PHOTOS— COPY EDITOR Danny Wilson SPAH BOARD OF DIRECTORS 26 THE STATE OF THE CHORD— Tom Stryker President Manfred Wewers covers the history of the chord harmonica. L.J. Atkison Vice President Eugene Hansen Treasurer Elizabeth Atkison Secretary 32 SECURING THE MAGIC CHORD— Roger Bale Membership Director The story of the chord that Al Fiore used to play “Peg O’ My JP Pagán Magazine Editor Heart.” Bob Cohen Webmaster Paul Metris Sergeant at Arms 34 CD Review Norm Dobson International Liaison Chris Bauer’s new album is just in time for the holidays. Danny Wilson SPAH Historian Paul Davies Advisor COMMITTEES Harmonicas & Health Terry Rand Chairman Entertainment Winslow Yerxa Chairman SPAH Advisory Committee L.J.
    [Show full text]
  • Rubber Souls: Rock and Roll and the Racial Imagination
    Rubber Souls: Rock and Roll and the Racial Imagination The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Hamilton, John C. 2013. Rubber Souls: Rock and Roll and the Racial Imagination. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:11125122 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Rubber Souls: Rock and Roll and the Racial Imagination A dissertation presented by Jack Hamilton to The Committee on Higher Degrees in American Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of American Studies Harvard University Cambridge, Massachusetts April 2013 © 2013 Jack Hamilton All rights reserved. Professor Werner Sollors Jack Hamilton Professor Carol J. Oja Rubber Souls: Rock and Roll and the Racial Imagination Abstract This dissertation explores the interplay of popular music and racial thought in the 1960s, and asks how, when, and why rock and roll music “became white.” By Jimi Hendrix’s death in 1970 the idea of a black man playing electric lead guitar was considered literally remarkable in ways it had not been for Chuck Berry only ten years earlier: employing an interdisciplinary combination of archival research, musical analysis, and critical race theory, this project explains how this happened, and in doing so tells two stories simultaneously.
    [Show full text]
  • Selling the Blues at Fat Possum Records
    University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2018 The Same Old Blues Crap: Selling The Blues At Fat Possum Records Jacqueline Sahagian University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the Ethnomusicology Commons Recommended Citation Sahagian, Jacqueline, "The Same Old Blues Crap: Selling The Blues At Fat Possum Records" (2018). Electronic Theses and Dissertations. 886. https://egrove.olemiss.edu/etd/886 This Dissertation is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. THE SAME OLD BLUES CRAP: SELLING THE BLUES AT FAT POSSUM RECORDS A Thesis presented in partial fulfillment of requirements for the Master of Arts in Southern Studies The University of Mississippi JACQUI SAHAGIAN MAY 2018 Copyright © 2018 by Jacqui Sahagian All rights reserved ABSTRACT This thesis interrogates the marketing strategies of the Oxford, Mississippi-based record label Fat Possum, which was founded in the early 1990s by Matthew Johnson with the goal of recording obscure hill country blues artists. Fat Possum gained recognition for its raw-sounding recordings of bluesmen, including R.L. Burnside, Junior Kimbrough, Cedell Davis, and T-Model Ford, as well as its irreverent marketing techniques. Adopting the tagline “not the same old blues crap,” Fat Possum asserted that its blues were both different from and superior to all other blues music. This thesis argues that while Fat Possum claimed to be a disruptive force in the blues world, the label actually repeated marketing strategies that have been used to sell the blues since the genre was first sold during the 1920s race records era.
    [Show full text]
  • A Historical Analysis of Living Blues Magazine
    University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2012 A Historical Analysis of Living Blues Magazine Melanie Young Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the Music Commons Recommended Citation Young, Melanie, "A Historical Analysis of Living Blues Magazine" (2012). Electronic Theses and Dissertations. 324. https://egrove.olemiss.edu/etd/324 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. A HISTORICAL ANALYSIS OF LIVING BLUES MAGAZINE A Thesis Presented for the Master of Arts Degree The University of Mississippi Melanie Young December 2012 Copyright Melanie Young 2012 ALL RIGHTS RESERVED ! ABSTRACT This thesis examines Living Blues magazine and its history through its stated cultural focus on African American music. ! ""! ! DEDICATION This thesis is dedicated to the founders of Living Blues; to the editors, staff, writers, and photographers past, present, and future; and to all of the blues artists who have been—and will be—represented within its pages. ! """! ! ACKNOWLEDGEMENTS I express my deepest appreciation to my committee chair, Dr. David Wharton, and committee members, Dr. Ted Ownby and Dr. Adam Gussow. In addition, I thank graduate advisor Dr. Kathryn McKee for her kind assistance throughout my career as a student at the University of Mississippi. My assistantship as circulation manager in the Living Blues office, awarded by the Center for the Study of Southern Culture and supervised by publications manager Mark Camarigg, provided necessary financial assistance for my studies in Oxford.
    [Show full text]
  • The University of Mississippi Englishdepartment OF
    The University of Mississippi EnglishDEPARTMENT OF M.A. AND PH.D . D EGREE IN E NGLISH he University of Mississippi’s English department is located on an idyllic campus, adjacent to the historic town of Oxford amidst the rolling hills of north Mississippi. Situated conveniently next to the library and near the center of campus, the English department offers four degree programs: B.A., M.A., M.F.A., and the Ph.D. Why pursue a M.A. or a Ph.D. in English at the University of Mississippi? Excellent course work and research supervision: The M.A. and Ph.D. programs in English offer coursework and research supervision in all areas of British, American, and Anglophone literature, film, cultural studies, and literary theory. We aim to produce outstanding scholars, critics, and teachers of literature and culture. Our program is small, focused, and dynamic. Each class is limited to a few exceptional applicants who receive much individual attention and training. Our program features a curriculum covering a wide array of academic interests from Medieval and Early Modern Studies to contemporary film theory and Studies in the Global South. We also offer opportunities for interdisciplinary work, including programs in Gender Studies, African American, and Southern Studies. Personal mentoring: Our faculty is committed to Competitive financial support: Students admitted taking care of our students. Ph.D. students enter into to the Ph.D. program receive a full five-year funding a comprehensive system of mentoring from the first package. At any given time, we have about 60 students year through the search for academic employment.
    [Show full text]
  • Blues Music and the Art of Narrative Self-Invention
    UNIVERSITY OF CALIFORNIA Los Angeles The Fictional Black Blues Figure: Blues Music and the Art of Narrative Self-Invention A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Kimberly Renee Mack 2015 © Copyright by Kimberly Renee Mack 2015 ABSTRACT OF THE DISSERTATION The Fictional Black Blues Figure: Blues Music and the Art of Narrative Self-Invention by Kimberly Renee Mack Doctor of Philosophy in English University of California, Los Angeles, 2015 Professor Richard A Yarborough, Chair My dissertation examines representations of black American blues musicians in contemporary American fiction, drama, and popular music, and it argues that blues music can be examined as a narrative art rooted in the tradition of fictionalized autobiographical self- fashioning. I contend that the contemporary, multi-racial, literary and musical characters in my project who participate in so-called “authentic” blues expression create, sometimes consciously and sometimes unwittingly, a fiction on top of a fiction. This project questions the belief held by many blues scholars, critics, and fans that blues music is a racially essentialized form instead of a narrative tradition made possible through carefully constructed autobiographical and biographical fictions. ii My project makes two important interventions into traditional discussions of blues production and the representations of blues figures in 20th- and 21st-century American literature. First, it destabilizes racial, socio-cultural, temporal, and gendered blues tropes by shifting blues expression from an innate skill to a storytelling art form through which its makers invent themselves. Second, this study allows for a different, interdisciplinary approach to autobiographical and biographical expression.
    [Show full text]
  • The Protest Song: Bridge Leadership, Sonic Innovation, and the Long Civil Rights Movement
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2018 The Protest Song: Bridge Leadership, Sonic Innovation, And The Long Civil Rights Movement Julia Cox University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the African American Studies Commons, American Studies Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Cox, Julia, "The Protest Song: Bridge Leadership, Sonic Innovation, And The Long Civil Rights Movement" (2018). Publicly Accessible Penn Dissertations. 2951. https://repository.upenn.edu/edissertations/2951 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2951 For more information, please contact [email protected]. The Protest Song: Bridge Leadership, Sonic Innovation, And The Long Civil Rights Movement Abstract This dissertation tells a new story of the American Civil Rights Movement through the woman’s singing voice. The dissertation explores what is possible when political music is disentangled from patriarchal narratives of leadership and artistic genius. “The Protest Song” contends that women across the color line were pioneering new types of lyrical expressions, musical aesthetics, and performance practices that sought to articulate feminist identities inside the long black freedom movement, harnessing the power of music to push for a broader and simultaneous liberation from racial and gendered oppression. While the project prioritizes
    [Show full text]