The University of Chicago Underground Sounds: Oral

Total Page:16

File Type:pdf, Size:1020Kb

The University of Chicago Underground Sounds: Oral THE UNIVERSITY OF CHICAGO UNDERGROUND SOUNDS: ORAL TRADITION AND RECORDING CULTURE IN AMERICAN POETRY, 1917–2008 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE BY ANDREW PEART CHICAGO, ILLINOIS JUNE 2018 Contents Illustrations . iii Acknowledgments . iv Abstract . vi Introduction . 1 Chapter 1: Carl Sandburg, John Lomax, and the Modernist Revival of Folksong . 31 Chapter 2: Saying the Blues in and after the Chicago Black Renaissance . 100 Chapter 3: Soul Poets of the Black Arts Movement . 170 Coda . 261 Bibliography . 294 ii Illustrations Figure 1: “The Boll Weevil” and “Negro Spirituals,” by Carl Sandburg (1926) . 57 Figure 2: Southern Exposure: An Album of Jim Crow Blues, by Josh White and Waring Cuney (1941) . 111 Figure 3: Caught Up, by Millie Jackson (1974) . 212 Figure 4: Just a Lil' Bit Country, Millie Jackson (1981) . 224 Figure 5: How I Got Ovah: A Gospel Tribute to Carolyn M. Rodgers, featuring Ruby Dee, Ossie Davis, Billy Preston, and Community First Baptist Church Choir of Dallas (1982) . 234 Figure 6: Ruby Dee, in How I Got Ovah: A Gospel Tribute to Carolyn M. Rodgers . 236 Figure 8: Black Encyclopedia of the Air: A Big Black Beautiful History: Stories of the Rise and Spread of Black Culture in Africa and America (1968–1969) . 251 iii Acknowledgments If there is a special joy to writing a dissertation, it is the opportunity it affords to reflect on the individuals and communities who made it possible. I owe a tremendous debt of gratitude to the members of my dissertation committee, Bill Brown, Jennifer Scappettone, and Kenneth Warren, whose commitment and engagement clarified the vision for this project and created openings at every turn for new interpretive possibilities. Their support and guidance has been unwavering since the early years of my graduate school career, and it will be a credit to this dissertation if it reflects the influence they have had on my thinking. My thanks also to Elizabeth Helsinger and John Wilkinson, who provided constructive input on earlier projects that helped nourish the early seeds of this dissertation. The student and faculty members of the Poetry and Poetics Workshop in the Division of the Humanities have sharpened, and sometimes shaken, my thinking about the problems addressed in this dissertation. Over the years, Stephanie Anderson, Joel Calahan, Michael Hansen, Jose-Luis Moctezuma, Patrick Morrissey, Eric Powell, Geronimo Sarmiento Cruz, and Chalcey Wilding have been invaluable interlocutors, while Chicu Reddy and John Wilkinson have been both generous and judicious with the Socratic method. My colleagues at Chicago Review inspired me every day for seven years. Outside the University of Chicago, I owe thanks to several individuals who offered their help to this project at crucial moments. Jahan Ramazani and Herbert Tucker, the editors of New Literary History, provided indispensable commentary on the article version of Chapter 1 that reverberated throughout the entire dissertation. Meanwhile, Todd Harvey at the Library of Congress and Marten Stromberg at the University of Illinois, Urbana-Champaign, opened my iv eyes to archival gems that enriched large portions of this project. I thank each one of these scholars for the genuine interest they took in my work. I was especially fortunate in the course of my doctoral research to meet folks who became like family to me. Ed Roberson and Nina Rodgers Gordon welcomed me into their homes, made their personal collections available for my study, and provided warm encouragement over many months for me to finish this dissertation. Finally, I want to express my deepest gratitude to my family, especially my wife Rory Pavach, to whom this dissertation is dedicated, for her boundless love and support and for always, as The Dells sing, staying in my corner. v Abstract “Underground Sounds” examines the roles played by folklore collecting, sound recording, and popular song in twentieth-century American poetry. What was it about the age of mechanical reproducibility in sound, this study asks, that drew poets to the world of folklore, oral tradition, and vernacular song? In recent decades, influential studies of modern poetry and modern media have emphasized experiments with the graphical and graphemic dimensions of language— whether it be the verbal plasticity of poetic texts or the sound patterning of poetry performances—as the sine qua non of modernism. This study, however, highlights a subterranean tradition of collaboration and exchange between American poets and folklorists that contributed to a very different kind of modernism predicated on explorations into the cultural and technological substrata of poetic expression as such. Folklore scholarship in the twentieth century appealed to American poets, I argue, because its theories about cultural identity and cohesion put tools in the hands of poets as the makers of song to address problems of social conflict and anomie. After the First World War, the most salient of these problems for poets and folklorists fell along lines of race and class. The advent of phonography in folklore collecting only deepened poets’ interest in the field, as the medium’s acoustic amplitude and affective resonance seemed to give an aura to song that exceeded the communicative powers of language itself to produce the various forms of cohesion that folklorists upheld as cultural ideals. Since the late nineteenth century, American folklorists found a matrix for theories about cultural identity and cohesion in the ballad. Through readings of Carl Sandburg, Sterling Brown, Margaret Walker, Amiri Baraka, Carolyn Rodgers, and others, this study shows how poets in the twentieth century urged folklorists to consider genres of song beyond the ballad—the folksong, the blues, and soul—as cultural concepts with similarly deep social and political stakes. Like the vi ballad, these genres also served folklorists and poets alike as models for the democratic political processes that they thought were capable of solving problems of social conflict and anomie. This study challenges a prevailing view in the current field of ballad studies, however, that sees vernacular song in general as a canon of artifacts expropriated from non-elite cultures and used as vehicles to further elite political ends. In demediating vernacular song from the forms of textual artifactuality in which such reduction could occur, I argue, phonography introduced a new kind of abstraction—acousmatic and imitable voices proliferating throughout recording culture—that also expanded vernacular song’s social and political horizons beyond mere ideology. This study builds on a growing body of scholarship on American literature and popular song by focusing on the ways poets and folklorists made vernacular song a crucible for the politics of racial segregation during Jim Crow, of racial backlash after the Civil Rights Movement, and of class conflict in the postindustrial era. This study makes the case that folklore scholarship was central to the making of modern American poetry. It tells a story of collaboration and exchange between poets and folklorists that is part and parcel of an overarching narrative about the cultural politics of American pluralism and the fate of folk culture in particular as a vehicle in its quest for social and economic equality. This story of modern American poetry begins in Chicago in 1917, where Carl Sandburg debated John Lomax about the status of folksong as a model of cultural hybridization rather than homogeneity. It then explores the folklore-oriented Chicago phase of the Negro Renaissance and finds in Sterling Brown, Margaret Walker, and Richard Wright a theory of the blues as an expression of critical race consciousness. The story then concentrates on a post-Eurocentric moment in the postwar countercultural avant-garde, when the Black Arts Movement and a new anthropological turn in folklore scholarship used the dual musical and lifestyle concept of soul to vii put black culture at the center of American ethnic pluralism. The story closes with the poet and folklorist Jonathan Williams, who died in 2008 after turning the cultural politics of folklore back on the kinds of class conflict that this year in American economic history would bring to the fore. viii Introduction In 1910, John Avery Lomax, the first literary folklorist to use phonographic recording technology in the field, published his first folksong collection, Cowboy Songs and Other Frontier Ballads. Lomax sensed how the new technology would reshape the media ecology in which folksong collectors gathered materials for assembling what were essentially literary texts, or what he would later call “composite ballads” formed from a combination of recorded performances and manuscript or print variants.1 In the late nineteenth century American philologist James Francis Child had claimed the prestige of oral tradition for his canon of ballads but, like eighteenth-century British antiquarian Thomas Percy, had turned to manuscript sources rather than oral informants because of a distrust of the folk’s own methods of preservation and transmission. For his part, though, Lomax had refashioned the Romantic notion of the “popular ballad” in a form more amenable at once to a backward-looking sense of unmediated, primordial orality and to a forward-looking sense of modern, objective technological capture, apparently rendering transparent the relationship between what he recorded from the mouths of the people and what he ultimately printed on the pages of his songbooks.2 What Lomax did not sense at the time he transcribed his first wax cylinders was the formative role that such a use of phonography would come to play in the development of modern American poetry, beginning in the years just prior to the First World War. Folksong collecting, loosened from the stronghold of philology and realigned with ethnographic and popular modes of literature through the emergence of field 1 John A.
Recommended publications
  • Ishmael Reed Interviewed
    Boxing on Paper: Ishmael Reed Interviewed by Don Starnes [email protected] http://www.donstarnes.com/dp/ Don Starnes is an award winning Director and Director of Photography with thirty years of experience shooting in amazing places with fascinating people. He has photographed a dozen features, innumerable documentaries, commercials, web series, TV shows, music and corporate videos. His work has been featured on National Geographic, Discovery Channel, Comedy Central, HBO, MTV, VH1, Speed Channel, Nerdist, and many theatrical and festival screens. Ishmael Reed [in the white shirt] in New Orleans, Louisiana, September 2016 (photo by Tennessee Reed). 284 Africology: The Journal of Pan African Studies, vol.10. no.1, March 2017 Editor’s note: Here author (novelist, essayist, poet, songwriter, editor), social activist, publisher and professor emeritus Ishmael Reed were interviewed by filmmaker Don Starnes during the 2014 University of California at Merced Black Arts Movement conference as part of an ongoing film project documenting powerful leaders of the Black Arts and Black Power Movements. Since 2014, Reed’s interview was expanded to take into account the presidency of Donald Trump. The title of this interview was supplied by this publication. Ishmael Reed (b. 1938) is the winner of the prestigious MacArthur Fellowship (genius award), the renowned L.A. Times Robert Kirsch Lifetime Achievement Award, the Lila Wallace-Reader's Digest Award, a Guggenheim Fellowship, and a Rosenthal Family Foundation Award from the National Institute for Arts and Letters. He has been nominated for a Pulitzer and finalist for two National Book Awards and is Professor Emeritus at the University of California at Berkeley (a thirty-five year presence); he has also taught at Harvard, Yale and Dartmouth.
    [Show full text]
  • Social Issues in Ballads and Songs, Edited by Matilda Burden
    SOCIAL ISSUES IN BALLADS AND SONGS Edited by MATILDA BURDEN Kommission für Volksdichtung Special Publications SOCIAL ISSUES IN BALLADS AND SONGS Social Issues in Ballads and Songs Edited by MATILDA BURDEN STELLENBOSCH KOMMISSION FÜR VOLKSDICHTUNG 2020 Kommission für Volksdichtung Special Publications Copyright © Matilda Burden and contributors, 2020 All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the copyright owners. Peer-review statement All papers have been subject to double-blind review by two referees. Editorial Board for this volume Ingrid Åkesson (Sweden) David Atkinson (England) Cozette Griffin-Kremer (France) Éva Guillorel (France) Sabina Ispas (Romania) Christine James (Wales) Thomas A. McKean (Scotland) Gerald Porter (Finland) Andy Rouse (Hungary) Evelyn Birge Vitz (USA) Online citations accessed and verified 25 September 2020. Contents xxx Introduction 1 Matilda Burden Beaten or Burned at the Stake: Structural, Gendered, and 4 Honour-Related Violence in Ballads Ingrid Åkesson The Social Dilemmas of ‘Daantjie Okso’: Texture, Text, and 21 Context Matilda Burden ‘Tlačanova voliča’ (‘The Peasant’s Oxen’): A Social and 34 Speciesist Ballad Marjetka Golež Kaučič From Textual to Cultural Meaning: ‘Tjanne’/‘Barbel’ in 51 Contextual Perspective Isabelle Peere Sin, Slaughter, and Sexuality: Clamour against Women Child- 87 Murderers by Irish Singers of ‘The Cruel Mother’ Gerald Porter Separation and Loss: An Attachment Theory Approach to 100 Emotions in Three Traditional French Chansons Evelyn Birge Vitz ‘Nobody loves me but my mother, and she could be jivin’ too’: 116 The Blues-Like Sentiment of Hip Hop Ballads Salim Washington Introduction Matilda Burden As the 43rd International Ballad Conference of the Kommission für Volksdichtung was the very first one ever to be held in the Southern Hemisphere, an opportunity arose to play with the letter ‘S’ in the conference theme.
    [Show full text]
  • Carl Sandburg
    The International Journal of Reminiscence and Life Review © 2016 The Author 2016, Volume 3, Issue 1, pp. 61-63 http://143.95.253.101/~radfordojs/index.php/IJRLR Shared Reminiscence Carl Sandburg David Cooley Hendersonville, North Carolina In 1945, Carl Sandburg and his wife, Lillian, moved to the Hendersonville area from a small farm on the shores of Lake Michigan. A lot of people in the area wondered why this famous man had chosen our little community as his new home. He had paid what was thought to be an astounding price of $45,000 for 248 acres of land that included a three-story main house, a barn complex and several outbuildings. Mr. Sandburg reportedly said he felt he'd bought an entire “village,” and Mrs. Sandburg, a breeder of champion milk goats told friends that they had bought “a million acres of sky.” The estate was once owned by C. G. Memminger, the first secretary of the Confederacy. I wonder if Mr. Sandburg, the greatest Lincoln authority knew this or, if he did, found it somewhat ironic. I collected his garbage I was required to read some of his writings in high school, but the first time I came face to face with Carl Sandburg was an early morning at his home in Flat Rock. I had, along with John Shepherd, an older friend, established the first rural garbage collection service in Hendersonville. I was a junior in high school. Sandburg was a customer. “Come on in,” he said, as I went to his kitchen door to pick up his garbage.
    [Show full text]
  • Carl Sandberg Tape Recordings
    FOX YOUR — Box 1517, AGENCY ASSOCIATION Silver Spring BUSINESS Maryland 20902 CHURCH COMMITTEE HOME RECORDING (Trade-Mark) SERVICES ORGANIZATION PROFESSION LEO ORSO SCHOOL P. O. BOX 1745 STUDIO RADIO - TV WASHINOTON 13, D. C. PRESIDENT MUSIC-SPEECH UNION This folder contains a complete carbon copy of index of tape re- cordings in the Carl Sandburg col- lection of tape recordings owned by Leo Orso as of March 30,1966. -1- CARL SANDBURG TAPE RECORDINGS - March 29, 1966 1. Two tapes. Double track. Special program for Mr, Sandburg's 75th Birthday Alan Jenkins and speech by Mr. Sandburg. Two 1200 foot mylar tapes, each two tracks, Also on Tape # 2 is an address to Illinois State Histor-ical Society by Mr, Sandburg. Copied from phonograph records. Noisy. Also Radio Station WLS Brithday program Mr. Sandburg. Catcher 1949 & 1953 2. October 15, 1950. Three - 1200 foot acetate tapes, (Scotch) Full track. 71/2 ips. Excellent quality, Approx. one and one-half hours, Recorded at Harvard University, Excellent quality, 3. December 13,1954. Acetate tape. Pull track. One reel 1200 foot, Producer's Showcase, Famous names on this tape including Eisenhower, Perry Como. Marian Anderson, and Mr. Sandburg, Tribute to overseas war correspondents and particularly those who died in action. Also Henry Ford, and narrated by Charles Daly, Very good. Reverent, 4. March 8, 1955. One 1200 foot acetate(600 foot only), Full track, Dedication of Overseas Press Club in New York. Taken from above No.3, but with new narrator. Apparently played at the dinner meeting and recorded, 5. June 1957. Carl Sandburg and taps of Arlene Francis.
    [Show full text]
  • Sangamon State University a Springfield, IL 62708
    s~'$$$ Sangamon State University a Springfield, IL 62708 Volume 3, Number 1 Office of University Relations August 28,1986 PAC 569 786-6716 CONVOCOM To Air Soccer Game Welcome The SSU TV Office will tape coverage of The SSU WEEKLY staff extends greetings to the Prairie StarsIQuincy College soccer game all new and returning students, faculty and on Friday, September 5, at Quincy for later staff at the beginning of this fall semester. broadcast on CONVOCOM. The game will air on The WEEKLY contains stories about faculty, three CONVOCOM channels, WJPT in Jackson- staff and studqnts and various University ville, WQEC in Quincy and WIUM-TV in Macomb, events and activities. beginning at 8:30 p.m. on Friday, September Please send news items to your program 5, and 8 p.m. on Saturday, September 6 (The coordinator or unit administrator to be game actually begins at 7 p.m. on Sep- submitted to SSU WEEKLY, PAC 569, by the tember 5). Springfield area residents will Monday prior to the publication date. The be able to see the game on WJPT, cable WEEKLY is printed every Thursday. If you channel 23. have any questions regarding the SSU WEEKLY, The game is part of a four-team call 786-6716. tournament. Southern Illinois University at Edwardsville will play the Air Force Academy Reminders at 5 p.m. on September 5. *The University will be closed Monday, Amnesty Program September 1, for the observance of Labor Day. The University will be open Tuesday, In an effort to reduce the number and September 2, but no classes are scheduled.
    [Show full text]
  • The Black Arts Enterprise and the Production of African American Poetry
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE The Black Arts Enterprise and the Production of African American Poetry The Black Arts Enterprise and the Production of African American Poetry Howard Rambsy II The University of Michigan Press • Ann Arbor First paperback edition 2013 Copyright © by the University of Michigan 2011 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2016 2015 2014 2013 5432 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Rambsy, Howard. The black arts enterprise and the production of African American poetry / Howard Rambsy, II. p. cm. Includes bibliographical references and index. ISBN 978-0-472-11733-8 (cloth : acid-free paper) 1. American poetry—African American authors—History and criticism. 2. Poetry—Publishing—United States—History—20th century. 3. African Americans—Intellectual life—20th century. 4. African Americans in literature. I. Title. PS310.N4R35 2011 811'.509896073—dc22 2010043190 ISBN 978-0-472-03568-7 (pbk. : alk. paper) ISBN 978-0-472-12005-5 (e-book) Cover illustrations: photos of writers (1) Haki Madhubuti and (2) Askia M. Touré, Mari Evans, and Kalamu ya Salaam by Eugene B. Redmond; other images from Shutterstock.com: jazz player by Ian Tragen; African mask by Michael Wesemann; fist by Brad Collett.
    [Show full text]
  • Ukrainian Folk Singing in NYC
    Fall–Winter 2010 Volume 36: 3–4 The Journal of New York Folklore Ukrainian Folk Singing in NYC Hindu Home Altars Mexican Immigrant Creative Writers National Heritage Award Winner Remembering Bess Lomax Hawes From the Director Since the found- a student-only conference. There are prec- Mano,” readers will enjoy fresh prose pieces ing of the New York edents for this format, also. In commenting and poetry in English and Spanish from a Folklore Society, the on the 1950 meeting, then-president Moritz recently published anthology, produced by organization has pro- Jagendorf wrote, “Another ‘new’ at the Mexican cultural nonprofit Mano a Mano, vided two consistent Rochester meeting was the suggestion to the New York Writers Coalition, and a group benefits of member- have an annual contest among students of of New York’s newest Spanish-language ship: receipt of a New York State colleges and universities for writers. Musician, discophile, and Irish- published journal— the best paper on New York State folklore. American music researcher Ted McGraw since 2000, Voices— The winner will receive fifty dollars, and his presents a preliminary report and asks Voices and at least one annual meeting. or her paper will be read before the mem- readers for assistance in documenting the In the early years, the annual meeting bers.” (It is unclear whether this suggestion fascinating history of twentieth-century took place jointly with the annual gathering was implemented!) button accordions made by Italian craftsmen of the New York Historical Association, The 2010 meeting was held at New York and sold to the Irish market in New York.
    [Show full text]
  • Washington University Record, July 2, 1987
    Washington University School of Medicine Digital Commons@Becker Washington University Record Washington University Publications 7-2-1987 Washington University Record, July 2, 1987 Follow this and additional works at: http://digitalcommons.wustl.edu/record Recommended Citation "Washington University Record, July 2, 1987" (1987). Washington University Record. Book 414. http://digitalcommons.wustl.edu/record/414 This Article is brought to you for free and open access by the Washington University Publications at Digital Commons@Becker. It has been accepted for inclusion in Washington University Record by an authorized administrator of Digital Commons@Becker. For more information, please contact [email protected]. I '/^OH/MGr / O/N/ /V//i/5/7V ,~*:-- § Washington WASHINGTON ■ UNIVERSITY- IN • ST- LOUIS ARCHIVES u*«ry JUL i '87 RECORD Vol. 11 No. 36/July 2, 1987 Science academy's medical institute elects two faculty Two faculty members at the School of Medicine have been elected mem- bers of the prestigious Institute of Medicine of the National Academy of Sciences. New members of the institute are Michel M. Ter-Pogossian, Ph.D., and Samuel A. Wells Jr., M.D. Ter- Pogossian is professor of radiology at the School of Medicine and director of radiation sciences for Mallinckrodt Institute of Radiology. Wells is Bixby Professor and chairman of the De- partment of Surgery at the medical school. He is also chief of surgery at Barnes and Children's Hospitals in the Washington University Medical Center. The two are among 40 new members elected to the institute in recognition of their contributions to health and medicine or related fields. As members of the institute, which was established in 1970, Wells and Ter-Pogossian will help examine health policy issues and advise the federal government.
    [Show full text]
  • You've Got to Be Jazzistic
    Introduction: You've Got to Be Jazzistic hriving on a Riff is a contribution to the growing body of work on jazz, I blues, and their multiple influences in other forms of African American and American culture. The provisional term for this relatively new area of dis• course is jazz studies, although there may be a case for Sun Ra's tongue-in-cheek neologism "jazzisticology," which (considered etymologically) appears to mean the study of the "jazzistic," in other words, that which aspires, or pertains, to being like, about, or in the style of, jazz.1 While jazzisticology seems unlikely to catch on, it does have the advantage of marking a distinction between the study of jazz itself (in a nuts-and-bolts musicological sense) and the study of things that are jazz related. Thriving on a Riff belongs to the latter category and sharpens its focus further to examine two of the many cultural forms affected by African American music: literature and film. While that music has become hugely popular and influential far beyond the communities that produced it, its role within African American culture has been especially profound. Numerous black writers have confirmed this: from James Baldwin's bald assertion, "It is only in his music ... that the Negro in America has been able to tell his story," to Bob Kaufman's more poetic coinage: Dirt of a world covers me My secret heart Beating to unheard jazz.2 This recognition of the music's crucial importance, both to African American culture and beyond, can be traced back to W.
    [Show full text]
  • Publication (11.32
    Music 2014 TABLE OF CONTENTS Highlights ................................................................................ 1 Classical............................................................................. 11 Jazz, Pop, Folk & Rock ...................................................16 Film & Theatre ............................................................24 Resources for Performers Conductors ...............................................28 Vocalists .....................................................31 Instrumentalists .........................................34 Education Resources ........................................37 Ethnomusicology ...............................................40 Classic Books .......................................................42 Index ...................................................................47 Ordering Information ..............................................48 e Are Available from Ebooks Rowman & Littlefield is proud to provide most of its frontlist and selected backlist—a stable of over 10,000 titles—as ebooks, through its partnership with over fifty vendors, including • Amazon Kindle • Ingram Digital Retail • Amazon Look Inside Books The Book • Kobo • Apple iBooks • MyiLibrary • Barnes & Noble Nook • NetLibrary • Barnes & Noble See Inside • OverDrive • Baker & Taylor Blio • Questia • Chegg • Scribd • Ebooks Ltd. • Shortcovers • Ebrary • Skiff • Folletts/CafeScribe • Sony Reader • Google BookSearch • Zinio • Google Editions NEW! Purchase individual ebooks directly from our website.
    [Show full text]
  • IPG Spring 2020 Rock Pop and Jazz Titles
    Rock, Pop, and Jazz Titles Spring 2020 {IPG} That Thin, Wild Mercury Sound Dylan, Nashville, and the Making of Blonde on Blonde Daryl Sanders Summary That Thin, Wild Mercury Sound is the definitive treatment of Bob Dylan’s magnum opus, Blonde on Blonde , not only providing the most extensive account of the sessions that produced the trailblazing album, but also setting the record straight on much of the misinformation that has surrounded the story of how the masterpiece came to be made. Including many new details and eyewitness accounts never before published, as well as keen insight into the Nashville cats who helped Dylan reach rare artistic heights, it explores the lasting impact of rock’s first double album. Based on exhaustive research and in-depth interviews with the producer, the session musicians, studio personnel, management personnel, and others, Daryl Sanders Chicago Review Press chronicles the road that took Dylan from New York to Nashville in search of “that thin, wild mercury sound.” 9781641602730 As Dylan told Playboy in 1978, the closest he ever came to capturing that sound was during the Blonde on Pub Date: 5/5/20 On Sale Date: 5/5/20 Blonde sessions, where the voice of a generation was backed by musicians of the highest order. $18.99 USD Discount Code: LON Contributor Bio Trade Paperback Daryl Sanders is a music journalist who has worked for music publications covering Nashville since 1976, 256 Pages including Hank , the Metro, Bone and the Nashville Musician . He has written about music for the Tennessean , 15 B&W Photos Insert Nashville Scene , City Paper (Nashville), and the East Nashvillian .
    [Show full text]
  • Bess Lomax Hawes Student Folklore Collection
    http://oac.cdlib.org/findaid/ark:/13030/c85d8v11 No online items Guide to the Bess Lomax Hawes Student Folklore Collection Special Collections & Archives University Library California State University, Northridge 18111 Nordhoff Street Northridge, CA 91330-8326 URL: https://library.csun.edu/SCA Contact: https://library.csun.edu/SCA/Contact © Copyright 2020 Special Collections & Archives. All rights reserved. Guide to the Bess Lomax Hawes URB.BLH 1 Student Folklore Collection Contributing Institution: Special Collections & Archives Title: Bess Lomax Hawes Student Folklore Collection Creator: Hawes, Bess Lomax, 1921-2009 Identifier/Call Number: URB.BLH Extent: 10.50 linear feet Date (inclusive): 1959-1975 Abstract: Bess Lomax Hawes is the daughter of famed folklorist John A. Lomax. Ms. Hawes had an active musical career as a singer, instrumentalist and songwriter. Her career as an educator began in 1954 when she became an instructor in guitar, banjo and folk music in the extension division at the University of California, Los Angeles. In 1963, she joined the Anthropology Department at San Fernando Valley State College. The material contained in this collection consists of folkloric data collected between 1958 and 1977 by students enrolled in Anthropology 309: American Folk Music, Anthropology 311: Introduction to Folklore, and various senior seminars at San Fernando Valley State College (now California State University, Northridge). Language of Material: English Biographical Information: Bess Lomax Hawes was born in Austin, Texas in 1921 to Bess Bauman-Brown Lomax and John A. Lomax, famed folklorist and author of Cowboy Songs, American Ballads and Folksongs, Adventures of a Ballad Hunter, and director of the Archive of American Folksong at the Library of Congress.
    [Show full text]