Urban BluesUniversity of Chicago Press, 1991 - 255 páginas Charles Keil examines the expressive role of blues bands and performers and stresses the intense interaction between performer and audience. Profiling bluesmen Bobby Bland and B. B. King, Keil argues that they are symbols for the black community, embodying important attitudes and roles—success, strong egos, and close ties to the community. While writing Urban Blues in the mid-1960s, Keil optimistically saw this cultural expression as contributing to the rising tide of raised political consciousness in Afro-America. His new Afterword examines black music in the context of capitalism and black culture in the context of worldwide trends toward diversification. "Enlightening. . . . [Keil] has given a provocative indication of the role of the blues singer as a focal point of ghetto community expression."—John S. Wilson, New York Times Book Review "A terribly valuable book and a powerful one. . . . Keil is an original thinker and . . . has offered us a major breakthrough."—Studs Terkel, Chicago Tribune "[Urban Blues] expresses authentic concern for people who are coming to realize that their past was . . . the source of meaningful cultural values."—Atlantic "An achievement of the first magnitude. . . . He opens our eyes and introduces a world of amazingly complex musical happening."—Robert Farris Thompson, Ethnomusicology "[Keil's] vigorous, aggressive scholarship, lucid style and sparkling analysis stimulate the challenge. Valuable insights come from treating urban blues as artistic communication."—James A. Bonar, Boston Herald |
Índice
INTRODUCTION | 1 |
I AFROAMERICAN MUSIC | 30 |
AN HISTORICAL SKETCH | 50 |
III FATTENING FROGS FOR SNAKES? | 69 |
IV B B KING BACKSTAGE | 96 |
V BIG BOBBY BLUE BLAND ON STAGE | 114 |
VI ROLE AND RESPONSE | 143 |
VII SOUL AND SOLIDARITY | 164 |
VIII ALTERNATIVES | 191 |
Appendix A THE IDENTITY PROBLEM | 198 |
Appendix B TALKING ABOUT MUSIC | 203 |
AN ANNOTATED OUTLINE | 217 |
POSTSCRIPTS | 225 |
| 249 | |
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Palavras e frases frequentes
African Ain't B. B. King baby band basic bass blues artist blues audience blues form blues lyrics blues role blues singer blues styles bluesmen Bobby Bland Bobby Bland's Bobby Blue Bland Braggs called Chapter Chess Chess Records Chicago church clubs contemporary blues dance disc jockeys Ellison entertainment example expression feel ghetto girls gonna gospel guitar guitarist Howlin Ibid identity instrument interviews jazz Jimmy Jimmy Witherspoon Jones listeners Louis Jordan lower-class Negro Memphis microphone Muddy Waters musical style musicians Muslim Negro community Negro culture Negro music Parker pattern performance phrase play popular preacher problem radio stations Ray Charles rhythm and blues ritual Scott shout social solidarity solo song soul music sound stage strong stylistic T-Bone Walker thing tion tradition urban blues usually vocal voice white American women word WVON York
Referências a este livro
Radical Media: Rebellious Communication and Social Movements John D. H. Downing,John Downing Pré-visualização indisponível - 2001 |