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Fifty years after Charley Patton's death in 1934, a team of blues experts gathered five thousand miles from Dockery Farms at the University of Liege in Belgium to honor the life and music of the most influential artist of the Mississippi Delta blues. This book brings together essays from that international symposium on Charley Patton and Mississippi blues traditions, influences, and comparisons. Originally published by Presses Universitaires de Liège in Belgium, this edition has been revised and updated with a new foreword, new images added, and some chapters translated into English for the first time. Patton's personal life and his recorded music bear witness to how he endured and prevailed in his struggle as a black man during the early twentieth century. Within this book, that story offers hope and wonder. Organized in two parts, the chapters create an invaluable resource on the life and music of this early master. The book secures the legacy of Charley Patton as the fountainhead of Mississippi Delta blues.

From the late 1960s to the early 1980s, American punk developed as a distinct musical style that reflected the tremendous upheaval in American society during this period. Raw and direct, punk presented an unvarnished view of changing ideas of race, the growth of American suburbia, and the heightened stakes of musical expressions of whiteness and Blackness. Damaged: Musicality and Race in Early American Punk traces the main factors at play in the punk style, including transformations to blues resources, experimental visions of the American musical past, and bold reworkings of the rock and roll and R&B sounds of the late 1950s and early 1960s—all in all, a historically oriented approach to rock that is strikingly different from the common myths and conceptions about punk. Eventually punk became a forum for new versions of older exchanges between the US and the UK, and the style reflected even more changes to American metropolitan areas and a shift from the expressions of older baby boomers to that of younger musicians belonging to Generation X. The book also explores the discourses and contradictory narratives of punk history, which are often in direct conflict with the world that is captured in historical documents and revealed through musical analysis.

This book argues that knowledge of jazz, or more to the point, claims to knowledge of jazz, are the prime movers in forming jazz’s identity, its canon, and its community. Every jazz artist, critic, or fan understands jazz differently, based on each individual’s unique experiences and insights. Through playing, listening, reading, and talking about jazz, both as a form of musical expression and as a marker of identity, each aficionado develops a personalized relationship to the larger jazz world. Through the increasingly important role of media, listeners also engage in the formation of different communities that not only transcend traditional boundaries of geography, but increasingly exist only in the virtual world. The relationships of “jazz people” within and between these communities is at the center of this book. Some groups, such as those in academia, reflect a clash of sensibilities between historical traditions. Others, particularly online communities, represent new and exciting avenues for everyday fans, whose involvement in jazz has often been ignored. Other communities seek to define themselves as expressions of national or global sensibility, pointing to the ever-changing nature of jazz’s identity as an American art form in an international setting. What all these communities share, however, is an intimate, visceral link to the music and the artists who make it, brought to life through the medium of recording. Informed by an interdisciplinary approach and approaching the topic from a number of perspectives, the book charts a philosophical course in which many disparate perspectives can find common ground.

In the Mississippi Delta, creativity, community, and a rich expressive culture persist despite widespread poverty. Over five years of extensive work in the region, the author of this book collected a wealth of materials that demonstrate a vibrant musical scene. The book draws from classic studies of the blues as well as extensive ethnographic work to document the “changing same” of Delta music making. From the neighborhood juke joints of the contemporary Delta to the international hip-hop stage, it traces the musical networks that join the region’s African American communities to both traditional forms and new global styles. The book features the words and describes performances of contemporary artists, including blues musicians, gospel singers, radio and club DJs, barroom toast-tellers, preachers, poets, and a spectrum of Delta hip-hop artists. Contemporary Delta hip-hop artists Jerome “TopNotch the Villain” Williams, Kimyata “Yata” Dear, and DA F.A.M. have contributed freestyle poetry, extensive interview materials, and their own commentaries. The book focuses particularly on the biography of TopNotch, whose hip-hop poetics emerge from a lifetime of schoolyard dozens and training in the gospel church.

Carter and Ralph Stanley—the Stanley Brothers—are comparable to Bill Monroe and Flatt & Scruggs as important members of the earliest generation of bluegrass musicians. This biography of the brothers documents that Carter (1925–1966) and Ralph (b. 1927) were equally important contributors to the tradition of old-time country music. Together from 1946 to 1966, the Stanley Brothers began their careers performing in the schoolhouses of southwestern Virginia and expanded their popularity to the concert halls of Europe. In order to re-create this post-World War II journey through the changing landscape of American music, the author interviewed Ralph Stanley, the family of Carter Stanley, former members of the Clinch Mountain Boys, and dozens of musicians and friends who knew the Stanley Brothers as musicians and men. The late Mike Seeger allowed Johnson to use his invaluable 1966 interviews with the brothers. Notable old-time country and bluegrass musicians such as George Shuffler, Lester Woodie, Larry Sparks, and the late Wade Mainer shared their recollections of Carter and Ralph. The book begins and ends in the mountains of southwestern Virginia. Carter and Ralph were born there and had an early publicity photograph taken at the Cumberland Gap. In December 1966, pallbearers walked up Smith Ridge to bring Carter to his final resting place. In the intervening years, the brothers performed thousands of in-person and radio shows, recorded hundreds of songs and tunes for half a dozen record labels, and tried to keep pace with changing times.

This book chronicles the story of the rhythm section at Chips Moman’s American Studios from 1964, when the group began working together, until 1972, when Moman shut down the studio and moved the entire operation to Atlanta. Utilizing extensive interviews with Moman and the group, as well as additional comments from the songwriters, sound engineers, and office staff, the author creates a collective biography combined with a business history and a critical analysis of important recordings. She reveals how the personalities of the core group meshed, how they regarded newcomers, and how their personal and musical philosophies blended with Moman’s vision to create timeless music based on themes of suffering and sorrow. Recording sessions with Elvis Presley, the Gentrys, Aretha Franklin, Wilson Pickett, the Box Tops, Joe Tex, Neil Diamond, B. J. Thomas, Dionne Warwick, and many others come alive in the book. The author provides the stories behind memorable songs composed by group writers, such as “The Letter,” “Dark End of the Street,” “Do Right Woman,” “Breakfast in Bed,” and “You Were Always on My Mind.” Featuring photographs, personal profiles, and a suggested listening section, the book details a significant phase of American music and the impact of one studio.

Music in Disney’s Animated Features: Snow White and the Seven Dwarfs to The Jungle Book investigates how music functions in Disney Animated films. The book identifies several techniques used in a number of Disney animated movies. In addition it also presents a history of music in Disney animated films, as well as biographical information on several of the Studios’ seminal composers. The popularity and critical acclaim of Disney animated features is built as much on music as it is on animation. From Steamboat Willie through Bambi, music is the organizing element of Disney’s animation. Songs that establish character and aid in narrative form the backbone of the Studios’ animated features from Snow White and the Seven Dwarfs through The Jungle Book and beyond. In the course of their early animated features the Studios’ composers developed a number of techniques and models that have been used throughout their oeuvre. Instrumental instances of a given film’s songs are used to comment on various character’s thoughts, as well as on the plot and action. Songs featured in Disney films are often transitioned into or out of using rhymed, metered dialog, functioning in much the same way as recitative in opera. The book also explores the use of theme and variation technique, leitmotif, theatrical conventions, and song archetypes.

In October 2001, an unlikely gathering of musicians calling itself the MuzikMafia took place at the Pub of Love in Nashville, Tennessee. “We had all been beat up pretty good by the ‘industry’ and we told ourselves, if nothing else, we might as well be playing muzik,” explains Big Kenny of Big & Rich. For the next year and a half, the MuzikMafia performed each week and garnered an ever-growing, dedicated fan base. Five years, several national tours, six Grammy nominations, and eleven million sold albums later, it now comprises a family of artists including founding members Big & Rich, Jon Nicholson, and Cory Gierman along with Gretchen Wilson, Cowboy Troy, James Otto, Shannon Lawson, Damien Horne (Mista D), Two-Foot Fred, Rachel Kice, and several more in development. This book explores how a set of shared beliefs created a bond that transformed the MuzikMafia into a popular music phenomenon. The author examines the artists’ coalition from the inside perspective he gained in five years of working with them. Looking at all aspects of the collective, the book documents the problems encountered along the ascent, including business difficulties, tensions among members, disagreements with record labels, and miscalculations artists inevitably made, before the MuzikMafia unofficially dissolved in 2008. A final section examines hope for the future: the birth of Mafia Nation in 2009.

This unique and accessibly written study discusses the relationship between the blues, rock, folk, jazz, and poetry in the twentieth and twenty-first centuries, but it is anchored in the 1960s, when a concentration of artists transformed modes of popular music from entertainment to art-that-entertains. The authors (a professional musician and a literary historian) synthesize a wide range of writing about music—biographies, histories, articles in popular magazines, personal reminiscences, and a selective smattering of academic studies—and examine the development of a relatively new literary genre that they call poetic song verse. Poetic song verse was nurtured in the 50s and early 60s by the blues and in Beat coffee houses, and matured in the mid-to-late 60s in the art of Bob Dylan, the Beatles, the Rolling Stones, the Doors, Jimi Hendrix, Joni Mitchell, Leonard Cohen, Gil Scott-Heron, and others who used voice, instrumentation, arrangement, and production to foreground semantically textured, often allusive, and evocative lyrics that resembled and engaged poetry. Among the topics Mattison and Suarez consider are: What, exactly, is this new genre? What were its origins? And how has it developed? How do we study and assess it? To answer these questions, the authors engage in an extended discussion of the roots of the relationship between blues-based music and poetry, and address how it developed into a distinct literary genre. The book balances historical details and analysis of particular songs with readability to create a lively, intelligent, and cohesive narrative that will provide a wide range of readers with an overarching perspective on the development of an exciting, relatively new literary genre.

In the 1940s and ’50s, Richard Dyer-Bennet (1913–1991) was among the best-known and most respected folk singers in America. This book tells the story of Dyer-Bennet, often referred to as the “Twentieth-Century Minstrel.” Dyer-Bennet’s approach to singing sounded almost foreign to many American listeners. The folk artist followed a musical tradition in danger of dying out. The Swede Sven Scholander was the last European proponent of minstrelsy and served as Dyer-Bennet’s inspiration after the young singer traveled to Stockholm to meet him one year before Scholander’s death. Dyer-Bennet’s achievements were many. Nine years after his meeting with Scholander, he became the first solo performer of his kind to appear in Carnegie Hall. The book argues that Dyer-Bennet helped pave the way for the folk boom of the mid-1950s and early 1960s, finding his influence in the work of Joan Baez, Judy Collins, and many others. It also posits strong evidence that he would certainly be much better known today had his career not been interrupted midstream by the anticommunist, Red-scare blacklist and its ban on his performances.

Soul in Seoul: African American Popular Music and K-pop examines how K-pop cites musical and performative elements of Black popular music culture as well as the ways that fans outside of Korea understand these citations. K-pop represents a hybridized mode of Korean popular music that emerged in the 1990s with global aspirations. Its hybridity combines musical elements from Korean and foreign cultures, particularly rhythm and blues-based genres (R&B) of African American popular music. Korean pop, R&B and hip-hop solo artists and groups engage in citational practices by simultaneously emulating R&B’s instrumentation and vocals and enhancing R&B by employing Korean musical strategies to such an extent that K-pop becomes part of a global R&B tradition. Korean pop groups use dynamic images and quality musical production to engage in cultural work that culminates the kind of global form of crossover pioneered by Black American music producers. Korean R&B artists, with a focus on vocals, take the R&B tradition beyond the Black-white binary, and Korean hip-hop practitioners use sampling and live instrumentation to promote R&B’s innovative music aesthetics. K-pop artists also cite elements of African American performance in Korean music videos that disrupt limiting representations. K-pop’s citational practices reveal diverse musical aesthetics driven by the interplay of African American popular music and Korean music strategies. As a transcultural fandom, global fans function as part of K-pop’s music press and deem these citational practices authentic. Citational practices also challenge homogenizing modes of globalization by revealing the multiple cultural forces that inform K-pop.

This book is entirely dedicated to one of the most influential music labels of the twentieth century. In addition to creating the largest bluegrass catalog throughout the 1950s and 1960s, Starday was also known for its legendary rockabilly catalog, an extensive Texas honky-tonk outpouring, classic gospel and sacred recordings, and as a Nashville independent powerhouse studio and label. Written with the label president and co-founder, it traces the label’s origins in 1953 through the 1968 Starday–King merger. Interviews with artists and their families, employees, and the label’s president contribute to the stories behind famous hit songs, including “Y’all Come,” “A Satisfied Mind,” “Why Baby Why,” “Giddy-up Go,” “Alabama,” and many others. The book’s author’s research and interviews also shed new light on the musical careers of George Jones, Arlie Duff, Willie Nelson, Roger Miller, the Stanley Brothers, Cowboy Copas, Red Sovine, and countless other Starday artists. Conversations with the children of Pappy Daily and Jack Starns provide a unique perspective on the early days of Starday, and extensive interviews with the label’s president offer an insider glance at the country music industry during its golden era. Weathering the storm of rock and roll and, later, the Nashville Sound, Starday was a home to traditional country musicians and became one of the most successful independent labels in American history. Ultimately, this book is the record of a country music label that played an integral role in preserving America’s musical heritage.

From West Side Story in 1957 to Road Show in 2008, the musicals of Stephen Sondheim and his collaborators have challenged the conventions of the American musical theater and expanded the possibilities of what musical plays can do, how they work, and what they mean. Stephen Sondheim and the Reinvention of the American Musical places Sondheim’s musicals in two contexts: the exhaustion of the Rodgers and Hammerstein-style musical play that flourished after World War II; and the postmodernism that by the 1960s influenced all the U.S. arts. Sondheim’s musicals are central to the transition from the musical play that had dominated Broadway stages for twenty years to a new postmodern musical, one that reclaimed many of the self-aware, performative techniques of the 1930s musical comedy to develop its themes of the breakdown of narrative knowledge, the fragmentation of identity, and the problematization of representation. Sondheim, who was famously mentored by Oscar Hammerstein II, bridges the span between the musical play and the postmodern musical and, in his most recent work, stretches toward a twenty-first-century musical that seeks to break out of the self-referring web of language. Stephen Sondheim and the Reinvention of the American Musical offers close readings of all of Sondheim’s musicals; examines their dialogue, lyrics, musical themes, and structures; and finds in them their critiques of the operations of power, their questioning of conventional systems of knowledge, and their explorations of contemporary identity.

Bob Dylan is many things to many people. Folk prodigy. Rock poet. Quiet gentleman. Dionysian impresario. Cotton Mather. Stage hog. Each of these Dylan creations comes with its own accessories, including a costume, a hairstyle, a voice, a lyrical register, a metaphysics, an audience, and a library of commentary. Each Bob Dylan joins a collective cast that has made up his persona for over fifty years. No version of Dylan turns out uncomplicated, but the postmillennial manifestation seems peculiarly contrary—a tireless and enterprising antiquarian; a creator of singular texts and sounds through promiscuous poaching; an artist of innovation and uncanny renewal. This is a Dylan of persistent surrender from an engagement with a world he perceives as broken and enduring, addressing us from a past that is lost and yet forever present. This book participates in the creation of the postmillennial Bob Dylan by exploring three central records of the twenty-first century along with the 2003 film Masked and Anonymous, which Dylan helped write and in which he appears as an actor and musical performer. The book does justice to this difficult Bob Dylan by examining his method and effects through a disparate set of viewpoints. Readers will find a variety of critical contexts and cultural perspectives as well as a range of experiences as members of Dylan's audience.

This book presents a collection of essays on the debates about origins, authenticity, and identity in folk and blues music. The essays had their origins in an international conference on the Transatlantic routes of American roots music, out of which emerged common themes and questions of origins and authenticity in folk music, black and white, American and British. The central theme is musical influences, but issues of identity—national, local, and racial—are also recurring subjects. The extent to which these identities were invented, imagined, or constructed by the performers, or by those who recorded their work for posterity, is also a prominent concern, and questions of racial identity are particularly central. The book features a new essay on the blues by Paul Oliver alongside an essay on Oliver’s seminal blues scholarship. There are also several essays on British blues and the links between performers and styles in the United States and Britain, and new essays on critical figures such as Alan Lomax and Woody Guthrie. The book offers perspectives from both sides of the Atlantic on the connections and interplay of influences in roots music and the debates about these subjects, drawing on the work of eminent established scholars and emerging young academics who are already making a contribution to the field.