- Published in print:
- 2007
- Published Online:
- March 2013
- ISBN:
- 9780226350370
- eISBN:
- 9780226350400
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226350400.003.0008
- Subject:
- Music, Popular
This chapter evaluates the work of genre in canons of “American music” and their discursive contexts. The notion of roots enjoyed a revival in the culture of American roots music in the 1990s, which ...
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This chapter evaluates the work of genre in canons of “American music” and their discursive contexts. The notion of roots enjoyed a revival in the culture of American roots music in the 1990s, which illustrates the lasting effect of the folk song collectors. Then, it uses genre as a tool for understanding aspects of the problem of music and national identity in American cultural history. It demonstrates how poetics can be utilized to design a type of anthology that is more sensitive to diversity than anthologies that follow the big canons. The big ethnic markets eventually had a major effect on defining American popular music in black and white. Flaco Jiménez's rendition of “Inditamia” is in some ways typical of the classic late 1950s conjunto style. Jiménez shows that the relation between ethnic and mainstream American musics is not always one between folk and popular music.Less
This chapter evaluates the work of genre in canons of “American music” and their discursive contexts. The notion of roots enjoyed a revival in the culture of American roots music in the 1990s, which illustrates the lasting effect of the folk song collectors. Then, it uses genre as a tool for understanding aspects of the problem of music and national identity in American cultural history. It demonstrates how poetics can be utilized to design a type of anthology that is more sensitive to diversity than anthologies that follow the big canons. The big ethnic markets eventually had a major effect on defining American popular music in black and white. Flaco Jiménez's rendition of “Inditamia” is in some ways typical of the classic late 1950s conjunto style. Jiménez shows that the relation between ethnic and mainstream American musics is not always one between folk and popular music.
Imani Perry
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781469638607
- eISBN:
- 9781469638621
- Item type:
- book
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469638607.001.0001
- Subject:
- History, African-American History
Singing and fighting for freedom have been inseparable in African American history. May We Forever Stand: A History of the Black National Anthem, tells an essential yet understudied part of that ...
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Singing and fighting for freedom have been inseparable in African American history. May We Forever Stand: A History of the Black National Anthem, tells an essential yet understudied part of that story. Lift Every Voice and Sing, penned by James Weldon Johnson and composed by his brother Rosamond in 1900, was embraced as an anthem that captured the story and the aspirations of Black Americans almost immediately. This book shares the story of that song, as it traveled from South to North, from churches to schools, and from civil rights to Black power, and beyond. Because it is an anthem, the story of this song is also a social and cultural history. Readers will learn of the institutions and organizations, as well as the lessons and the emotions shared by those who sang together. Drawing on a wide array of materials including: letters, newspaper articles, essays, poems, novels, school curricula, speeches and the programs of hundreds of organizations, readers have a window into the robust social, cultural and political world that African Americans organized in the face of an unequal society, and how that world produced people who were capable of transforming the nation and world.Less
Singing and fighting for freedom have been inseparable in African American history. May We Forever Stand: A History of the Black National Anthem, tells an essential yet understudied part of that story. Lift Every Voice and Sing, penned by James Weldon Johnson and composed by his brother Rosamond in 1900, was embraced as an anthem that captured the story and the aspirations of Black Americans almost immediately. This book shares the story of that song, as it traveled from South to North, from churches to schools, and from civil rights to Black power, and beyond. Because it is an anthem, the story of this song is also a social and cultural history. Readers will learn of the institutions and organizations, as well as the lessons and the emotions shared by those who sang together. Drawing on a wide array of materials including: letters, newspaper articles, essays, poems, novels, school curricula, speeches and the programs of hundreds of organizations, readers have a window into the robust social, cultural and political world that African Americans organized in the face of an unequal society, and how that world produced people who were capable of transforming the nation and world.
Cynthia B. Meyers
- Published in print:
- 2013
- Published Online:
- September 2015
- ISBN:
- 9780823253708
- eISBN:
- 9780823268931
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823253708.001.0001
- Subject:
- Film, Television and Radio, Television
In this book the author repositions the advertising industry as a central agent in the development of broadcasting in the USA and challenges conventional views about the role of advertising in ...
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In this book the author repositions the advertising industry as a central agent in the development of broadcasting in the USA and challenges conventional views about the role of advertising in culture, the integration of media industries, and the role of commercialism in broadcasting history. It describes the “golden age” of radio, from roughly the late 1920s until the late 1940s, when advertising agencies were arguably the most important sources of radio entertainment. The book is based largely on archival materials from academics, advertising agencies and contemporaneous trade publications and on the voluminous correspondence between NBC and agency executives held in the NBC Records at the Wisconsin Historical Society. It shows how admen combined “showmanship” with “salesmanship” to produce a uniquely American form of commercial culture. In recounting the history of this form, the author enriches and corrects our understanding not only of broadcasting history but also of advertising history, business history and American cultural history from the 1920s to the 1940s.Less
In this book the author repositions the advertising industry as a central agent in the development of broadcasting in the USA and challenges conventional views about the role of advertising in culture, the integration of media industries, and the role of commercialism in broadcasting history. It describes the “golden age” of radio, from roughly the late 1920s until the late 1940s, when advertising agencies were arguably the most important sources of radio entertainment. The book is based largely on archival materials from academics, advertising agencies and contemporaneous trade publications and on the voluminous correspondence between NBC and agency executives held in the NBC Records at the Wisconsin Historical Society. It shows how admen combined “showmanship” with “salesmanship” to produce a uniquely American form of commercial culture. In recounting the history of this form, the author enriches and corrects our understanding not only of broadcasting history but also of advertising history, business history and American cultural history from the 1920s to the 1940s.
W. Jason Miller
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780813035338
- eISBN:
- 9780813038704
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813035338.003.0001
- Subject:
- Literature, African-American Literature
Langston Hughes never lived in an America where the very real threat of lynching did not exist. Lynching had a direct impact on Hughes's life and creative works. It reflects from Huges' speeches that ...
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Langston Hughes never lived in an America where the very real threat of lynching did not exist. Lynching had a direct impact on Hughes's life and creative works. It reflects from Huges' speeches that his earliest engagement with lynching came through reading about it as a child. These fears accompanied him during his first trip by train through the South when he was a teenager. Moreover, he repeatedly responded to lynching throughout his creative works for the remainder of his life. Revisiting his published poems reveals an important current in American cultural history. Langston Hughes engaged in a lifelong national campaign against American lynching culture. In fact, Hughes addressed, referenced, responded, or alluded to lynching in nearly three dozen different poems. This book documents Hughes's campaign as a context for reading seven of his most important poetic responses to lynching, which reveal the complex interplay between culture, politics, and art.Less
Langston Hughes never lived in an America where the very real threat of lynching did not exist. Lynching had a direct impact on Hughes's life and creative works. It reflects from Huges' speeches that his earliest engagement with lynching came through reading about it as a child. These fears accompanied him during his first trip by train through the South when he was a teenager. Moreover, he repeatedly responded to lynching throughout his creative works for the remainder of his life. Revisiting his published poems reveals an important current in American cultural history. Langston Hughes engaged in a lifelong national campaign against American lynching culture. In fact, Hughes addressed, referenced, responded, or alluded to lynching in nearly three dozen different poems. This book documents Hughes's campaign as a context for reading seven of his most important poetic responses to lynching, which reveal the complex interplay between culture, politics, and art.
