Despite rhythm and blues culture’s undeniable role in molding, reflecting, and reshaping black cultural production, consciousness, and politics, it has yet to receive the serious scholarly ...examination it deserves. Destructive Desires corrects this omission by analyzing how post-Civil Rights era rhythm and blues culture articulates competing and conflicting political, social, familial, and economic desires within and for African American communities. As an important form of black cultural production, rhythm and blues music helps us to understand black political and cultural desires and longings in light of neo-liberalism’s increased codification in America’s racial politics and policies since the 1970s. Robert J. Patterson provides a thorough analysis of four artists—Kenneth “Babyface” Edmonds, Adina Howard, Whitney Houston, and Toni Braxton—to examine black cultural longings by demonstrating how our reading of specific moments in their lives, careers, and performances serve as metacommentaries for broader issues in black culture and politics.
This book explores how, and why, the blues became a central component of English popular music in the 1960s. It is commonly known that many 'British invasion' rock bands were heavily influenced by ...Chicago and Delta blues styles. But how, exactly, did Britain get the blues? Blues records by African American artists were released in the United States in substantial numbers between 1920 and the late 1930s, but were sold primarily to black consumers in large urban centres and the rural south. How, then, in an era before globalization, when multinational record releases were rare, did English teenagers in the early 1960s encounter the music of Robert Johnson, Blind Boy Fuller, Memphis Minnie, and Barbecue Bob?
Roberta Schwartz analyses the transmission of blues records to England, from the first recordings to hit English shores to the end of the sixties. How did the blues, largely banned from the BBC until the mid 1960s, become popular enough to create a demand for re-released material by American artists? When did the British blues subculture begin, and how did it develop? Most significantly, how did the music become a part of the popular consciousness, and how did it change music and expectations? The way that the blues, and various blues styles, were received by critics is a central concern of the book, as their writings greatly affected which artists and recordings were distributed and reified, particularly in the early years of the revival. 'Hot' cultural issues such as authenticity, assimilation, appropriation, and cultural transgression were also part of the revival; these topics and more were interrogated in music periodicals by critics and fans alike, even as English musicians began incorporating elements of the blues into their common musical language.
The vinyl record itself, under-represented in previous studies, plays a major part in the story of the blues in Britain. Not only did recordings shape perceptions and listening habits, but which artists were
In 1948, the Orioles, a Baltimore-based vocal group, recorded "It's Too Soon to Know." Combining the sound of Tin Pan Alley with gospel and blues sensibilities, the Orioles saw their first hit reach ...#13 on the pop charts, thus introducing the nation to vocal rhythm & blues and paving the way for the most successful groups of the 1950s. In the first scholarly treatment of this influential musical genre, Stuart Goosman chronicles the Orioles' story and that of myriad other black vocal groups in the postwar period. A few, like the Orioles, Cardinals, and Swallows from Baltimore and the Clovers from Washington, D.C., established the popularity of vocal rhythm & blues nationally. Dozens of other well-known groups (and hundreds of unknown ones) across the country cut records and performed until about 1960. Record companies initially marketed this music as rhythm & blues; today, group harmony continues to resonate for some as "doo-wop." Focusing in particular on Baltimore and Washington and drawing significantly from oral histories,Group Harmonydetails the emergence of vocal rhythm & blues groups from black urban neighborhoods. Group harmony was a source of empowerment for young singers, for it provided them with a means of expression and some aspect of control over their lives where there were limited alternatives. Through group harmony, young black males celebrated and musically confounded, when they could not overcome, complex issues of race, separatism, and assimilation during the postwar period. Group harmony also became a significant resource for the popular music industry. Goosman interviews dozens of performers, deejays, and industry professionals to examine the entrepreneurial promise of midcentury popular music and chronicle the convergence of music, place, and business, including the business of records, radio, promotion, and song writing. Featured in the book's account of the black urban roots of rhythm & blues are the recollections of singers from groups such as the Cardinals, Clovers, Dunbar Four, Four Bars of Rhythm, Five Blue Notes, Hi Fis, Plants, Swallows, and many others, including Jimmy McPhail, a well-known Washington vocalist; Deborah Chessler, the manager and songwriter for the original Orioles; Jesse Stone, the writer and arranger from Atlantic Records; Washington radio personality Jackson Lowe; and seminal black deejays Al ("Big Boy") Jefferson, Maurice ("Hot Rod") Hulbert, and Tex Gathings.
InI'm Feeling the Blues Right Now: Blues Tourism and the Mississippi Delta, Stephen A. King reveals the strategies used by blues promoters and organizers in Mississippi, both African American and ...white, local and state, to attract the attention of tourists. In the process, he reveals how promotional materials portray the Delta's blues culture and its musicians. Those involved in selling the blues in Mississippi work to promote the music while often conveniently forgetting the state's historical record of racial and economic injustice. King's research includes numerous interviews with blues musicians and promoters, chambers of commerce, local and regional tourism entities, and members of the Mississippi Blues Commission.
This book is the first critical account of Mississippi's blues tourism industry. From the late 1970s until 2000, Mississippi's blues tourism industry was fragmented, decentralized, and localized, as each community competed for tourist dollars. By 2003-2004, with the creation of the Mississippi Blues Commission, the promotion of the blues became more centralized as state government played an increasing role in promoting Mississippi's blues heritage. Blues tourism has the potential to generate new revenue in one of the poorest states in the country, repair the state's public image, and serve as a vehicle for racial reconciliation.
For all of its apparent simplicity-a few chords, twelve bars,
and a supposedly straightforward American character-blues music is
a complex phenomenon with cultural significance that has varied
...greatly across different historical contexts. One Sound, Two
Worlds examines the development of the blues in East and West
Germany, demonstrating the multiple ways social and political
conditions can shape the meaning of music. Based on new archival
research and conversations with key figures, this comparative study
provides a cultural, historical, and musicological account of the
blues and the impact of the genre not only in the two Germanys, but
also in debates about the history of globalization.
In a seminal study, Cur cantatur?, Anders Ekenberg examined Carolingian sources for explanations of why the liturgy was sung, rather than spoken. This multidisciplinary volume takes up Ekenberg’s ...question anew, investigating the interplay of New Testament writings, sacred spaces, biblical interpretation, and reception history of liturgical practices and traditions. Analyses of Greek, Latin, Coptic, Arabic, and Gǝʿǝz sources, as well as of archaeological and epigraphic evidence, illuminate an array of topics, including recent trends in liturgical studies; manuscript variants and liturgical praxis; Ignatius of Antioch’s choral metaphor; baptism in ancient Christian apocrypha; and the significance of late ancient altar veils.
The Keggin‐type polyoxometalates (POMs) are effective catalysts for oxidative desulfurization (ODS) and confining these POMs in metal–organic frameworks (MOFs) is a promising strategy to improve ...their performances. Herein, postsynthetic modification of POMs confined in MOFs by adding thiourea creates more unsaturated metal sites as defects, promoting ODS catalytic activity. Additional modification by confining 1‐butyl‐3‐methyl imidazolium POMs in MOFs is performed to obtain higher ODS activity, owing to the affinity between electron‐rich thiophene‐based compounds and electrophilic imidazolium compounds. The ODS catalytic activities of four Zr‐MOF‐based composites (bottle around ship) including phosphomolybdate acid (PMA)/UiO‐66, Bmim3PMo12O40/UiO‐66, PMA/Thiourea/UiO‐66, and Bmim3PMo12O40/Thiourea/UiO‐66 are therefore investigated in detail. In order to explore the catalytic mechanism of these MOF composites, their microstructures and electronic structures are probed by various techniques such as X‐ray diffraction, thermogravimetric analysis, Fourier transform infrared, Raman, scanning electron microscope, transmission electron microscope, BET, X‐ray photoelectron spectroscopy, EPR, UV–vis, NMR spectra, and H2‐temperature‐programmed reduction. The results reveal that phosphomolybdate blues and imidazolium phosphomolybdate blues with different Mo5+/Mo6+ ratios with the Keggin structure are confined in defected UiO‐66 for all four composites. This approach can be applied to design and synthesize other POMs/MOFs composites as efficient catalysts.
A design strategy aims to form phosphomolybdate blues confined in defected Zr‐metal–organic framework (MOF) by adding thiourea, which can produce oxygen vacancies with electrons trapped in and Mo5+ to promote the catalytic activity. Moreover, 1‐butyl 3‐methyl imidazolium phosphomolybdate blues are confined in Zr‐MOF to obtain higher oxidative desulfurization activity owing to the affinity between electron‐rich thiophene‐based compounds and electrophilic imidazolium compounds.
