By Dr. Ulrich Adelt
Can one of those tune be "owned"? interpreting how song is associated with racial constructs and the way African American musicians and audiences reacted to white appropriation, Blues tune within the Sixties indicates the stakes whilst whites declare the perfect to play and stay the blues.In the Nineteen Sixties, in the better context of the civil rights flow and the burgeoning counterculture, the blues replaced from black to white in its creation and reception, as audiences grew to become more and more white. but, whereas this used to be occurring, blackness--especially black masculinity--remained a marker of authenticity. Crossing colour strains and combining the beats of B.B. King, Eric Clapton, and Janis Joplin; the Newport people pageant and the yankee folks Blues competition; and guides equivalent to residing Blues, Ulrich Adelt discusses those advancements, together with the overseas elements of the blues. He highlights the performers and venues that represented altering racial politics and addresses the influence and involvement of audiences and cultural agents. (20110301)
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Additional resources for Blues Music in the Sixties: A Story in Black and White
King’s mixed emotions at seeing the crowd at the Fillmore West in 1968 were partly the result of a long-term strategy to secure a white audience and therefore possibly much less surprising than King made it seem in his account of the show. To answer this question, it is helpful to look at King’s records, including the liner notes, the cover art, and their sound, all of which were decisive factors in marketing the albums. King had made a conscious effort throughout the 1960s to win over sophisticated white audiences after black audiences had turned to other styles of music, in particular soul.
Other folk scenes emerged in Chicago, Los Angeles, San Francisco, and Philadelphia. 24 Simple harmonies, instrumentation, and sing-along melodies allowed amateur musicians to actively participate in the folk revival and blurred the distinction between performers and audiences. One of the most consistent imperatives was that folk music was not just simple but that it was played on acoustic (in particular string) instruments. 25 As the popularity of folk music among younger enthusiasts grew in the 1960s, it became commercially viable for the entertainment industry.
50 Dancing was not encouraged by the organizers of the Newport Folk Festival and rarely occurred. ”51 For the evening concerts, the crowds sat on these reserved seats, whereas for the more informal workshops, audiences sat on the grass at the feet of the musicians. ”52 A good example is the way country blues singer Skip James was received at the blues workshop of the 1964 Newport Folk Festival, only one month after his rediscovery by white blues collectors. As Samuel Charters notes in the liner notes for Blues at Newport 1964, “it was one of the most moving moments of the entire festival.
Blues Music in the Sixties: A Story in Black and White by Dr. Ulrich Adelt