{"title":"Music-Genres \u0026 Styles-Folk \u0026 Traditional","description":"","products":[{"product_id":"lovesick-blues-paul-hemphill-9780143037712","title":"Lovesick Blues: The Life of Hank Williams","description":"Hank Williams, the quintessential country music singer and songwriter, lived a life as lonesome, desolate, and filled with sorrow as his timeless songs. From Williams's dirt- poor beginnings as a sickly child to his emergence as a star of the Grand Ole Opry, \u003ci\u003eLovesick Blues\u003c\/i\u003e is the definitive biography of the man and his music.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Paul Hemphill\u003cbr\u003e\u003cb\u003eISBN-10:\u003c\/b\u003e 0143037714\u003cbr\u003e\u003cb\u003eISBN-13:\u003c\/b\u003e 9780143037712\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e Penguin Books\u003cbr\u003e\u003cb\u003eLanguage:\u003c\/b\u003e English\u003cbr\u003e\u003cb\u003ePublished:\u003c\/b\u003e 09\/01\/2006\u003cbr\u003e\u003cb\u003ePages:\u003c\/b\u003e 224\u003cbr\u003e\u003cb\u003eFormat:\u003c\/b\u003e Paperback\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 0.40lbs\u003cbr\u003e\u003cb\u003eSize:\u003c\/b\u003e 7.72h x 5.30w x 0.64d\u003cbr\u003e\u003cbr\u003e\u003cb\u003eReview Citation(s): \u003c\/b\u003e\u003cbr\u003e\u003ci\u003eNew York Times\u003c\/i\u003e 10\/01\/2006 pg. 28","brand":"Paul Hemphill","offers":[{"title":"Paperback","offer_id":43913387213055,"sku":"9780143037712","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0662\/2982\/9887\/products\/img_5f77e1c6-1b2d-4e3a-8f97-c757ed458863.jpg?v=1680618368"},{"product_id":"stolen-time-shane-vogel-9780226568447","title":"Stolen Time: Black Fad Performance and the Calypso Craze","description":"In 1956 Harry Belafonte's \u003ci\u003eCalypso\u003c\/i\u003e became the first LP to sell more than a million copies. For a few fleeting months, calypso music was the top-selling genre in the US--it even threatened to supplant rock and roll. \u003ci\u003eStolen Time \u003c\/i\u003eprovides a vivid cultural history of this moment and outlines a new framework--black fad performance--for understanding race, performance, and mass culture in the twentieth century United States. Vogel situates the calypso craze within a cycle of cultural appropriation, including the ragtime craze of 1890s and the Negro vogue of the 1920s, that encapsulates the culture of the Jim Crow era. He follows the fad as it moves defiantly away from any attempt at authenticity and shamelessly embraces calypso kitsch. Although white calypso performers were indeed complicit in a kind of imperialist theft of Trinidadian music and dance, Vogel argues, black calypso craze performers enacted a different, and subtly subversive, kind of theft. They appropriated not Caribbean culture itself, but the US version of it--and in so doing, they mocked American notions of racial authenticity. 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Howard L. Sacks and Judith Rose Sacks examine the Snowdens' musical and social exchanges with rural whites from the 1850s through the early 1920s and provide a detailed exploration of the claim that the Snowden family taught the song \"Dixie\" to Dan Emmett--the white musician and blackface minstrel credited with writing the song. This edition features a new introduction in which the authors discuss the public response to this controversial claim, and present new information on the Snowdens' musical and social experiences. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Howard L. 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The instincts, sentiments, and feelings which it represents are indeed as immortal as romance itself, but their mode of expression, the folksong, is fighting with its back to the wall, with the odds against it in our introspective age.\" This statement by Josiah Henry Combs is that of a man who grew up among the members of a singing family in one of the last strongholds of the ballad-making tradition, the Southern Highlands of the United States. \u003c\/p\u003e\u003cp\u003e Combs was born in 1886 in Hazard, Kentucky, the heart of the mountain feud area--a significant background for one who was to take a prominent part in the \"ballad war\" of the 1900s. Combs's intimate knowledge of folk culture and his grasp of the scholarly literature enabled him to approach the ballad controversy with common sense as well as with some of the heat generated by the dispute. \u003c\/p\u003e\u003cp\u003e Although in the early twentieth century there was probably no more controversy about the nature of the folk and folksong than there is today, it was a different kind of controversy. Many theories of the origins of folksong current at that time, such as the alleged relationship of traditional ballads to \"primitive poetry,\" did not take into account contemporary evidence. Combs said, \"Here as elsewhere, I go directly to the folk for much of my information, allowing the songs, language, names, customs . . . of the people to help settle the problem of ancestry. . . . In brief, a conscientious study of the lore of the folk cannot be separated from the folk itself.\" \u003c\/p\u003e\u003cp\u003e\u003ci\u003eFolk-Songs du Midi des ﾉtats-Unis\u003c\/i\u003e, published as a doctoral dissertation at the University of Paris in 1925, was an introduction to the study of the folksong of the Southern Appalachians, together with a selection of folksong texts collected by Combs. \u003ci\u003eFolk-Songs of the Southern United States\u003c\/i\u003e, the first publication of that work in English, is based on the French text and Combs's English draft. To this edition is appended an annotated listing of all songs in the Josiah H. Combs Collection in the Western Kentucky Folklore Archive at the University of California, Los Angeles. 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Born in 1935, the eleventh out of as many children, young Liam was a naive and innocent lad of the Old Country. His memories of childhood include bounding over hills, streams, and the occasional mountain, getting lost, and eventually found, and making mischief in the way of a typical Irish boy. \u003cp\u003e\u003c\/p\u003eAs an aimless nineteen-year-old, Clancy met a strange and wonderfully energetic lover of music, Ms. Diane Guggenheim, an American heiress. She and a colleague from America had set out to record regional Irish folk music, and their undertaking led them to Carrick-on-Suir in the shadow of Slievenamon, \"The Mountain of the Women,\" where Mammie Clancy had been known to carry a tune or two in her kitchen. Guggenheim fell for young Liam and swept him along on her travels through the British Isles, the American Appalachians, and finally Greenwich Village, the undisputed Mecca for aspiring artists of every ilk in the late 1950s. \u003cp\u003e\u003c\/p\u003eClancy was in New York to become an actor. But on the side, he played and sang with his brothers, Paddy and Tom, and fellow countryman Tommy Makem, in pubs like the legendary White Horse Tavern. In the heady atmosphere of the Village, Clancy's life was a party filled with music, sex, and McSorley's. His friendships with then-unknown artists such as Bob Dylan, Maya Angelou, Robert Redford, Lenny Bruce, Pete Seeger and Barbra Streisand form the backdrop of the charming adventures of a small-town boy making it big in the biggest of cities. \u003cp\u003e\u003c\/p\u003eIn music circles, the Clancy Brothers and Tommy Makem are known as the Beatles of Irish music. 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The book provides a detailed account of Kellogg's life and career, from his childhood in California to his travels across the United States and Europe, where he performed for audiences and conducted research on birds and other wildlife. The book also includes a collection of Kellogg's writings and poetry, as well as photographs and illustrations that capture the beauty and wonder of the natural world. Overall, \"\"Charles Kellogg the Nature Singer, His Book\"\" is a fascinating and inspiring tribute to a man who dedicated his life to celebrating and preserving the natural world through music and science.1930. Over one hundred illustrations from photographs by the author. Charles Kellogg could sing like a bird. Literally. He would stand in front of an audience, open his mouth, and out would come an aviary of birdcalls. He claimed to have the larynx of a bird (called a syrinx). Though a consummate performer-he traveled at home and abroad doing vaudeville-style tricks with his voice-Kellogg had a mission. He was a humanitarian and a naturalist who wanted, he wrote, to awaken interest in the great redwood forests of California, and to assist in their preservation. His lasting legacy is The Travel Log, the world's first mobile home, hand-hewn from a chunk of fallen redwood and mounted on the back of a 1917 Nash Quad truck.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. 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Mardikian is a memoir that tells the story of the author's journey as an Armenian immigrant to the United States. Mardikian was born in Turkey and his family was forced to flee during the Armenian genocide. He eventually made his way to the United States, where he settled in San Francisco and opened a successful restaurant. The book is a captivating account of Mardikian's life, from his childhood in Turkey to his experiences as an immigrant in America. He describes the challenges he faced as a newcomer to the country, including the language barrier and the struggle to find work. Despite these obstacles, Mardikian persevered and eventually achieved great success in his chosen profession.Throughout the book, Mardikian also shares his love for Armenian culture and traditions. He includes recipes for traditional Armenian dishes and describes the importance of music and dance in his community. 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A great piano collection of easy-to-play folk songs complete with lyrics and chord symbols. Includes popular folk lullabies and spirituals arranged by Denes Agay. 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Aboriginal Music in Contemporary Canada narrates a story of resistance and renewal, struggle and success, as indigenous musicians in Canada negotiate who they are and who they want to be. Comprised of essays, interviews, and personal reflections by Aboriginal and non-Aboriginal musicians and scholars alike, the collection highlights themes of innovation, teaching and transmission, and cultural interaction. Individual chapters discuss musical genres ranging from popular styles including country and pop to nation-specific and intertribal practices such as powwows, as well as hybrid performances that incorporate music with theatre and dance. As a whole, this collection demonstrates how music is a powerful tool for articulating the social challenges faced by Aboriginal communities and an effective way to affirm indigenous strength and pride. Juxtaposing scholarly study with artistic practice, Aboriginal Music in Contemporary Canada celebrates and critically engages Canada's vibrant Aboriginal music scene. Contributors include V ronique Audet (Universit  de Montreal), Columpa C. 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Recognizing in the late 1930s, almost too late, that this rich oral tradition was going to the grave along with the last generation of schoonermen, Ivan H. Walton undertook a quest to save the songs of the Great Lakes sailors. Racing time and its ravages, he searched out ancient mariners in lakefront hospitals, hangouts, and watering holes. Walton reconstructed songs from one of the most colorful periods in American history, discovering melodies and lyrics to more than a hundred songs. With its stories, lyrics, musical scores by folksinger\/historian Lee Murdock, Windjammers ensures the preservation of sailing chanteys that have not been heard for over one hundred years.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Joe Grimm, Ivan H. 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In a text that is engaging and easily read, Lassiter has combined experiential narrative with ethnological theory to create a new form of collaborative ethnography that makes anthropology accessible to everyone. This book is designed for anyone interested in Native American studies or anthropology, and it also serves as a resource written by and for the Kiowa themselves. \u003cp\u003e\u003c\/p\u003e Hear the Power of Kiowa Song\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Luke E. 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