LEADER 04404nam 2200697Ia 450 001 9910814530203321 005 20230207213437.0 010 $a1-282-69218-6 010 $a9786612692185 010 $a1-4008-3516-X 024 7 $a10.1515/9781400835164 035 $a(CKB)2670000000035307 035 $a(EBL)557158 035 $a(OCoLC)650312779 035 $a(SSID)ssj0000426846 035 $a(PQKBManifestationID)11296270 035 $a(PQKBTitleCode)TC0000426846 035 $a(PQKBWorkID)10390519 035 $a(PQKB)10120576 035 $a(MiAaPQ)EBC557158 035 $a(MdBmJHUP)muse36774 035 $a(DE-B1597)447030 035 $a(OCoLC)979745515 035 $a(DE-B1597)9781400835164 035 $a(Au-PeEL)EBL557158 035 $a(CaPaEBR)ebr10404088 035 $a(CaONFJC)MIL269218 035 $a(EXLCZ)992670000000035307 100 $a20091130d2010 uy 0 101 0 $aeng 135 $aur|||||||nn|n 181 $ctxt 182 $cc 183 $acr 200 10$aReds, whites, and blues $esocial movements, folk music, and race in the United States /$fWilliam G. Roy 205 $aCourse Book 210 $aPrinceton $cPrinceton University Press$dc2010 215 $a1 online resource (311 p.) 225 1 $aPrinceton studies in cultural sociology 300 $aDescription based upon print version of record. 311 $a0-691-16208-5 311 $a0-691-14363-3 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tPreface --$tChapter One. Social Movements, Music, and Race --$tChapter Two. Music and Boundaries: Race and Folk --$tChapter Three. The Original Folk Project --$tChapter Four. White and Black Reds: Building an Infrastructure --$tChapter Five. Movement Entrepreneurs and Activists --$tChapter Six. Organizing Music: The Fruits of Entrepreneurship --$tChapter Seven. The Highlander School --$tChapter Eight. Music at the Heart of the Quintessential Social Movement --$tChapter Nine. A Movement Splintered --$tChapter Ten. How Social Movements Do Culture --$tAppendix. Coding of Songbooks and Song Anthologies --$tNotes --$tReferences --$tIndex --$tBack matter 330 $aMusic, and folk music in particular, is often embraced as a form of political expression, a vehicle for bridging or reinforcing social boundaries, and a valuable tool for movements reconfiguring the social landscape. Reds, Whites, and Blues examines the political force of folk music, not through the meaning of its lyrics, but through the concrete social activities that make up movements. Drawing from rich archival material, William Roy shows that the People's Songs movement of the 1930's and 40's, and the Civil Rights Movement of the 1950's and 60's implemented folk music's social relationships--specifically between those who sang and those who listened--in different ways, achieving different outcomes. Roy explores how the People's Songsters envisioned uniting people in song, but made little headway beyond leftist activists. In contrast, the Civil Rights Movement successfully integrated music into collective action, and used music on the picket lines, at sit-ins, on freedom rides, and in jails. Roy considers how the movement's Freedom Songs never gained commercial success, yet contributed to the wider achievements of the Civil Rights struggle. Roy also traces the history of folk music, revealing the complex debates surrounding who or what qualified as "folk" and how the music's status as racially inclusive was not always a given. Examining folk music's galvanizing and unifying power, Reds, Whites, and Blues casts new light on the relationship between cultural forms and social activity. 410 0$aPrinceton studies in cultural sociology. 606 $aFolk music$xPolitical aspects$zUnited States$xHistory$y20th century 606 $aSocial movements$zUnited States$xHistory$y20th century 606 $aMusic and race$zUnited States$xHistory$y20th century 615 0$aFolk music$xPolitical aspects$xHistory 615 0$aSocial movements$xHistory 615 0$aMusic and race$xHistory 676 $a306.4/84240973 700 $aRoy$b William G.$f1946-$0861821 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910814530203321 996 $aReds, whites, and blues$93947060 997 $aUNINA