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03827aam a2200481 i 4500 001 75A3BA6C8FBF11ECBA4AA6A62FECA4DB 003 SILO 005 20220217010136 008 200801t20212021iluaf b 001 0 eng d 010 $a 2021933190 020 $a 1641604441 020 $a 9781641604444 040 $d SILO 043 $a n-usu-- $a n-usu-- 050 4 $a ML3521 $b .K56 2021 082 04 $a 781.64309 $2 23 100 1 $a King, Chris Thomas, $e author. 245 14 $a The blues : $b the authentic narrative of my music and culture / $c Chris Thomas King. 246 30 $a Authentic narrative of my music and culture. 250 $a First edition. 264 1 $a Chicago, Illinois : $b Chicago Review Press, $c [2021] 300 $a xvi, 400 pages, 16 unnumbered pages of plates : $b illustrations ; $c 24 cm. 504 $a Includes bibliographical references (pages 369-382) and index. 505 00 $t My music. $t The authentic narrative -- $t My music. 520 $a "Chis Thomas King came of age immersed in the music and culture of the blues on the Louisiana Bayou. His late father, Tabby Thomas, was a working blues musician and juke joint owner-operator. King's enlightening narrative reveals tragedy and heroism as he struggles to preserve the authentic historical memory of his music and culture. All prior histories on the blues have alleged it originated on plantations in the Mississippi Delta. The Blues is the authentic counternarrative, revealing how and why this music has been misappropriated and its history whitewashed--and how and why Black people have been removed as gatekeepers and participants on stage and off and in the boardrooms. King not only diagnoses the problem but also provides a remedy: a reformation based on facts, not White myths. This book is the first to argue the blues began as a cosmopolitan art form, not a rural one. In New Orleans, as early as 1900, the sound of the blues was ubiquitous. The Mississippi Delta, meanwhile, was an unpopulated sportsman's paradise--the frontier was still in the process of being cleared and drained for cultivation. Protestant states such as Mississippi and Alabama could not have incubated the blues. New Orleans was the only place in the Deep South in the early twentieth century where the sacred and profane could party together without fear of persecution. Expecting these findings to be controversial in some circles, King has buttressed his conclusions with primary sources and years of extensive research, including a sojourn to West Africa and interviews with surviving folklorists and blues researchers from the 1960s folk-rediscovery epoch. They say the blues is blasphemous, the devil's music--King says they're unenlightened. Blues music is about personal freedom." -- $c Dust jacket flap. 600 10 $a King, Chris Thomas. 650 0 $a Blues (Music) $x History and criticism. 650 0 $a Blues (Music) $z New Orleans $z New Orleans $x History and criticism. 650 0 $a Blues (Music) $z Southern States $x History and criticism. 650 0 $a Blues (Music) $x Influence. 650 0 $a Blues musicians $z New Orleans. $z New Orleans. 650 0 $a Musicians $z New Orleans. $z New Orleans. 650 0 $a Musicians $z Southern States. 650 0 $a African American musicians. 650 0 $a African Americans $z Louisiana $x History and criticism. $x History and criticism. 650 0 $a African Americans $z Southern States $x Social conditions. 650 0 $a Rhythm and blues music $z New Orleans $z New Orleans $x History and criticism. 650 0 $a Rhythm and blues music $x History and criticism. 650 0 $a Blues-rock music $x History and criticism. 650 0 $a Popular music $z Southern States $x History and criticism. 941 $a 1 952 $l CAPH522 $d 20220217011224.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=75A3BA6C8FBF11ECBA4AA6A62FECA4DBInitiate Another SILO Locator Search