Romancing the Folk: Public Memory and American Roots Music (Cultural Studies of the United States)
Language: English
Published by The University of North Carolina Press, 2000
- Softcover
- New

Seller: Kennys Bookstore, Olney, MD, U.S.A.Kennys Bookstore
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Condition: New
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In American music, the notion of "roots" has been a powerful refrain, but the musical traditions that constitute the US musical heritage are hotly debated. This book explores the competing musical visions of America's past that vie for influence over the public imagination. Series: Cultural Studies of the United States. Num Pages: 400 pages, 22 illustrations, notes, discography, bibliography, index. BIC Classification: 1KBB; AVGH; HBT; JFC. Category: (G) General (US: Trade); (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 235 x 156 x 22. Weight in Grams: 458. . 2000. 1st New edition. Paperback. . . . . Books ship from the US and Ireland.
Seller Inventory # V9780807848623
- Title
- Romancing the Folk: Public Memory and American Roots Music (Cultural Studies of the United States)
- Author
- Filene, Benjamin
- Publisher
- The University of North Carolina Press
- Publication year
- 2000
- Condition
- New
- Binding
- Soft cover
- Language
- English
- ISBN 10
- 080784862X
- ISBN 13
- 9780807848623
Filene builds his story around a fascinating group of characters -- folklorists, record company executives, producers, radio programmers, and publicists -- who acted as middlemen between folk and popular culture. These cultural brokers "discovered" folk musicians, recorded them, and promoted them. In the process, Filene argues, they shaped mainstream audiences' understanding of what was "authentic" roots music.
Filene moves beyond the usual boundaries of folk music to consider a wide range of performers who drew on or were drawn into the canon of American roots music -- from Lead Belly and Woody Guthrie, to Muddy Waters and Willie Dixon, to Pete Seeger and Bob Dylan. Challenging traditional accounts that would confine folk music revivalism to the 1930s and 1960s, he argues instead that the desire to preserve and popularize America's musical heritage is a powerful current that has run throughout this century's culture and continues to flow today.
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