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Index The abbreviation“PM” refers to the author. Abernethy, Francis, 97, 120–22 Abshire, Nathan, 171 academic folklore, 3, 6–8, 17–18 Ace, Johnny, 36, 49, 67 Acuff, Roy, 70 Adams, George, 103 Adderley, Cannonball, 109–10, 112–13 Adderley, Nat, 109 African Americans: African American Creoles, 173–74; as authentic folk, 7; Beaumont racial segregation, 20–22, 38; class difference and, 31–33; KJET radio station, 4, 89–90; as R&B audience , 90; Spike (summer job co-worker ), 108–9. See also blackness; blues; civil rights movement; race; rhythm and blues (R&B) Agnew, Isabel (childhood friend), 44 alcohol. See drinking (alcohol) Alexander, TX, 99 Almanac Singers, 12, 16, 118, 135 alt-country, 27 Americana, 27 American Bandstand, 37, 66 American Folklife Center, 17 American Folklore Society, 82–83, 180 Anderson, John, 74, 76 anticommunism, 118 Appalachia: black musical influence in, 55–56; stereotypes about, 117; as“Tom Dooley” source, 34–35; urban migrants from, 146–47, 150–51; whiteness associated with, 31, 33 Ardoin, Alphonse“Bois-sec,” 174 Ardoin, Amédé, 174 Armstrong, Louis, 110 Art Blakey and the Jazz Messengers, 110 Ashley, Clarence, 33–34 authenticity: in academic folklore, 17–18; bluegrass use of folk revival materials, 154; class and, 18–19;“folkie” designation , 13–14; folk revival and, 119–20; folk revival“new aesthetic” and, 123–24; “folk” self-identification and, 7; German Volk principles and, 6;“love and theft” cultural borrowing, 125, 139; Pete Seeger and, 13–14, 17; PM family and, 6–7. See also civilized vs. native music; class; folk revival; otherness automobiles and driving: blues stereotypes and, 91, 95; cars as masculine symbols, 70; dating and, 48, 64; family trips, 1–3, 52; ’56 Chevy, 89; parking lots as fighting sites, 63–64, 72; racial segregation and, 21–22; teenage risky driving, 69–70 Autry, Gene, 2, 41, 159 Avalon, Frankie, 42, 44 Baez, Joan, 17, 101, 118–23, 126, 144 Baker, Chet, 110 214 Index Baker, LaVern, 4, 23, 36, 120 Baldwin, James, 65 Balfa Brothers, 171 ballads: in bluegrass, 152; corridos, 180–81, 183–84; Joan Baez ballad singing, 119; about murder, 155; about outlaws, 137 Ballard, Hank, 36 Band, the, 106, 113 Barry, Joe, 188 Basie, Count, 114 Beach Boys, 37 Beat Generation, 46–47, 89–90 Beatles, 37, 41, 85–87, 127–28 Beaumont, TX: Big Oak honky tonk visits, 63–65, 71–72, 96; black R&B audiences in, 90; Cajun influence in, 170–71; Church of Christ hymn singing , 8; grandparents, 6, 8; marijuana and drugs in, 79; PM baptism, 8–9, 25–26, 41; PM cultural upbringing in, 20; racial segregation, 20–22, 38, 176– 77; radio music programming, 4, 39; return to (1956), 55; South Park High School, 22, 38, 42, 67. See also Lamar Tech College Beausoleil, 83, 171 bebop, 110 Beck, Jeff, 101 Belafonte, Harry, 15–17 Bergman, Ingmar, 127 Bernard, Rod, 187–88 Bernard, Shane K., 187–88 Berry, Chuck: country music influences on, 120; dance associated with, 37, 67; generational consciousness and, 127– 28; influence on Bob Dylan, 131–33; LP releases, 89; music revival and, 27; PM exposure to, 4, 9, 37, 38–40; psychedelic listening experiences and, 84; as R&B artist, 35–36; white covers of, 37 Biagiotti, Cinzia, 101 Big Bopper (J. P. Richardson), 39, 41 Big Oak (Louisiana honky tonk), 63–65, 71–72, 96 Big Sambo and the House Wreckers, 71 Bill Haley and the Comets, 36, 67 Blackboard Jungle (movie), 36, 48 blackness: black masculinity, 27, 46; class identity and, 32; hip-hop culture and, 34; in 1950s cinema, 37; stereotypes and, 24, 30–33, 45. See also African Americans; race; whiteness Blakey, Art, 110, 114 Bland, Bobby“Blue,” 4, 71, 89–90, 92–93, 94 Bloch, Madeleine (college friend), 96 bluegrass: folk rock and, 157–58; modern themes, 149–50, 154–56; origin of, 148– 49, 156; PM exposure to, 5; progressive, 151–52; racial assumptions about, 34; Stoneman Family performance, 121–22; in urban bars, 145–47, 150–51 blues: black stereotypes in, 91–93; class associations with, 32; country, 4, 94; dance importance in, 66; folk revival canon and, 34; influence on white performers, 50, 52–53, 125; Italian revival, 101–2; jazz and, 88, 111; racial assumptions about, 34; revival, 4, 27, 88, 94, 99–100; urban , 4, 90. See also African Americans; rhythm and blues (R&B); rock ’n’ roll Bluesbreakers, 101 Blythe, Arthur, 103 Bob (Carol’s husband). See Smith, Carol and Bob Bobby Fuller Four, 139 Bob Marley and the Wailers, 80–81...

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Additional Information

ISBN
9780252050312
Related ISBN
9780252041648
MARC Record
OCLC
1038273524
Pages
224
Launched on MUSE
2018-06-06
Language
English
Open Access
No
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