By Dr. Ulrich Adelt
Can a kind of song be "owned"? analyzing how song is associated with racial constructs and the way African American musicians and audiences reacted to white appropriation, Blues song within the Sixties exhibits the stakes while whites declare the proper to play and dwell the blues.In the Nineteen Sixties, in the greater context of the civil rights circulation and the burgeoning counterculture, the blues replaced from black to white in its creation and reception, as audiences grew to become more and more white. but, whereas this used to be occurring, blackness--especially black masculinity--remained a marker of authenticity. Crossing colour strains and combining the beats of B.B. King, Eric Clapton, and Janis Joplin; the Newport people competition and the yank folks Blues competition; and courses equivalent to residing Blues, Ulrich Adelt discusses those advancements, together with the overseas facets of the blues. He highlights the performers and venues that represented altering racial politics and addresses the impression and involvement of audiences and cultural agents. (20110301)
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Additional resources for Blues Music in the Sixties: A Story in Black and White
However, the virtual absence of straightforward twelve-bar blues, the downplaying of the guitar, and emphasis on smooth singing and orchestral accompaniment on Mr. Blues was clearly an attempt to break into a white market, much as Fats Domino and Ray Charles had done on ABC before. Jim Aylward’s liner notes further illustrate this point: “It’s entirely possible that with the release of this album B. B. King will show up as a guest on The Ed Sullivan Show, sign to do a David Merrick musical, appear with the New York Philharmonic as Leonard Bernstein explains the blues, and confess on thousands of radio programs across the country that he takes Four Way Cold Tablets before every recording session.
30 After the hippies had discovered B. B. King, he moved on to much greater heights of commercial success. On his ﬁrst national TV appearance in May of 1968, he had formulated his goal as: “Play the best that I can. Reach as many people as you can in as many countries. In other words, I’d like the whole world to be able to hear B. B. ”31 In 1969, he appeared on Johnny Carson’s Tonight Show; one year later ﬁfty million viewers saw him play a medley of his greatest hits at the Ed Sullivan Show. In 1971 and 1972, King toured Europe, Japan, and Australia, among other places.
The liner notes were by now familiar terrain and retold the story of crossover as progressive movement: “During the past year or two, B. B. ”55 Again, whiteness (or brightness) did not seem to be at odds with genuine blackness in this construction of authenticity. Crossing over to white audiences and having lost black audiences did not make B. B. King and his music less genuine or less black—at least not for white audiences. 56 At number twenty-ﬁve, Live at Cook County Jail reached the highest position on the Billboard pop charts of all King’s records.
Blues Music in the Sixties: A Story in Black and White by Dr. Ulrich Adelt