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If you wanna go to Heaven around the great white throne, you'd better tend to your business and leave mine alone - Golden Gate Quartet, Every Time That I Feel The Spirit

Author Topic: UNC Southern Cultures SPRING 2013 GLOBAL SOUTHERN MUSIC ISSUE  (Read 406 times)

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Offline Stuart

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Offline dj

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Re: UNC Southern Cultures SPRING 2013 GLOBAL SOUTHERN MUSIC ISSUE
« Reply #1 on: March 22, 2013, 05:35:40 PM »
Thanks for pointing that out, Stuart.

For anyone with a tablet or eReader (Nook, Kindle, ...) the issue is available for purchase and download as an eBook for less than half the cover price.  The eBook doesn't come with mp3 files of the CD that's included with the paper copy, but with your receipt for the eBook you can send for a free copy of the CD.

So far I've only read John Trautman's "Steelin' the Slide: Hawai'i and the Birth of the Blues Guitar", but I think that essay alone is worth the $4.20 I paid for the download.  Trautman does an excellent job of detailing the activities of native Hawai'ian musicians in the South in the first two decades of the 20th century. I knew they were there, but didn't realize how many Hawai'ian musicians toured the South or how extensive those tours were. He also gives evidence for just how closely the Hawai'ian musicians interacted with the resident black population - native Hawai'ians were seen as black by white southerners and forced to stay in black hotels and rooming houses while touring the southern states.  Dates for verified early reports of slide guitar played by African Americans are listed, as well as (surprisingly late) dates for the existence of the diddley bow.  And Trautman cites a number of interviews with rediscovered blues players in the 50s and 60s who stated that their slide playing made the guitar sound "Hawai'ian" (and notes that if Leadbelly learned his "Hawaiian Song" from a record, the possible source was a record issued in 1916!).  Trautman wisely leaves the possibility open that the origins of slide guitar as played by African Americans lies somewhere other than Hawai'i, but makes a convincing case that blues slide guitar was influenced by Hawai'ian guitar.  And that influences also moved the other way.  The essay is adapted from a forthcoming book and has left me wanting to read that book when it is issued.     

 

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