Kirjahaku

The cowboy songs and dusty Texas car rides of his youth set Patrick B. Mullen on a lifelong journey into the sprawling Arcadia of American music. That music fused so-called civilized elements with native forms to produce everything from Zydeco to Conjunto to jazz to Woody Guthrie. The civilized/native idea, meanwhile, helped develop Mullen's critical perspective, guide his love of music, and steer his life's work. Part scholar's musings and part fan's memoir, Right to the Juke Joint follows Mullen from his early embrace of country and folk to the full flowering of an idiosyncratic, omnivorous interest in music. Personal memory merges with a lifetime of fieldwork in folklore and anthropology to provide readers with a deeply informed analysis of American roots music. Mullen opens up on the world of ideas and his own tireless fandom to explore how his cultural identity--and ours--relates to concepts like authenticity and "folkness." The result is a charming musical map drawn by a gifted storyteller whose boots have traveled a thousand tuneful roads.

Drawing on over thirty-five years of fieldwork, Patrick B. Mullen considers how African American cultural representations in folklore relate to racial dynamics in the United States. Providing insight into white folklorists\u2019 relationships with black consultants, The Man Who Adores the Negro describes the personal experiences of both fieldworkers and ethnographic subjects. Mullen explores how folklorists such as John Lomax, Newbell Niles Puckett, Alan Lomax, and Roger Abrahams have been implicated in creating the popular concept of African Americans as folk and how this depiction has created notions of blackness and whiteness. Illuminating central aspects of African American cultural history, the author discusses a wide range of folklore that includes work songs, hymns, voodoo rituals, animal tales, jokes, toasts, and children's games and rhymes. In relating folkloric research to white mimicry of black style in such expressions as blues, rock and roll, and hip-hop culture, Mullen contends that both folk performers and folklorists participate in ongoing cultural change when they mix received values and attitudes in producing new interpretations.

The cowboy songs and dusty Texas car rides of his youth set Patrick B. Mullen on a lifelong journey into the sprawling Arcadia of American music. That music fused so-called civilized elements with native forms to produce everything from Zydeco to Conjunto to jazz to Woody Guthrie. The civilized/native idea, meanwhile, helped develop Mullen's critical perspective, guide his love of music, and steer his life's work. Part scholar's musings and part fan's memoir, Right to the Juke Joint follows Mullen from his early embrace of country and folk to the full flowering of an idiosyncratic, omnivorous interest in music. Personal memory merges with a lifetime of fieldwork in folklore and anthropology to provide readers with a deeply informed analysis of American roots music. Mullen opens up on the world of ideas and his own tireless fandom to explore how his cultural identity--and ours--relates to concepts like authenticity and "folkness." The result is a charming musical map drawn by a gifted storyteller whose boots have traveled a thousand tuneful roads.