Music, and folk music in particular, is often embraced as a form of political expression, a vehicle for bridging or reinforcing social boundaries, and a valuable tool for movements reconfiguring the social landscape. Reds, Whites, and Blues examines the political force of folk music, not through the meaning of its lyrics, but through the concrete social activities that make up movements. Drawing from rich archival material, William Roy shows that the People's Songs movement of the 1930s and 40s, and the Civil Rights Movement of the 1950s and 60s implemented folk music's social relationships--specifically between those who sang and those who listened--in different ways, achieving different outcomes. Roy explores how the People's Songsters envisioned uniting people in song, but made little headway beyond leftist activists. In contrast, the Civil Rights Movement successfully integrated music into collective action, and used music on the picket lines, at sit-ins, on freedom rides, and in jails. Roy considers how the movement's Freedom Songs never gained commercial success, yet contributed to the wider achievements of the Civil Rights struggle. Roy also traces the history of folk music, revealing the complex debates surrounding who or what qualified as "folk" and how the music's status as racially inclusive was not always a given. Examining folk music's galvanizing and unifying power, Reds, Whites, and Blues casts new light on the relationship between cultural forms and social activity.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Although written after ‘The Companions of Jehu,’ ‘The Whites and the Blues’ details events leading up to the first book. It follows the fortunes of young Charles Nodier, who arrives in Strasbourg to study Greek under the tutelage of Euloge Schneider. However, when he gets there, he discovers that Schneider has become the town’s Public Prosecutor and is feared for his indiscriminate use of Madame Guillotine. All the while, the shadow of Napoleon lies heavy on the narrative. A page-turning read, full of political intrigue, betrayal, and romance, this is a must for fans of the ‘Sainte-Hermine’ trilogy. Alexandre Dumas (1802 – 1870) was one of the most popular French authors and playwrights of the 19th Century. After the death of his father, Dumas travelled to Paris where he eventually decided to work in the theatre. He first came to public attention at the age of 27 with his first play, ‘King Henry III and his Courts.’ After a succession of successful stage plays, Dumas turned his hand to writing novels. Many of these were serialised in newspapers, such as ‘La Comtesse de Salisbury; Édouard III,’ and ‘Le Capitaine Paul.’ Many of Dumas’ later works have been hailed as timeless classics and adapted for television and the silver screen, such as ‘The Three Musketeers’, starring ‘Lord of the Rings’ ́ Orlando Bloom, and ‘The Count of Monte Cristo’, starring ‘Superman’ star, Henry Cavill.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.