Alan Lomax (1915-2002) began working for the Archive of American Folk Song at the Library of Congress in 1936, first as a special and temporary assistant, then as the permanent Assistant in Charge, starting in June 1937, until he left in late 1942. He recorded such important musicians as Woody Guthrie, Muddy Waters, Aunt Molly Jackson, and Jelly Roll Morton. A reading and examination of his letters from 1935 to 1945 reveal someone who led an extremely complex, fascinating, and creative life, mostly as a public employee. While Lomax is noted for his field recordings, these collected letters, many signed "Alan Lomax, Assistant in Charge," are a trove of information until now available only at the Library of Congress. They make it clear that Lomax was very interested in the commercial hillbilly, race, and even popular recordings of the 1920s and after. These letters serve as a way of understanding Lomax's public and private life during some of his most productive and significant years. Lomax was one of the most stimulating and influential cultural workers of the twentieth century. Here he speaks for himself through his voluminous correspondence.

Alan Lomax (1915-2002) began working for the Archive of American Folk Song at the Library of Congress in 1936, first as a special and temporary assistant, then as the permanent Assistant in Charge, starting in June 1937, until he left in late 1942. He recorded such important musicians as Woody Guthrie, Muddy Waters, Aunt Molly Jackson, and Jelly Roll Morton. A reading and examination of his letters from 1935 to 1945 reveal someone who led an extremely complex, fascinating, and creative life, mostly as a public employee. While Lomax is noted for his field recordings, these collected letters, many signed "Alan Lomax, Assistant in Charge," are a trove of information until now available only at the Library of Congress. They make it clear that Lomax was very interested in the commercial hillbilly, race, and even popular recordings of the 1920s and after. These letters serve as a way of understanding Lomax's public and private life during some of his most productive and significant years. Lomax was one of the most stimulating and influential cultural workers of the twentieth century. Here he speaks for himself through his voluminous correspondence.

While music lovers and music historians alike understand that folk music played an increasingly pivotal role in American labor and politics during the economic and social tumult of the Great Depression, how did this relationship come to be? Ronald D. Cohen sheds new light on the complex cultural history of folk music in America, detailing the musicians, government agencies, and record companies that had a lasting impact during the 1930s and beyond. Covering myriad musical styles and performers, Cohen narrates a singular history that begins in nineteenth-century labor politics and popular music culture, following the rise of unions and Communism to the subsequent Red Scare and increasing power of the Conservative movement in American politics--with American folk and vernacular music centered throughout. Detailing the influence and achievements of such notable musicians as Pete Seeger, Big Bill Broonzy, and Woody Guthrie, Cohen explores the intersections of politics, economics, and race, using the roots of American folk music to explore one of the United States' most troubled times. Becoming entangled with the ascending American left wing, folk music became synonymous with protest and sharing the troubles of real people through song.

The Pete Seeger Reader brings together writing by and about Seeger and covers his songwriting, recording, book and magazine publishing, and political organizing over the course of his lengthy, storied career.

Biography -- Music I messed up, Calvin Newton lamented, after wasting thirty years and doing time in both state and federal prisons for theft, counterfeiting, and drug violations. These were years of my life that I could have been singing gospel music. During his prime, he was super-handsome, athletic, and charged with sexual charisma that attracted women to him like flies to honey. Atop this abundance was his astounding voice, the voice of an angel. This book is his prodigal-son story. Audacious, Newton never turned down a dare, even if it meant climbing on the roof of a speeding car or wading into a freezing ocean. As a boy boxer, he was a Kentucky Golden Gloves champ who k.o.'ed his opponent in twenty-three seconds. By his late teens he had been recruited by the Blackwood Brothers, the number-one gospel quartet in the world. In his mid-twenties while he was singing Christian songs with the Oak Ridge Quartet, Newton's mighty talent and movie-star looks took him deep into hedonism--reckless driving, heavy romancing, and addictive pill popping. As 1950s rock 'n' roll began its invasion of gospel, he and two partners formed the Sons of Song, the first all-male gospel trio. Long before the pop sound claimed contemporary Christian music, the Sons of Song turned gospel upside down with histrionic harmony, high-styled tuxedos, and Hollywood verve. Their signature song, Wasted Years, foreshadowed Newton's punishing fall. This biography looks back at the destructive lifestyle that wrecked a sparkling career. When well into his sixties, Newton turned his life around and was able to confront his demons and discuss his prodigal days. He talked extensively with Russ Cheatham about his self- destruction and the great personal expense of his own bad-boy choices and late redemption. In this candid biography, one of gospel's all-stars discloses a messed-up life that vacillated between achievement and failure, fame and infamy, happiness and grief. Russ Cheatham is an associate professor and coordinator of the criminal justice program at Cumberland University. His work has been published in Bluegrass Unlimited and Music Row Magazine.

This book presents a collection of essays on the debates about origins, authenticity, and identity in folk and blues music. The essays had their origins in an international conference on the Transatlantic routes of American roots music, out of which emerged common themes and questions of origins and authenticity in folk music, black and white, American and British. The central theme is musical influences, but issues of identity—national, local, and racial—are also recurring subjects. The extent to which these identities were invented, imagined, or constructed by the performers, or by those who recorded their work for posterity, is also a prominent concern and questions of racial identity are particularly central. The book features a new essay on the blues by Paul Oliver alongside an essay on Oliver's seminal blues scholarship. There are also several essays on British blues and the links between performers and styles in the United States and Britain and new essays on critical figures such as Alan Lomax and Woody Guthrie. This volume uniquely offers perspectives from both sides of the Atlantic on the connections and interplay of influences in roots music and the debates about these subjects drawing on the work of eminent established scholars and emerging young academics who are already making a contribution to the field. Throughout, the contributors offer the most recent scholarship available on key issues.