To borrow words from Stan “The Record Man” Lewis, Shreveport, Louisiana, is one of this nation's most important “regional-sound cities.” Its musical distinctiveness has been shaped by individuals and ensembles, record label and radio station owners, announcers and disc jockeys, club owners and sound engineers, music journalists and musicians. The area's output cannot be described by a single genre or style. Rather, its music is a kaleidoscope of country, blues, R&B, rockabilly, and rock. Shreveport Sounds in Black and White presents that evolution in a collection of scholarly and popular writing that covers institutions and people who nurtured the musical life of the city and surroundings. The contributions of icons like Leadbelly and Hank Williams, and such lesser-known names as Taylor-Griggs Melody Makers and Eddie Giles come to light. New writing explores the famed Louisiana Hayride, musicians Jimmie Davis and Dale Hawkins, local disc jockey “Dandy Don” Logan, and KWKH studio sound engineer Bob Sullivan. With glimpses into the lives of original creators, Shreveport Sounds in Black and White reveals the mix that emerges from the ongoing interaction between the city's black and white musicians.

To borrow words from Stan "The Record Man" Lewis, Shreveport, Louisiana, is one of this nation\'s most important "regional-sound cities." Its musical distinctiveness has been shaped by individuals and ensembles, record label and radio station owners, announcers and disc jockeys, club owners and sound engineers, music journalists and musicians. The area's output cannot be described by a single genre or style. Rather, its music is a kaleidoscope of country, blues, R&B, rockabilly, and rock.Shreveport Sounds in Black and White presents that evolution in a collection of scholarly and popular writing that covers institutions and people who nurtured the musical life of the city and surroundings. The contributions of icons like Leadbelly and Hank Williams, and such lesser-known names as Taylor-Griggs Melody Makers and Eddie Giles come to light. New writing explores the famed Louisiana Hayride, musicians Jimmie Davis and Dale Hawkins, local disc jockey "Dandy Don\" Logan, and KWKH studio sound engineer Bob Sullivan. With glimpses into the lives of original creators, Shreveport Sounds in Black and White reveals the mix that emerges from the ongoing interaction between the city's black and white musicians.

The Music of Multicultural America explores the intersection of performance, identity, and community in a wide range of musical expressions. Fifteen essays explore traditions that range from the Klezmer revival in New York, to Arab music in Detroit, to West Indian steel bands in Brooklyn, to Kathak music and dance in California, to Irish music in Boston, to powwows in the midwestern plains, to Hispanic and Native musics of the Southwest borderlands. Many chapters demonstrate the processes involved in supporting, promoting, and reviving community music. Others highlight the ways in which such American institutions as city festivals or state and national folklife agencies come into play. Thirteen themes and processes outlined in the introduction unify the collection's fifteen case studies and suggest organizing frameworks for student projects. Due to the diversity of music profiled in the book—Mexican mariachi, African American gospel, Asian West Coast jazz, women's punk, French-American Cajun, and Anglo-American sacred harp—and to the methodology of fieldwork, ethnography, and academic activism described by the authors, the book is perfect for courses in ethnomusicology, world music, anthropology, folklore, and American studies. Audio and visual materials that support each chapter are freely available on the ATMuse website, supported by the Archives of Traditional Music at Indiana University.

On a Saturday night in 1948, Hank Williams stepped onto the stage of the Louisiana Hayride and sang "Lovesick Blues." Up to that point, Williams's yodeling style had been pigeon-holed as hillbilly music, cutting him off from the mainstream of popular music. Taking a chance on this untried artist, the Hayride--a radio "barn dance" or country music variety show like the Grand Ole Opry--not only launched Williams's career, but went on to launch the careers of well-known performers such as Jim Reeves, Webb Pierce, Kitty Wells, Johnny Cash, and Slim Whitman.Broadcast from Shreveport, Louisiana, the local station KWKH's 50,000-watt signal reached listeners in over 28 states and lured them to packed performances of the Hayride's road show. By tracing the dynamic history of the Hayride and its sponsoring station, ethnomusicologist Tracey Laird reveals the critical role that this part of northwestern Louisiana played in the development of both country music and rock and roll. Delving into the past of this Red River city, she probes the vibrant historical, cultural, and social backdrop for its dynamic musical scene. Sitting between the Old South and the West, this one-time frontier town provided an ideal setting for the cross-fertilization of musical styles. The scene was shaped by the region's easy mobility, the presence of a legal "red-light" district from 1903-17, and musical interchanges between blacks and whites, who lived in close proximity and in nearly equal numbers. The region nurtured such varied talents as Huddie Ledbetter, the "king of the twelve-string guitar," and Jimmie Davis, the two term "singing governor" of Louisiana who penned "You Are My Sunshine."Against the backdrop of the colorful history of Shreveport, the unique contribution of this radio barn dance is revealed. Radio shaped musical tastes, and the Hayride's frontier-spirit producers took risks with artists whose reputations may have been shaky or whose styles did not neatly fit musical categories (both Hank Williams and Elvis Presley were rejected by the Opry before they came to Shreveport). The Hayride also served as a training ground for a generation of studio sidemen and producers who steered popular music for decades after the Hayride's final broadcast. While only a few years separated the Hayride appearances of Hank Williams and Elvis Presley--who made his national radio debut on the show in 1954--those years encompassed seismic shifts in the tastes, perceptions, and self-consciousness of American youth. Though the Hayride is often overshadowed by the Grand Ole Opry in country music scholarship, Laird balances the record and reveals how this remarkable show both documented and contributed to a powerful transformation in American popular music.

Disc jockey Alan Freed coined the term "rock and roll" in the 1950s. Rooted in rockabilly, rhythm and blues, country and western, gospel, and pop, the genre was popularized by performers like Elvis Presley, Bill Haley, Chuck Berry and Jerry Lee Lewis. Rock and roll's originators and revivalists continue to entertain crowds at roots music festivals worldwide. This book presents stories about performers' lives on the road and in the studio, along with the stories behind popular songs. Informative biographical profiles are provided. Artists sharing their experiences include Dale Hawkins, Big Jay McNeely, Ace Cannon, Sleepy LaBeef, Billy Swan, Robin Luke, Rosie Flores and James Intveld. Conway Twitty, Buck Owens and Janis Martin are also featured.

Film Music in the Sound Era: A Research and Information Guide offers a comprehensive bibliography of scholarship on music in sound film (1927–2017). Thematically organized sections cover historical studies, studies of musicians and filmmakers, genre studies, theory and aesthetics, and other key aspects of film music studies. Broad coverage of works from around the globe, paired with robust indexes and thorough cross-referencing, make this research guide an invaluable tool for all scholars and students investigating the intersection of music and film. This guide is published in two volumes: Volume 1: Histories, Theories, and Genres covers overviews, historical surveys, theory and criticism, studies of film genres, and case studies of individual films. Volume 2: People, Cultures, and Contexts covers individual people, social and cultural studies, studies of musical genre, pedagogy, and the industry. A complete index is included in each volume.