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Editorial Reviews
From Library Journal
Lay readers may be put off by Cantwell's sometimes rambling examination of the American folk music revival of the 1950s and 1960s, which was ushered in by the Kingston Trio's hit "Tom Dooley." Expanding on his essay of the same name in Transforming Tradition: Folk Music Revivals Examined (Univ. of Illinois, 1993), Cantwell (American studies, Univ. of North Carolina) covers the revival's lineage from 19th-century blackface minstrelsy through the demise of folk's Socialist politics in the early 1950s to the impacts of Joan Baez and Bob Dylan. Cantwell loses focus when he emphasizes his own interpretation of events. More effective are the relatively straightforward narratives on Woody Guthrie, the Almanac Singers, and the seminal Folkways Anthology of American Folk Music recordings. Complete with copius references, this serious treatment of the folk revival is recommended for larger music and social history collections.?Lloyd Jansen, Stockton-San Joaquin Cty. P.L., Cal.
Copyright 1996 Reed Business Information, Inc. --This text refers to the Hardcover edition.
From Kirkus Reviews
Jargon-rich but provocative study of the folk-music craze of the '60s. Cantwell (American Studies/Univ. of North Carolina, Chapel Hill) is typical of a new school of academic critics combining personal memoir with sociocultural analysis and writing in a highly specialized language understood only by its practitioners. He believes that the original folk revival of the '30s and '40s, as embodied in the work of performers like Woody Guthrie and the young Pete Seeger, failed because of its ideological links to left-wing politics, making it anathema to the postWW II generation. In the late '50s groups like the Kingston Trio created a new folk resurgence by reviving the music without the political message. He also argues that folk music appealed to urban, young, middle-class listeners because it enabled them to act out a mild rebellion against their upbringing and build at least imaginative ties with a purer American culture, nostalgically linked to the past. Cantwell outlines these theories in dense prose that will be barely comprehensible to the uninitiated; for example, he describes Mike Seeger's life work as that of ``cultural cathexis, dreaming the felt but untheorized political urgencies of the present into historical memory.'' Moreover, his theories oversimplify the many strands that went into creating the folk revival. While the Kingston Trio were an apolitical and largely commercial group, the young Bob Dylan was deeply engaged in expressing a social message through his music. Moreover, Cantwell can't seem to decide how he feels about these folk revivalists. While ostensibly praising their lives and work, he slips in many negative remarks about them; he compares Mike Seeger to a blackface minstrel, dismisses Pete Seeger as a person who is ``basic[ally] sad,'' and describes Dylan as possessing ``gallant fraudulence.'' An odd hodgepodge, which will be of interest primarily to the academic folklore community. (17 b&w photos) -- Copyright ©1996, Kirkus Associates, LP. All rights reserved. --This text refers to the Hardcover edition.
See all Editorial Reviews
Lay readers may be put off by Cantwell's sometimes rambling examination of the American folk music revival of the 1950s and 1960s, which was ushered in by the Kingston Trio's hit "Tom Dooley." Expanding on his essay of the same name in Transforming Tradition: Folk Music Revivals Examined (Univ. of Illinois, 1993), Cantwell (American studies, Univ. of North Carolina) covers the revival's lineage from 19th-century blackface minstrelsy through the demise of folk's Socialist politics in the early 1950s to the impacts of Joan Baez and Bob Dylan. Cantwell loses focus when he emphasizes his own interpretation of events. More effective are the relatively straightforward narratives on Woody Guthrie, the Almanac Singers, and the seminal Folkways Anthology of American Folk Music recordings. Complete with copius references, this serious treatment of the folk revival is recommended for larger music and social history collections.?Lloyd Jansen, Stockton-San Joaquin Cty. P.L., Cal.
Copyright 1996 Reed Business Information, Inc. --This text refers to the Hardcover edition.
From Kirkus Reviews
Jargon-rich but provocative study of the folk-music craze of the '60s. Cantwell (American Studies/Univ. of North Carolina, Chapel Hill) is typical of a new school of academic critics combining personal memoir with sociocultural analysis and writing in a highly specialized language understood only by its practitioners. He believes that the original folk revival of the '30s and '40s, as embodied in the work of performers like Woody Guthrie and the young Pete Seeger, failed because of its ideological links to left-wing politics, making it anathema to the postWW II generation. In the late '50s groups like the Kingston Trio created a new folk resurgence by reviving the music without the political message. He also argues that folk music appealed to urban, young, middle-class listeners because it enabled them to act out a mild rebellion against their upbringing and build at least imaginative ties with a purer American culture, nostalgically linked to the past. Cantwell outlines these theories in dense prose that will be barely comprehensible to the uninitiated; for example, he describes Mike Seeger's life work as that of ``cultural cathexis, dreaming the felt but untheorized political urgencies of the present into historical memory.'' Moreover, his theories oversimplify the many strands that went into creating the folk revival. While the Kingston Trio were an apolitical and largely commercial group, the young Bob Dylan was deeply engaged in expressing a social message through his music. Moreover, Cantwell can't seem to decide how he feels about these folk revivalists. While ostensibly praising their lives and work, he slips in many negative remarks about them; he compares Mike Seeger to a blackface minstrel, dismisses Pete Seeger as a person who is ``basic[ally] sad,'' and describes Dylan as possessing ``gallant fraudulence.'' An odd hodgepodge, which will be of interest primarily to the academic folklore community. (17 b&w photos) -- Copyright ©1996, Kirkus Associates, LP. All rights reserved. --This text refers to the Hardcover edition.
See all Editorial Reviews
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Inside This Book
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First Sentence:
"I need a steamshovel, mama, to keep away the dead," Bob Dylan declared in 1965, having personally terminated the popular folksong revival, some thought, by picking up an electric guitar and sending his message around the world with it. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
folksong movement, folk revivalism, folksong revival, folk revivalists, memory theater, southern folklife, album notes, minstrel stage Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Pete Seeger, Woody Guthrie, Folkways Anthology, Alan Lomax, Bob Dylan, Popular Front, John Lomax, Soviet Union, Almanac Singers, Joan Baez, New Deal, Kingston Trio, Sing Out, John Henry, John Hurt, Burl Ives, Greenwich Village, North Carolina, Washington Square, Almanac House, Carl Sandburg, Charles Seeger, Lee Hays, Mike Seeger New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
"I need a steamshovel, mama, to keep away the dead," Bob Dylan declared in 1965, having personally terminated the popular folksong revival, some thought, by picking up an electric guitar and sending his message around the world with it. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
folksong movement, folk revivalism, folksong revival, folk revivalists, memory theater, southern folklife, album notes, minstrel stage Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Pete Seeger, Woody Guthrie, Folkways Anthology, Alan Lomax, Bob Dylan, Popular Front, John Lomax, Soviet Union, Almanac Singers, Joan Baez, New Deal, Kingston Trio, Sing Out, John Henry, John Hurt, Burl Ives, Greenwich Village, North Carolina, Washington Square, Almanac House, Carl Sandburg, Charles Seeger, Lee Hays, Mike Seeger New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 91
books:
See all 91 books this book cites
45
books
cite this book:
See all 45 books citing this book
- Alan Lomax: Selected Writings, 1934-1997 by Cohen on 6 pages
- The American Songbag by Carl Sandburg on 4 pages
- This Land Is Your Land by Woody Guthrie on page 136, page 263, and page 293
- Johnny Appleseed (Folk Tales of America) by Carol Beach York in Back Matter (1), Back Matter (2), and Back Matter (3)
- East of Eden by John Steinbeck on page 347, and page 348
See all 91 books this book cites
- Deep River: Music and Memory in Harlem Renaissance Thought (New Americanists) by Paul AllenAnderson on 4 pages
- Vietnam and the Transformation of American Life (Problems in American History) by Robert Buzzanco in Back Matter (1), and Back Matter (2)
- Robert Gwathmey : The Life and Art of a Passionate Observer by Michael Kammen in Back Matter (1), and Back Matter (2)
- Body and Soul: Jazz, Blues, and Race in American Film, 1927-63 by Peter Stanfield in Back Matter (1), and Back Matter (2)
- Another Future: Poetry and Art in a Postmodern Twilight by Alan Gilbert on page 81, and Back Matter
See all 45 books citing this book
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