TY - BOOK AU - Hamilton,Jack TI - Just around Midnight: Rock and Roll and the Racial Imagination SN - 9780674973541 AV - ML3534 .H336 2016 U1 - 781.6609/046 23 PY - 2017///] CY - Cambridge, MA : PB - Harvard University Press, KW - African American rock musicians KW - Music and race KW - Great Britain KW - History KW - 20th century KW - United States KW - Rock music KW - Social aspects KW - 1961-1970 KW - History and criticism KW - MUSIC / History & Criticism KW - bisacsh N1 - Frontmatter --; Contents --; Introduction: Dreams and Nightmares --; 1. Darkness at the Break of Noon --; 2. The White Atlantic --; 3. “Friends Across the Sea” --; 4. “Being Good isn’t Always Easy” --; 5. House Burning Down --; 6. Just Around Midnight --; Notes --; Acknowledgments --; Credits --; Index; restricted access N2 - By the time Jimi Hendrix died in 1970, the idea of a black man playing lead guitar in a rock band seemed exotic. Yet a mere ten years earlier, Chuck Berry and Bo Diddley had stood among the most influential rock and roll performers. Why did rock and roll become “white”? Just around Midnight reveals the interplay of popular music and racial thought that was responsible for this shift within the music industry and in the minds of fans. Rooted in rhythm-and-blues pioneered by black musicians, 1950s rock and roll was racially inclusive and attracted listeners and performers across the color line. In the 1960s, however, rock and roll gave way to rock: a new musical ideal regarded as more serious, more artistic—and the province of white musicians. Decoding the racial discourses that have distorted standard histories of rock music, Jack Hamilton underscores how ideas of “authenticity” have blinded us to rock’s inextricably interracial artistic enterprise. According to the standard storyline, the authentic white musician was guided by an individual creative vision, whereas black musicians were deemed authentic only when they stayed true to black tradition. Serious rock became white because only white musicians could be original without being accused of betraying their race. Juxtaposing Sam Cooke and Bob Dylan, Aretha Franklin and Janis Joplin, Jimi Hendrix and the Rolling Stones, and many others, Hamilton challenges the racial categories that oversimplified the sixties revolution and provides a deeper appreciation of the twists and turns that kept the music alive UR - https://doi.org/10.4159/9780674973541 UR - https://www.degruyter.com/isbn/9780674973541 UR - https://www.degruyter.com/cover/covers/9780674973541.jpg ER -