000			03945nam a22005415i 4500
001			193754
003			IT-RoAPU
005			20221214232730.0
006			m|||||o||d||||||||
007			cr || ||||||||
008			210824t20172016mau fo d z eng d
020			_a9780674973541 _qPDF
024	7		_a10.4159/9780674973541 _2doi
035			_a(DE-B1597)9780674973541
035			_a(DE-B1597)479773
035			_a(OCoLC)984647575
040			_aDE-B1597 _beng _cDE-B1597 _erda
050		4	_aML3534 _b.H336 2016
072		7	_aMUS020000 _2bisacsh
082	0	4	_a781.6609/046 _223
084			_aonline - DeGruyter
100	1		_aHamilton, Jack _eautore
245	1	0	_aJust around Midnight : _bRock and Roll and the Racial Imagination / _cJack Hamilton.
264		1	_aCambridge, MA : _bHarvard University Press, _c[2017]
264		4	_c©2016
300			_a1 online resource (320 p.) : _b3 halftones, 5 music illustrations
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
505	0	0	_tFrontmatter -- _tContents -- _tIntroduction: Dreams and Nightmares -- _t1. Darkness at the Break of Noon -- _t2. The White Atlantic -- _t3. “Friends Across the Sea” -- _t4. “Being Good isn’t Always Easy” -- _t5. House Burning Down -- _t6. Just Around Midnight -- _tNotes -- _tAcknowledgments -- _tCredits -- _tIndex
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aBy 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.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 24. Aug 2021)
650		0	_aAfrican American rock musicians.
650		0	_aMusic and race _zGreat Britain _xHistory _y20th century.
650		0	_aMusic and race _zUnited States _xHistory _y20th century.
650		0	_aRock music _xSocial aspects.
650		0	_aRock music _y1961-1970 _xHistory and criticism.
650		7	_aMUSIC / History & Criticism. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.4159/9780674973541
856	4	0	_uhttps://www.degruyter.com/isbn/9780674973541
856	4	2	_3Cover _uhttps://www.degruyter.com/cover/covers/9780674973541.jpg
942			_cEB
999			_c193754 _d193754