Relevant bibliographies by topics / Blues Brothers

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Academic literature on the topic 'Blues Brothers'

Author: Grafiati
Published: 28 May 2022

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Journal articles on the topic "Blues Brothers"

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Talipov, Marat R., Mohammad M. Hossain, Anitha Boddeda, Khushabu Thakur, and Rajendra Rathore. "A search for blues brothers: X-ray crystallographic/spectroscopic characterization of the tetraarylbenzidine cation radical as a product of aging of solid magic blue." Organic & Biomolecular Chemistry 14, no. 10 (2016): 2961–68. http://dx.doi.org/10.1039/c6ob00140h.

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Reali, Christopher M. "The Allman Brothers Band: Conveying the Blues Idea." Rock Music Studies 5, no. 2 (May 4, 2018): 105–23. http://dx.doi.org/10.1080/19401159.2017.1416448.

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HEFFERNAN, NICK. "“As Usual, I'll Have to Take an IOU”: W. E. B. Du Bois, the Gift of Black Music and the Cultural Politics of Obligation." Journal of American Studies 52, no. 04 (June 1, 2017): 1095–121. http://dx.doi.org/10.1017/s0021875817000883.

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In The Souls of Black Folk (1903) W. E. B. Du Bois described African American music as a “gift” to America, contesting the tendency to regard white interest in black culture as appropriation or theft. Yet this metaphor invoked the complex circuits of indebtedness and obligation that are intrinsic to gift exchange in anthropological accounts of the practice, challenging white recipients of the gift to make adequate response. This challenge is most systematically addressed in a sequence of films that tell stories about white enthusiasm for the blues. The Blues Brothers (1980), Crossroads (1986), Blues Brothers 2000 (1998) and Black Snake Moan (2006) depict the blues as a gift and explore how whites might appropriately acknowledge and reciprocate for receiving it in a culture distorted by racial inequalities. The films develop a distinct set of narrative conventions for handling the politics of racial obligation, vacillating between seeing black music as a transracial cultural resource on the one hand and as a racially defined, inalienable possession of African Americans on the other. Using these same conventions, Honeydripper (2007) invites us to see the process of cultural exchange from a different perspective in which the problematic status of the blues as racialized property is diminished.
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Smith, Laura T. "Textuality in a Jazz Aesthetic: Textual Rituals for Transformation in Sharon Bridgforth’s love conjure/blues." MELUS 46, no. 2 (June 1, 2021): 172–95. http://dx.doi.org/10.1093/melus/mlab024.

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Abstract This article argues that Suzan-Lori Parks’ Pulitzer-prize winning play Topdog/Underdog (1999) mobilizes a conspiracy theory concept of anti-black violence in America. The highly discursive play depicts a pair of black brothers named Lincoln and Booth as they banter, argue, and compete with each other over games of three-card monte. In the final scene of the play, the brothers fulfil the destiny inscribed in their names: Booth shoots and kills his brother Lincoln after a dispute over their meager inheritance. The play frames this final act of brutal fratricide as a form of political assassination in order to activate the rescaling that comes with a conspiracy theory lexicon: Topdog/Underdog formulates a generative and radically resistant conspiratorial conception of anti-black violence that ultimately enables a genuine confrontation with the origins and structures of racialized oppression. The play thus belongs to a lineage of works by black writers that have wielded a paranoid aesthetic in order to galvanize a revolutionary opposition to the structures of racial oppression. This tradition includes authors such as W. E. B. Du Bois, Richard Wright, and, most explicitly, John A. Williams, whose novel The Man Who Cried I Am (1967) emerges in the article as a precedent for the conspiratorial racial politics of Parks’s play. In its own interpretation of paranoid anti-racist critique, Topdog/Underdog elaborates a concept of conspiracy without intentionality whose hierarchies, despite being beyond the parameters of any single individual or collective entity’s agency, can nonetheless be undermined and, ultimately, toppled.
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Perlman, Mark. "Authentic Performance of Music: From Bach and Handel to Elvis, Ray Charles, and the Blues Brothers." International Journal of the Arts in Society: Annual Review 1, no. 7 (2007): 135–46. http://dx.doi.org/10.18848/1833-1866/cgp/v01i07/35309.

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Craig, Russell J., and Joel H. Amernic. "Rejoinder: 'emulous bravery' and the quest for an 'upbeat rhythm' in accounting education: a reprise from the blues 'brothers'." Accounting Education 11, no. 2 (June 2002): 199–201. http://dx.doi.org/10.1080/0963928021000031781.

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Nowak, Grayson. "More than a Musical Mission from God: Themes of Unification in The Blues Brothers as Fleshed Out by Bollywood Masala Cinema." Film Matters 4, no. 1 (March 1, 2013): 26–31. http://dx.doi.org/10.1386/fm.4.1.26_1.

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Pavlić, Ed. "“But Amen is the Price:” James Baldwin and Ray Charles in “The Hallelujah Chorus”." James Baldwin Review 1, no. 1 (September 29, 2015): 10–40. http://dx.doi.org/10.7227/jbr.1.2.

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Based on a recent, archival discovery of the script, “But Amen is the Price” is the first substantive writing about James Baldwin’s collaboration with Ray Charles, Cicely Tyson, and others in a performance of musical and dramatic pieces. Titled by Baldwin, “The Hallelujah Chorus” was performed in two shows at Carnegie Hall in New York City on 1 July 1973. The essay explores how the script and presentation of the material, at least in Baldwin’s mind, represented a call for people to more fully involve themselves in their own and in each other’s lives. In lyrical interludes and dramatic excerpts from his classic work, “Sonny’s Blues,” Baldwin addressed divisions between neighbors, brothers, and strangers, as well as people’s dissociations from themselves in contemporary American life. In solo and ensemble songs, both instrumental and vocal, Ray Charles’s music evinced an alternative to the tradition of Americans’ evasion of each other. Charles’s sound meant to signify the history and possibility of people’s attainment of presence in intimate, social, and political venues of experience. After situating the performance in Baldwin’s personal life and public worldview at the time and detailing the structure and content of the performance itself, “But Amen is the Price” discusses the largely negative critical response as a symptom faced by much of Baldwin’s other work during the era, responses that attempted to guard “aesthetics” generally—be they literary, dramatic, or musical—as class-blind, race-neutral, and apolitical. The essay presents “The Hallelujah Chorus” as a key moment in Baldwin’s search for a musical/literary form, a way to address, as he put it, “the person and the people,” in open contention with the social and political pressures of the time.
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MIDDLETON, RICHARD. "O brother, let's go down home: loss, nostalgia and the blues." Popular Music 26, no. 1 (January 2006): 47–64. http://dx.doi.org/10.1017/s0261143007001122.

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The blues genre is commonly (and not incorrectly) regarded as a key marker of African-American identity and one with ‘deep’ (folk, or ‘down home’) roots. But this status is inadequately understood unless it is placed in a context of inter-racial exchange, in which ‘roots’ are a product of a complex transaction between ‘modernity’ and ‘tradition’. This territory is explored in terms of a thematics of loss, nostalgia and trauma, evident both in blues content and in the historical structure of revival to which the genre has been continually subject. A useful background is the film O Brother, Where Art Thou?, a nostalgic celebration of nostalgia with a blues/bluegrass inter-racial dimension, and a productive theoretical framework is provided by Lacan's approach to fantasy, loss and nostalgia.
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Pedro, Josep. "Jazz’s little brother: The origins of the Spanish blues scene." Jazz Research Journal 12, no. 2 (December 13, 2019): 193–212. http://dx.doi.org/10.1558/jazz.38536.

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Dissertations / Theses on the topic "Blues Brothers"

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Бова, Жанна Михайлівна, and Zhanna Mykhailivna Bova. "Розвиток саксофонного виконавства в Україні XX – початку XXI століття." Master's thesis, 2020. http://repository.sspu.edu.ua/handle/123456789/9756.

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Сьогодні в Україні саксофон є популярним інструментом в академічному та естрадному виконавстві, а також навчальному середовищі. Ряд питань щодо історії, теорії та художньо-технічних можливостей саксофонного виконавського мистецтва розглядається у вітчизняних та зарубіжних музикознавчих працях. Однак на сьогодні існує мало робіт у яких висвітлюється творча та виконавська діяльність українських академічних та джазових ансамблів та солістів. Актуальність роботи зумовлена: 1) недостатнім вивченням питань становлення та розвитку саксофонного виконавства в Україні; 2) затребуваністю досліджень, скерованих на узагальнення закономірностей і тенденцій виконавської творчості для саксофона в контексті української музичної культури ХХ ст.; 3) необхідністю розгляду тенденцій, пов’язаних з еволюцією технічного та виразового потенціалу саксофона задля теоретичного обґрунтування проблеми виконавства. Мета і задачі дослідження. Метою роботи є виявлення специфіки українського саксофонного виконавства ХХ – початку ХХІ ст. у процесі історико-культурного розвитку. Завдання дослідження: 1)зробити аналіз наукової літератури з проблеми дослідження; 2) виявити специфіку використання інструмента в професійній композиторській та виконавський практиці української музичної культури ХХ – початку ХХІ ст.; 3) висвітлити шляхи розвитку саксофонного виконавства української естради зазначеного періоду; 4) розширити уявлення про роль саксофонного мистецтва в Україні ХХ – початку ХХІ століття.
Today in Ukraine the saxophone is a popular instrument in academic and pop performance, as well as in the educational environment. A number of questions concerning the history, theory and artistic and technical possibilities of saxophone performing art are considered in domestic and foreign musicological works. However, today there are few works that cover the creative and performing activities of Ukrainian academic and jazz ensembles and soloists. The relevance of the topic of the master’s thesis is due to: 1) insufficient study of the formation and development of saxophone performance in Ukraine; 2) the demand for research aimed at generalizing the patterns and trends of performance for the saxophone in the context of Ukrainian musical culture of the twentieth century; 3) the need to consider trends related to the evolution of technical and expressive potential of the saxophone for the theoretical justification of the problem of performance. The purpose and objectives of the study. The aim of the work is to identify the specifics of Ukrainian saxophone performance of the XX – early XXI century in the process of historical and cultural development. Research objectives: 1) to analyze the scientific literature on the research problem; 2) to identify the specifics of the use of the instrument in the professional composition and performance practice of Ukrainian musical culture of the XX – early XXI centuries; 3) to highlight the ways of development of saxophone performance of the Ukrainian stage of the specified period; 4) to expand the idea of the role of saxophone art in Ukraine in the XX – early XXI century.
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Books on the topic "Blues Brothers"

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Aykroyd, Dan. Blues Brothers 2000: Soundtrack. New York: Universal, 1997.

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Bad bug blues. Minneapolis, Minn: Bethany House, 2002.

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ill, Micucci Charles, ed. Parker Penguin, big brother blues. New York: Scholastic Inc., 1998.

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Mississippi blues. Washington, DC: Sepia, 2004.

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Long, Loren. Blastin' the blues. New York: Simon & Schuster Books for Young Readers, 2010.

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ill, Van Wright Cornelius, and Hu Ying-Hwa ill, eds. Daughter's Day blues. New York: Dial Books for Young Readers, 2000.

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Long, Loren. Blastin' the blues. New York: Simon & Schuster Books for Young Readers, 2010.

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Banks, Jacqueline Turner. Egg-drop blues. Boston: Houghton Mifflin, 1995.

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Rhythm and blues. London: Faber and Faber, 1990.

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Breakup blues. New York: Grosset & Dunlap, 2008.

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Book chapters on the topic "Blues Brothers"

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Russell, Tony. "“Bankhead Blues”." In Rural Rhythm, 227–29. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190091187.003.0068.

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Russell, Tony. "“I’ve Got the Chain Store Blues”." In Rural Rhythm, 191–93. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190091187.003.0058.

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Whitehead, Kevin. "Bands of Brothers 1941–1948." In Play the Way You Feel, 71–96. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190847579.003.0003.

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Several jazz films made just before, after, or during World War II draw or suggest parallels between jazz bands and military units. Some jazz bands benefit from a strong sense of mutual support and commitment to the greater good, as in Blues in the Night. Bands in others movies are challenged by wartime problems: sabotage, mutiny within the ranks, and personality clashes among the leadership (in films involving, respectively, Glenn Miller, Benny Goodman, and Jimmy and Tommy Dorsey). Two films by director Howard Hawks are examined, Ball of Fire and its remake A Song Is Born, focusing on the latter’s (mis)use of critic Winthrop Sargeant’s analytical work Jazz: Hot and Hybrid. Other films are also discussed.
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Bolick, Harry, Tony Russell, T. DeWayne Moore, Joyce A. Cauthen, and David Evans. "The Mississippi Sheiks." In Fiddle Tunes from Mississippi, 378–415. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496835796.003.0030.

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The Mississippi Sheiks were perhaps, apart from Jimmie Rodgers, the most commercially successful recording artists from Mississippi prior to World War II. Yet they fit none of the stereotypes about country music or the blues. The primary members of the Mississippi Sheiks on recordings were fiddler Alonzo (Lonnie) Chatmonand guitarist Walter Vinson, sometimes augmented by other brothers Armenter (Bo) (who recorded as Bo Carter)and Sam, and by musicians Charlie McCoy and Eugene Powell. Another brother, Harry Chatmon, was also active musically. As the offshoot of a string band that catered to dance audiences and the resort vacation crowd, the Sheiks performed and recorded more country music than any popular country blues recording stars. Their work drew favorable comments from many Mississippi musicians such as Houston Stackhouse and Son House.
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Menconi, David. "Prologue." In Step It Up and Go, 1–9. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469659350.003.0001.

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This sets the scene for the story of North Carolina music, with the author’s introduction to the state’s music via the 1952 compilation “Anthology of American Folk Music.” Through vignettes and interviews with an array of figures, historical as well as contemporary, it sets the stage for a narrative of musical history with a through-line of underdog working-class populism. Old-time legend Alice Gerrard, Piedmont blues guitarist Etta Baker, pianist Ben Folds, Kruger Brothers Uwe Kruger, and Hiss Golden Messenger leader M.C. Taylor all figure prominently.
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Weaks-Baxter, Mary. "Rescripting What It Means to Be Southern: Musical Performance as Border Narrative." In Leaving the South, 132–55. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819598.003.0006.

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This chapter looks at the role of music and performance in border crossings. Focusing on Southern Border Narratives in blues and country music, the chapter examines how those narratives re-defined what it means to be Southern by offering a platform that validated Southern migratory experience and a site for negotiating the borderlands. Migrants leaving the South found border narratives set within music could help them break from the places they came from, navigate transitional spaces, and identify with others making similar passage. Examining the evolutions of rural to urban blues and “hillbilly” music to country that came about because of the mass movements of Southerners, this chapter looks at a broad range of musicians from Memphis Minnie Douglas, Big Bill Broonzy, and the Maddox Brothers and Rose, to Bessie Smith and Woody Guthrie, aiming to look at ways communal voices shaped and gave meaning to the migrant experience.
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Obrecht, Jas. "March 1967." In Stone Free, 130–43. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469647067.003.0008.

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As the month begins, the Jimi Hendrix Experience begins to get press coverage in the U.S. and make unforgettable television appearances on Beat-Club and, during the first of two European tours this month, on the Belgian show Vibrato. In a series of interviews, Hendrix addresses his stressful childhood, love for blues music, and dislike of the “ordinary.” Sting recalls the Experience’s performance in Yorkshire as “the first time I’d ever seen a black man.” With the release of the “Purple Haze”/“51st Anniversary” single, the band embarks on tour of Germany, while Michael Jeffery secures them an American deal with Reprise Records. In studio sessions, the Experience record “Manic Depression” and other tracks. On the opening night of the Walker Brothers tour, Jimi Hendrix upstages the other acts by burning a guitar onstage for the first time, nearly setting the Finsbury Park Astoria ablaze. As the Walker Brothers tour progresses, Jimi’s onstage antics become front-page news.
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"EPILOGUE: BLUE!" In The Keats Brothers, 405–16. Harvard University Press, 2011. http://dx.doi.org/10.4159/harvard.9780674062726.c11.

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"Little Brother Montgomery." In Blues Before Sunrise 2, 161–69. University of Illinois Press, 2019. http://dx.doi.org/10.5406/j.ctvswx7tx.17.

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"Preface: The Sea, and the Blue Water of It." In Sea-Brothers, ix—xii. University of Pennsylvania Press, 1989. http://dx.doi.org/10.9783/9781512814309-001.

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