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Worth Westinghouse Long Jr. Creating Dangerously in The Land Where the Blues Began

Worth Westinghouse Long Jr. Creating Dangerously in The Land Where the Blues Began Worth Westinghouse Long Jr. Creating Dangerously in The Land Where the Blues Began by Tyler DeWayne Moore 54 • Kate Medley // ESSAY Worth Long at the Smithsonian Folklife Festival, Washington, DC, 1974. Courtesy of Roland L. Freeman. // Spring 2020 The Documentary Moment • 55 N THE FALL OF 1967, folk music columnist Israel “Izzy” Young expressed his enth - u siasm for the emergence of more black folklorists who snatched “out of incorporeal air . . . the notion that there is more to the blues” than chords and structure. If he had Iever been one, Young declared, he was no longer “an expert on Negro, Black, and Afro-American folk-life, folk-speech, folk-belief and folk-blues.” Young was one of many who acknowledged the important intellectual contributions of African American scholars to understanding the blues. Black activists and intellectuals, such as Fisk University graduate and folk singer Julius Lester, placed a high value on reflecting the majesty and grace of cultural traditions back to the original communities that nurtured them. “ The rural blues men,” Lester noted, “were intent on telling their listeners what [they] already knew, but could not articulate . . . Even the most personal blues http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Southern Cultures University of North Carolina Press

Worth Westinghouse Long Jr. Creating Dangerously in The Land Where the Blues Began

Southern Cultures , Volume 26 (1) – Mar 21, 2020

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Publisher
University of North Carolina Press
Copyright
Copyright © Center for the Study of the American South
ISSN
1534-1488

Abstract

Worth Westinghouse Long Jr. Creating Dangerously in The Land Where the Blues Began by Tyler DeWayne Moore 54 • Kate Medley // ESSAY Worth Long at the Smithsonian Folklife Festival, Washington, DC, 1974. Courtesy of Roland L. Freeman. // Spring 2020 The Documentary Moment • 55 N THE FALL OF 1967, folk music columnist Israel “Izzy” Young expressed his enth - u siasm for the emergence of more black folklorists who snatched “out of incorporeal air . . . the notion that there is more to the blues” than chords and structure. If he had Iever been one, Young declared, he was no longer “an expert on Negro, Black, and Afro-American folk-life, folk-speech, folk-belief and folk-blues.” Young was one of many who acknowledged the important intellectual contributions of African American scholars to understanding the blues. Black activists and intellectuals, such as Fisk University graduate and folk singer Julius Lester, placed a high value on reflecting the majesty and grace of cultural traditions back to the original communities that nurtured them. “ The rural blues men,” Lester noted, “were intent on telling their listeners what [they] already knew, but could not articulate . . . Even the most personal blues

Journal

Southern CulturesUniversity of North Carolina Press

Published: Mar 21, 2020

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