Kip Lornell – författare

The Beat! was the first book to explore the musical, social, and cultural phenomenon of go-go music. In this new edition, updated by a substantial chapter on the current scene, authors Kip Lornell and Charles C. Stephenson, Jr., place go-go within black popular music made since the middle 1970s--a period during which hip-hop has predominated. This styling reflects the District's African American heritage. Its super-charged drumming and vocal combinations of hip-hop, funk, and soul evolved and still thrive on the streets of Washington, D.C., and in neighboring Prince George's County, making it the most geographically compact form of popular music.Go-go--the only musical form indigenous to Washington, D.C.--features a highly syncopated, nonstop beat and vocals that are spoken as well as sung. The book chronicles its development and ongoing popularity, focusing on many of its key figures and institutions, including established acts such as Chuck Brown (the Godfather of Go-Go), Experience Unlimited, Rare Essence, and Trouble Funk; well-known DJs, managers, and promoters; and filmmakers who have incorporated it into their work. Now updated and back in print, The Beat! provides longtime fans and those who study American musical forms a definitive look at the music and its makers.

From Jubilee to Hip Hop includes 36 reading selections that underscore the breadth and variety of African American musical culture.  Each of these selections relates something notable and interesting about African American musical culture since the Emancipation,  whether it is Marian Anderson's recollection of the legendary 1939 DAR Constitution Hall debacle, or John Chilton's story of the impact of Louis Jordan's song, "Caldonia."

With its rich but underappreciated musical heritage, Washington, D.C. is often overlooked as a cradle for punk, the birthplace of go go, and as the urban center for bluegrass in the Untied States. Capital Bluegrass: Hillbilly Music Meets Washington, D.C. richly documents the history and development of bluegrass in and around the nation''s capital since it emerged in the 1950s. In his seventeenth book, American vernacular music scholar Kip Lornell discusses both well-known progressive bluegrass bands including the Country Gentlemen and the Seldom Scene, and lesser known groups like the Happy Melody Boys, Benny and Vallie Cain and the Country Clan, and Foggy Bottom. Lornell focuses on colorful figures such as the brilliant and eccentric mandolin player, Buzz Busby, and Connie B. Gay, who helped found the Country Music Association in Nashville. Moving beyond the musicians to the institutions that were central to the development of the genre, Lornell brings the reader into the nationally recognized Birchmere Music Hall, and tunes in to NPR powerhouse WAMU-FM, which for five decades broadcast as much as 40 hours a week of bluegrass programming. Dozens of images illuminate the story of bluegrass in the D.C. area, photographs and flyers that will be new to even the most veteran bluegrass enthusiast. Bringing to life a music and musical community integral to the history of the city itself, Capital Bluegrass tells an essential tale of bluegrass in the United States.

With its rich but underappreciated musical heritage, Washington, D.C. is often overlooked as a cradle for punk, the birthplace of go go, and as the urban center for bluegrass in the Untied States. Capital Bluegrass: Hillbilly Music Meets Washington, D.C. richly documents the history and development of bluegrass in and around the nation's capital since it emerged in the 1950s. In his seventeenth book, American vernacular music scholar Kip Lornell discusses both well-known progressive bluegrass bands including the Country Gentlemen and the Seldom Scene, and lesser known groups like the Happy Melody Boys, Benny and Vallie Cain and the Country Clan, and Foggy Bottom. Lornell focuses on colorful figures such as the brilliant and eccentric mandolin player, Buzz Busby, and Connie B. Gay, who helped found the Country Music Association in Nashville. Moving beyond the musicians to the institutions that were central to the development of the genre, Lornell brings the reader into the nationally recognized Birchmere Music Hall, and tunes in to NPR powerhouse WAMU-FM, which for five decades broadcast as much as 40 hours a week of bluegrass programming. Dozens of images illuminate the story of bluegrass in the D.C. area, photographs and flyers that will be new to even the most veteran bluegrass enthusiast. Bringing to life a music and musical community integral to the history of the city itself, Capital Bluegrass tells an essential tale of bluegrass in the United States.

With its rich but underappreciated musical heritage, Washington, D.C. is often overlooked as a cradle for punk, the birthplace of go go, and as the urban center for bluegrass in the Untied States. Capital Bluegrass: Hillbilly Music Meets Washington, D.C. richly documents the history and development of bluegrass in and around the nation's capital since it emerged in the 1950s. In his seventeenth book, American vernacular music scholar Kip Lornell discusses both well-known progressive bluegrass bands including the Country Gentlemen and the Seldom Scene, and lesser known groups like the Happy Melody Boys, Benny and Vallie Cain and the Country Clan, and Foggy Bottom. Lornell focuses on colorful figures such as the brilliant and eccentric mandolin player, Buzz Busby, and Connie B. Gay, who helped found the Country Music Association in Nashville. Moving beyond the musicians to the institutions that were central to the development of the genre, Lornell brings the reader into the nationally recognized Birchmere Music Hall, and tunes in to NPR powerhouse WAMU-FM, which for five decades broadcast as much as 40 hours a week of bluegrass programming. Dozens of images illuminate the story of bluegrass in the D.C. area, photographs and flyers that will be new to even the most veteran bluegrass enthusiast. Bringing to life a music and musical community integral to the history of the city itself, Capital Bluegrass tells an essential tale of bluegrass in the United States.

With its rich but underappreciated musical heritage, Washington, D.C. is often overlooked as a cradle for punk, the birthplace of go go, and as the urban center for bluegrass in the Untied States. Capital Bluegrass: Hillbilly Music Meets Washington, D.C. richly documents the history and development of bluegrass in and around the nation''s capital since it emerged in the 1950s. In his seventeenth book, American vernacular music scholar Kip Lornell discusses both well-known progressive bluegrass bands including the Country Gentlemen and the Seldom Scene, and lesser known groups like the Happy Melody Boys, Benny and Vallie Cain and the Country Clan, and Foggy Bottom. Lornell focuses on colorful figures such as the brilliant and eccentric mandolin player, Buzz Busby, and Connie B. Gay, who helped found the Country Music Association in Nashville. Moving beyond the musicians to the institutions that were central to the development of the genre, Lornell brings the reader into the nationally recognized Birchmere Music Hall, and tunes in to NPR powerhouse WAMU-FM, which for five decades broadcast as much as 40 hours a week of bluegrass programming. Dozens of images illuminate the story of bluegrass in the D.C. area, photographs and flyers that will be new to even the most veteran bluegrass enthusiast. Bringing to life a music and musical community integral to the history of the city itself, Capital Bluegrass tells an essential tale of bluegrass in the United States.

Buzz Busby's move to Washington, D.C., in 1951 helped launch bluegrass in the nation's capital while the intensity of his mandolin playing drew raves for its unrelenting pace and innovative style. His high lonesome singing rivaled that of Bill Monroe. Kip Lornell and Tom Mindte draw on interviews and some fifty hours of Busby speaking about his life to tell the story of a largely forgotten bluegrass virtuoso. Busby and his band the Bayou Boys stood front and center on a mid-1950s D.C.-area TV show that, though short-lived, catalyzed the formation of the city's bluegrass community. Time with the Louisiana Hayride and classic if little-heard bluegrass sides like "Lonesome Wind" seemed to promise a bright future. But a devastating car wreck and a host of legal and personal troubles triggered a long decline into drug and alcohol abuse that undermined Busby's career and led him to sum up, "I started at the top and diligently worked my way to the bottom." Entertaining and vivid, Buzz Busby tells the story of a musician's musician and his hardscrabble life in bluegrass.

Buzz Busby's move to Washington, D.C., in 1951 helped launch bluegrass in the nation's capital while the intensity of his mandolin playing drew raves for its unrelenting pace and innovative style. His high lonesome singing rivaled that of Bill Monroe. Kip Lornell and Tom Mindte draw on interviews and some fifty hours of Busby speaking about his life to tell the story of a largely forgotten bluegrass virtuoso.Busby and his band the Bayou Boys stood front and center on a mid-1950s D.C.-area TV show that, though short-lived, catalyzed the formation of the city's bluegrass community. Time with the Louisiana Hayride and classic if little-heard bluegrass sides like "Lonesome Wind" seemed to promise a bright future. But a devastating car wreck and a host of legal and personal troubles triggered a long decline into drug and alcohol abuse that undermined Busby's career and led him to sum up, "I started at the top and diligently worked my way to the bottom."Entertaining and vivid, Buzz Busby tells the story of a musician's musician and his hardscrabble life in bluegrass.

Huddie Ledbetter (1889-1949), known to millions of fans simply as Leadbelly, was arguably the most famous black singer in American history. His close musical associations included such towering figures as Blind Lemon Jefferson, Woody Guthrie, Pete Seeger, and John and Alan Lomax. He helped lay the foundations for blues, modern folk music, and rock'n' roll. This definitive biography draws on a wealth of new archival material, interviews, and previously unknown recordings to detail Leadbelly's proud, tumultuous, and often violent life.

During the years before World War II, hundreds of traditional musicians were sought out by commercial record companies, brought to New York or into local -- often makeshift -- studios, to cut recordings that would be marketed as "race" and "hillbilly" music. Virginia was home to scores of these performers, several of whom were to become internationally known. Among them were the Carter Family, the Golden Gate Quartet, Charlie Poole, and the Stoneman Family, whose music has touched millions of listeners far beyond the confines of the Old Dominion.It is this historically important body of recordings from this unique period that forms the focus of Kip Lornell's study. In it he combines biographical sketches and bibliographies of the artists and groups with comprehensive discographies of each, covering not only the original 78-rpm issues but also American and foreign long-play releases. The entries incorporate new primary research and contemporary interviews with veterans of early recording sessions. Numerous vintage photographs are also included, some reproduced here for the first time.

During the years before World War II, hundreds of traditional musicians were sought out by commercial record companies, brought to New York or into local-often makeshift-studios, to cut recordings that would be marketed as "e;race"e; and "e;hillbilly"e; music. Virginia was home to scores of these performers, several of whom were to become internationally known. Among them were the Carter Family, the Golden Gate Quartet, Charlie Poole, and the Stoneman Family, whose music has touched millions of listeners far beyond the confines of the Old Dominion.It is this historically important body of recordings from this unique period that forms the focus of Kip Lornell's study. In it he combines biographical sketches and bibliographies of the artists and groups with comprehensive discographies of each, covering not only the original 78-rpm issues but also American and foreign long-play releases. The entries incorporate new primary research and contemporary interviews with veterans of early recording sessions. Numerous vintage photographs are also included, some reproduced here for the first time.

From Jubilee to Hip Hop includes 36 reading selections that underscore the breadth and variety of African American musical culture. Each of these selections relates something notable and interesting about African American musical culture since the Emancipation, whether it is Marian Anderson's recollection of the legendary 1939 DAR Constitution Hall debacle, or John Chilton's story of the impact of Louis Jordan's song, "Caldonia."

To borrow words from Stan “The Record Man” Lewis, Shreveport, Louisiana, is one of this nation''s most important “regional-sound cities.” Its musical distinctiveness has been shaped by individuals and ensembles, record label and radio station owners, announcers and disc jockeys, club owners and sound engineers, music journalists and musicians. The area''s output cannot be described by a single genre or style. Rather, its music is a kaleidoscope of country, blues, R&B, rockabilly, and rock.Shreveport Sounds in Black and White presents that evolution in a collection of scholarly and popular writing that covers institutions and people who nurtured the musical life of the city and surroundings. The contributions of icons like Leadbelly and Hank Williams, and such lesser-known names as Taylor-Griggs Melody Makers and Eddie Giles come to light. New writing explores the famed Louisiana Hayride, musicians Jimmie Davis and Dale Hawkins, local disc jockey “Dandy Don” Logan, and KWKH studio sound engineer Bob Sullivan. With glimpses into the lives of original creators, Shreveport Sounds in Black and White reveals the mix that emerges from the ongoing interaction between the city''s black and white musicians.

To borrow words from Stan “The Record Man” Lewis, Shreveport, Louisiana, is one of this nation''s most important “regional-sound cities.” Its musical distinctiveness has been shaped by individuals and ensembles, record label and radio station owners, announcers and disc jockeys, club owners and sound engineers, music journalists and musicians. The area''s output cannot be described by a single genre or style. Rather, its music is a kaleidoscope of country, blues, R&B, rockabilly, and rock.Shreveport Sounds in Black and White presents that evolution in a collection of scholarly and popular writing that covers institutions and people who nurtured the musical life of the city and surroundings. The contributions of icons like Leadbelly and Hank Williams, and such lesser-known names as Taylor-Griggs Melody Makers and Eddie Giles come to light. New writing explores the famed Louisiana Hayride, musicians Jimmie Davis and Dale Hawkins, local disc jockey “Dandy Don” Logan, and KWKH studio sound engineer Bob Sullivan. With glimpses into the lives of original creators, Shreveport Sounds in Black and White reveals the mix that emerges from the ongoing interaction between the city''s black and white musicians.

Exploring American Folk Music: Ethnic, Grassroots, and Regional Traditions in the United States reflects the fascinating diversity of regional and grassroots music in the United States. The book covers the diverse strains of American folk music--Latin, Native American, African, French-Canadian, British, and Cajun--and offers a chronology of the development of folk music in the United States.The book is divided into discrete chapters covering topics as seemingly disparate as sacred harp singing, conjunto music, the folk revival, blues, and ballad singing. It is among the few textbooks in American music that recognizes the importance and contributions of Native Americans as well as those who live, sing, and perform music along our borderlands, from the French speaking citizens in northern Vermont to the extensive Hispanic population living north of the Rio Grande River, recognizing and reflecting the increasing importance of the varied Latino traditions that have informed our folk music since the founding of the United States. Another chapter includes detailed information about the roots of hip hop and this new edition features a new chapter on urban folk music, exploring traditions in our cities, with a case study focusing on Washington, D.C. Exploring American Folk Music also introduces you to such important figures in American music as Bob Wills, Lydia Mendoza, Bob Dylan, and Muddy Waters, who helped shape what America sounds like in the twenty-first century. It also features new sections at the end of each chapter with up-to-date recommendations for ""Suggested Listening,"" ""Suggested Reading,"" and ""Suggested Viewing.""

Exploring American Folk Music: Ethnic, Grassroots, and Regional Traditions in the United States reflects the fascinating diversity of regional and grassroots music in the United States. The book covers the diverse strains of American folk music--Latin, Native American, African, French-Canadian, British, and Cajun--and offers a chronology of the development of folk music in the United States.The book is divided into discrete chapters covering topics as seemingly disparate as sacred harp singing, conjunto music, the folk revival, blues, and ballad singing. It is among the few textbooks in American music that recognizes the importance and contributions of Native Americans as well as those who live, sing, and perform music along our borderlands, from the French speaking citizens in northern Vermont to the extensive Hispanic population living north of the Rio Grande River, recognizing and reflecting the increasing importance of the varied Latino traditions that have informed our folk music since the founding of the United States. Another chapter includes detailed information about the roots of hip hop and this new edition features a new chapter on urban folk music, exploring traditions in our cities, with a case study focusing on Washington, D.C. Exploring American Folk Music also introduces you to such important figures in American music as Bob Wills, Lydia Mendoza, Bob Dylan, and Muddy Waters, who helped shape what America sounds like in the twenty-first century. It also features new sections at the end of each chapter with up-to-date recommendations for ""Suggested Listening,"" ""Suggested Reading,"" and ""Suggested Viewing.""

Exploring American Folk Music: Ethnic, Grassroots, and Regional Traditions in the United States reflects the fascinating diversity of regional and grassroots music in the United States. The book covers the diverse strains of American folk music—Latin, Native American, African, French-Canadian, British, and Cajun—and offers a chronology of the development of folk music in the United States. The book is divided into discrete chapters covering topics as seemingly disparate as sacred harp singing, conjunto music, the folk revival, blues, and ballad singing. It is among the few textbooks in American music that recognizes the importance and contributions of Native Americans as well as those who live, sing, and perform music along our borderlands, from the French-speaking citizens in northern Vermont to the extensive Hispanic population living north of the Rio Grande River, recognizing and reflecting the increasing importance of the varied Latino traditions that have informed our folk music since the founding of the United States. Another chapter includes detailed information about the roots of hip-hop, and this updated edition of the book features a new chapter on urban folk music, exploring traditions in our cities, with a case study focusing on Washington, D.C. Exploring American Folk Music also introduces you to such important figures in American music as Bob Wills, Lydia Mendoza, Bob Dylan, and Muddy Waters, who helped shape what America sounds like in the twenty-first century. It also features new sections at the end of each chapter with up-to-date recommendations for “Suggested Listening,” “Suggested Reading,” and “Suggested Viewing.”

The Music of Multicultural America explores the intersection of performance, identity, and community in a wide range of musical expressions. Fifteen essays explore traditions that range from the Klezmer revival in New York, to Arab music in Detroit, to West Indian steel bands in Brooklyn, to Kathak music and dance in California, to Irish music in Boston, to powwows in the midwestern plains, to Hispanic and Native musics of the Southwest borderlands. Many chapters demonstrate the processes involved in supporting, promoting, and reviving community music. Others highlight the ways in which such American institutions as city festivals or state and national folklife agencies come into play. Thirteen themes and processes outlined in the introduction unify the collection''s fifteen case studies and suggest organizing frameworks for student projects. Due to the diversity of music profiled in the book—Mexican mariachi, African American gospel, Asian West Coast jazz, women''s punk, French-American Cajun, and Anglo-American sacred harp—and to the methodology of fieldwork, ethnography, and academic activism described by the authors, the book is perfect for courses in ethnomusicology, world music, anthropology, folklore, and American studies. Audio and visual materials that support each chapter are freely available on the ATMuse website, supported by the Archives of Traditional Music at Indiana University.

The Music of Multicultural America explores the intersection of performance, identity, and community in a wide range of musical expressions. Fifteen essays explore traditions that range from the Klezmer revival in New York, to Arab music in Detroit, to West Indian steel bands in Brooklyn, to Kathak music and dance in California, to Irish music in Boston, to powwows in the midwestern plains, to Hispanic and Native musics of the Southwest borderlands. Many chapters demonstrate the processes involved in supporting, promoting, and reviving community music. Others highlight the ways in which such American institutions as city festivals or state and national folklife agencies come into play. Thirteen themes and processes outlined in the introduction unify the collection''s fifteen case studies and suggest organizing frameworks for student projects. Due to the diversity of music profiled in the book—Mexican mariachi, African American gospel, Asian West Coast jazz, women''s punk, French-American Cajun, and Anglo-American sacred harp—and to the methodology of fieldwork, ethnography, and academic activism described by the authors, the book is perfect for courses in ethnomusicology, world music, anthropology, folklore, and American studies. Audio and visual materials that support each chapter are freely available on the ATMuse website, supported by the Archives of Traditional Music at Indiana University.

The Music of Multicultural America explores the intersection of performance, identity, and community in a wide range of musical expressions. Fifteen essays explore traditions that range from the Klezmer revival in New York, to Arab music in Detroit, to West Indian steelbands in Brooklyn, to Kathak music and dance in California, to Irish music in Boston, to powwows in the midwestern plains, to Hispanic and native musics of the Southwest borderlands. Many chapters demonstrate the processes involved in supporting, promoting, and reviving community music. Others highlight the ways in which such American institutions as city festivals or state and national folklife agencies come into play.Thirteen themes and processes outlined in the introduction unify the collection's fifteen case studies and suggest organizing frameworks for student projects. Due to the diversity of music profiled in the book--Mexican mariachi, African American gospel, Asian West Coast jazz, women's punk, French-American Cajun, and Anglo-American sacred harp--and to the methodology of fieldwork, ethnography, and academic activism described by the authors, the book is perfect for courses in ethnomusicology, world music, anthropology, folklore, and American studies.

A new biography of the beloved but mysterious Blind Lemon Jefferson, famous blues musician. Born in 1897, Jefferson was a blind street musician who played his guitar at the corner of Elm Street and Central Avenue in the Deep Ellum area of Dallas, Texas, until a Paramount Records scout discovered him. Between 1926 and his untimely death in 1929, Jefferson made more than 80 records and became the biggest-selling blues singer in America. Although his recordings are extensive, details about his life are relatively few. Through Govenar and Lornell's extensive interviews and research, See That My Grave is Kept Clean gathers the scattered facts behind Blind Lemon Jefferson's mythic representations.

A new biography of the beloved but mysterious Blind Lemon Jefferson, famous blues musician. Born in 1897, Jefferson was a blind street musician who played his guitar at the corner of Elm Street and Central Avenue in the Deep Ellum area of Dallas, Texas, until a Paramount Records scout discovered him. Between 1926 and his untimely death in 1929, Jefferson made more than 80 records and became the biggest-selling blues singer in America. Although his recordings are extensive, details about his life are relatively few. Through Govenar and Lornell''s extensive interviews and research, See That My Grave is Kept Clean gathers the scattered facts behind Blind Lemon Jefferson''s mythic representations.