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• W2911682179 abstract "This dissertation analyzes the contributions and reception of blind African American musicians who produced phonograph recordings between 1926 and 1938. Their records were central in transforming Black popular music. The aesthetic they popularized was a significant stylistic departure from previous Race records. The prevalent notion that downhome expression was an always already foundational Black expression complicates its association with blindness and the moment of its popularity in 1926. The downhome became a liminal space on records featuring performances by blind musicians for audiences affected by institutional racism as well as increased acts of racial terror. Relegating blindness to the downhome was extremely popular, and was also a disabling and inaccurate representation. While the musicians presented an aesthetic that suggested an authentic downhomeness, they were participating in a Black modernity as recording artists and performers in cosmopolitan urban centers during their era, far from downhome. The musicians were associated with a past during a period vital to the construction of African American collective memory. Their records functioned as auditory mnemonics through the downhome and the effect of phonographic reproduction. By 1938, at least fifty Blind monikers were credited to musicians on recordings marketed to African American consumers. Sight as a marker of modernity contributed to the industry's promotion of a Blind downhome expression. The musicians could not see the modernity their audiences were navigating, they also could not see themselves as a result of their social invisibility. Their recorded expression imposed a break from a present state of modernity, validating a post-agrarian position. Blindness functioned as an authenticating marker of this break. Drawing on public health documents related to African American communities from the mid-nineteenth to early-twentieth centuries, recordings, lyrics, interviews, films, and the Black Press, this dissertation shows how blind musicians became the most popular producers of Black popular music during the late 1920s." @default.
• W2911682179 created "2019-02-21" @default.
• W2911682179 creator A5045308061 @default.
• W2911682179 date "2018-09-26" @default.
• W2911682179 modified "2023-09-24" @default.
• W2911682179 title "“I Believe I’ll Go Back Home”: Blindness in Blues and Gospel Race Records" @default.
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