Word: white
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Dates: during 1960-1969
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...made a point of crediting their sources?not only R & B figures such as Chuck Berry and Bo Diddley, but also country and urban bluesmen such as John Lee Hooker, Muddy Waters, T-Bone Walker and B. B. King. "Until the Beatles exposed the origins," says Waters, "the white kids didn't know anything about the music. But now they've learned that it was in their backyard all the time...
Chitlin Circuit. It was not long before the soul sound began to move directly into the white market of pop music, and its purveyors started outstripping their white imitators. Charles was the first to reach a mass white public, starting as far back as 1955 with his hit record, I Got a Woman. In more recent years, a string of others have come along behind him. Lou Rawls, for example, is a former gospel trouper who spices his blues songs with reminiscences of his boyhood in Chicago's South Side slums. He used to work only in the Negro nightclub...
Militant young Negroes put a more defiant slant on it. Explains Charles Keil, a white ethnomusicologist and the author of Urban Blues: "For a Negro to say 'B. B. King is my main man' is to say 'I take pride in who I am.' With this self-acceptance, a measure of unity is gained, and a demand is made upon white America: 'Accept us on our own terms.' " Yet when soul solidarity is founded on a fellowship of suffering, it may involve not a demand for white acceptance but an outright exclusion of whites, as Godfrey Cambridge makes clear. "Soul...
Blue-Eyed Soul. Does this mean that white musicians by definition don't have soul? A very few Negroes will concede that such white singers as Frank Sinatra and Peggy Lee have it, and Aretha also nominates Frenchman Charles Aznavour. A few more will accept such blues-oriented whites as the Righteous Brothers, Paul Butterfield, and England's Stevie Winwood?largely because their sound is almost indistinguishable from Negro performers'. But for the most part, Negroes leave it up to whites to defend the idea of "blue-eyed soul," whether by the criterion of talent, experience or temperament. Janis Joplin...
...those to whom soul is anything but a parlor game, one thing is certain: the closer a Negro gets to a "white" sound nowadays, the less soulful he is considered to be, and the more he is regarded as having betrayed his heritage. Dionne Warwick singing Alfie? Impure! Diana Ross and the Supremes recording an album of Rodgers and Hart songs? Unacceptable! Yet many "deviations" may be solid professionalism, a matter of adapting to changing audiences. As Lou Rawls says, "Show business is so vast?why should I limit myself to any one aspect if I have the capabilities...