{"title":"说教蓝调","authors":"David Brackett","doi":"10.5406/blacmusiresej.32.1.0113","DOIUrl":null,"url":null,"abstract":"For viewers/listeners who remember Robert Johnson’s 1936 recording of “Cross Road Blues,” this performance is eerily familiar—the guitar playing rings with authority and with greater clarity than ever, yet something about the voice seems a bit amiss. It gradually dawns on the viewer/listener that this voice must not actually belong to Robert Johnson, the great bluesman with whom “Cross Road Blues” is indelibly linked. The camera pans again, to another figure playing a guitar in silhouette from whence the voice appears to emanate. The silhouette emerges from darkness to reveal . . . John Hammond Jr.","PeriodicalId":354930,"journal":{"name":"Black Music Research Journal","volume":"22 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2012-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"5","resultStr":"{\"title\":\"Preaching Blues\",\"authors\":\"David Brackett\",\"doi\":\"10.5406/blacmusiresej.32.1.0113\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"For viewers/listeners who remember Robert Johnson’s 1936 recording of “Cross Road Blues,” this performance is eerily familiar—the guitar playing rings with authority and with greater clarity than ever, yet something about the voice seems a bit amiss. It gradually dawns on the viewer/listener that this voice must not actually belong to Robert Johnson, the great bluesman with whom “Cross Road Blues” is indelibly linked. The camera pans again, to another figure playing a guitar in silhouette from whence the voice appears to emanate. The silhouette emerges from darkness to reveal . . . John Hammond Jr.\",\"PeriodicalId\":354930,\"journal\":{\"name\":\"Black Music Research Journal\",\"volume\":\"22 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2012-10-14\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"5\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Black Music Research Journal\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5406/blacmusiresej.32.1.0113\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Black Music Research Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5406/blacmusiresej.32.1.0113","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
For viewers/listeners who remember Robert Johnson’s 1936 recording of “Cross Road Blues,” this performance is eerily familiar—the guitar playing rings with authority and with greater clarity than ever, yet something about the voice seems a bit amiss. It gradually dawns on the viewer/listener that this voice must not actually belong to Robert Johnson, the great bluesman with whom “Cross Road Blues” is indelibly linked. The camera pans again, to another figure playing a guitar in silhouette from whence the voice appears to emanate. The silhouette emerges from darkness to reveal . . . John Hammond Jr.
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