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New York Folklore Vol. 22, Nos. 1-4, 1996
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Vol. 22, Nos. 1-4, 1996

Editor’s Foreword v
"From New York City down to the Gulf of Mexico": Highway 61 in African-American Blues, Bob Dylan Songs, and Canadian Film Peter Narváez 1

Knowing the Score: The Transmission of Musician Jokes among Professional and Semi-Professional Musicians
Nancy Groce 37

Lithuanian Landscapes in America: Houses, Yards, and Gardens in Scranton, Pennsylvania
Gerald L. Pocius 49

Parallax: History and Moral Truth
John Carter 89

Negotiating Equitable Intervention: Marketing vs. Human Relations Theory
A. H. Walle 103

Book Reviews
Cooper and Sciorra, R.I.P.: Memorial Wall Art W. K. McNeil 115

Del Guidice, ed., Studies in Italian American Folklore
Nancy Piatkowski 117

Finnegan and Orbell, eds., South Pacific Oral Traditions
Mary Arnold Twining 119

Georges and Jones, Folkloristics: An Introduction
Diane Tye 121

McKay, The Quest of the Folk: Antimodernism and Cultural Selection in Twentieth-Century Nova Scotia
W. K. McNeil 123

O’Leary, The Tancook Schooners: An Island and Its Boats
Michael J. Chiarappa 125

Zipes, Creative Storytelling: Building Community, Changing Lives

Sharon Humphries-Brooks

Editorial Policy



“The highway blues songs of working-class African-Americans, therefore, have often depicted homelessness, desperation, and daily struggles for survival, a far cry from the middle-class contexts of the 1960s blues revivalists or 1990s Canadian pilgrims. But the social dilemmas (the Vietnam War, alienation, unemployment, changes in family structure) experienced by revivalists and pilgrims have not been insignificant. Like African-American blues singers, they have been experiencing temporal discontinuity and no sense of place. As sense of privation has made the blues attractive to them and a knowledge of the blues has inspired new expressions among them.” From “ ‘From New York City down to the Gulf of Mexico’: Highway 61 in African-American Blues, Bob Dylan’s Songs, and Canadian Film” by Peter Narváez

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