Harvard University Press, Date: 1996. Hardcover. Acceptable. Disclaimer:A readable copy. All pages are intact, and the cover is intact. Pages can include considerable notes-in pen or highlighter-but the notes cannot obscure the text. The dust jacket is missing. At ThriftBooks, our motto is: Read More, Spend Less. 1996. Harvard University Press ISBN 0674951328 9780674951327 [US]

Cambridge, Massachusetts: Harvard University Press, Date: 1996. Near fine book in near fine dust jacket. Clean, unmarked pages. Tight binding. Great color to unclipped dust jacket. Carefully wrapped and packaged in a padded box for safe shipping. . Hard Cover. Near Fine/Near Fine. 1996. Harvard University Press ISBN 0674951328 9780674951327 [US]

Cambridge, MA: Harvard University Press, Date: 1996. Hardcover. 412p., first edition, very good condition in like price-clipped dj. 1996. Harvard University Press ISBN 0674951328 9780674951327 [US]

Harvard University Press, Date: 1996-04-01. Hardcover. Like New. 9x6x1. Hardcover with dust jacket in Like New condition. Carefully packaged to avoid damage in shipping. 1996. Harvard University Press ISBN 0674951328 9780674951327 [US]

ISBN10: 0674951328, ISBN13: 9780674951327, [publisher: Harvard University Press] Hardcover Clean & tight copy, unread in AS NEW condition; jacket has very slight shelfwear & light fading on spine, o/w quite presentable what with R. Crumb portrait of Mississippi John Hurt gracing the cover. "WHEN WE WERE GOOD traces the many and varied cultural influences on the folk revival of the sixties: early 19th-century blackface minstrelsy; the Jewish entertainment and political cultures of New York in the 1930s; the Almanac Singers and the wartime crises of the 1940s; the watershed record album Folkways Anthology of American Folk Music; and finally the cold-war reactionism of the 1950s that drove the folksong movement---just as Pete Seeger and the Weavers were putting 'On Top of Old Smokey' and 'Goodnight, Irene' on the Hit Parade---into a children's underground of schools, summer camps and colleges, planting the seeds of the folk revival to come."[]"Cantwell rewrites history with music, and vice versa. Diffusing a perfectly sketched generic, white, middle-class, suburban, postwar upbringing across the whole spectrum of American legend and experience, he pours old wine into a cruet that suddenly gleams with transparency. As he begins to trace the roles played by his characters---those figures dancing on the surface of 'Tom Dooley' or hiding in its grooves---he makes the wine new."---Greil Marcus. Pristine copy, ...