ican music in perhaps the book’s strongest section. Greene’s final chapter gets to the heart of the matter, challenging the representations of Broonzy in scholarship and criticism that have most often highlighted his final role as a folk blues musician. The central thesis of the study, confronting the work of Alan Lomax and others, should have been made clearer throughout: “these culture brokers have tended to focus on Broonzy’s otherness and his importance to their own (white) perspective on African American culture” (171). Greene argues that they occlude Broonzy’s agency in making and remaking his identity.

中文翻译：

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Streamliner：Raymond Loewy和美国工业设计时代的影像创作。约翰·沃尔（JohnWall）。（马里兰州巴尔的摩：约翰·霍普金斯大学出版社，2018年。第344页.39.95美元。）

本书中最强劲的部分是ican音乐。Greene的最后一章触及了问题的核心，挑战了Broonzy在学术和批评中的表现，这些表现最常突显出他作为民间蓝调音乐家的最终作用。贯穿Alan Lomax和其他人的工作的研究的中心论点应该在整个过程中变得更加清晰：“这些文化经纪人倾向于关注Broonzy的其他性及其对非裔美国人文化自己的（白人）观点的重要性”（ 171）。格林认为，他们阻碍了布隆齐的代理人制作和重塑他的身份。