Heffernan, Nick (2018). «“As Usual, I'll Have to Take an IOU”: W. E. B. Du Bois, the Gift of Black Music and the Cultural Politics of Obligation». Journal of American Studies. 04 (på engelsk). 52: 1095–1121. ISSN0021-8758. doi:10.1017/S0021875817000883. Besøkt 6. august 2023. «Beginning with The Blues Brothers (1980), the $30 million blockbuster that sparked a popular revival of blues and rhythm and blues among white audiences, this sequence developed a set of storytelling tropes and devices designed to explore and ultimately legitimize white use and stewardship of African American musical resources rooted in the blues. (....) Conceding that the music he and Belushi made was “ersatz,” Aykroyd nonetheless insisted that the purpose of the Blues Brothers act was to expose white fans to the genius of the authentic African American sources that inspired it.»
doi.org
Heffernan, Nick (2018). «“As Usual, I'll Have to Take an IOU”: W. E. B. Du Bois, the Gift of Black Music and the Cultural Politics of Obligation». Journal of American Studies. 04 (på engelsk). 52: 1095–1121. ISSN0021-8758. doi:10.1017/S0021875817000883. Besøkt 6. august 2023. «Beginning with The Blues Brothers (1980), the $30 million blockbuster that sparked a popular revival of blues and rhythm and blues among white audiences, this sequence developed a set of storytelling tropes and devices designed to explore and ultimately legitimize white use and stewardship of African American musical resources rooted in the blues. (....) Conceding that the music he and Belushi made was “ersatz,” Aykroyd nonetheless insisted that the purpose of the Blues Brothers act was to expose white fans to the genius of the authentic African American sources that inspired it.»
Heffernan, Nick (2018). «“As Usual, I'll Have to Take an IOU”: W. E. B. Du Bois, the Gift of Black Music and the Cultural Politics of Obligation». Journal of American Studies. 04 (på engelsk). 52: 1095–1121. ISSN0021-8758. doi:10.1017/S0021875817000883. Besøkt 6. august 2023. «Beginning with The Blues Brothers (1980), the $30 million blockbuster that sparked a popular revival of blues and rhythm and blues among white audiences, this sequence developed a set of storytelling tropes and devices designed to explore and ultimately legitimize white use and stewardship of African American musical resources rooted in the blues. (....) Conceding that the music he and Belushi made was “ersatz,” Aykroyd nonetheless insisted that the purpose of the Blues Brothers act was to expose white fans to the genius of the authentic African American sources that inspired it.»
