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The two positions presented here, different as they may be, demonstrate the somewhat limited degree to which blues scholarship has been involved in a discussion of the music’s racial politics. Both the all-inclusive definition of the blues represented in the first quotation and the essentialist view of the genre as an exclusively black music represented in the second simplify the intricacies of race that have shaped the blues in its over one hundred years of history. To examine the changing racialization of sounds, images, and audiences associated with the blues, this book focuses on the key decade of the 1960s.