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| Acknowledgments | |
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| Introduction | |
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| Setting the Stage: Identifying an American Folk Music Heritage, 1900-1930 | |
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| Creating the Cult of Authenticity: The Lomaxes and Lead Belly | |
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| Mastering the Cult of Authenticity: Leonard Chess, Willie Dixon, and the Strange Career of Muddy Waters | |
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| Searching for Folk Music's Institutional Niche: Alan Lomax, Charles Seeger, B. A. Botkin, and Richard Dorson | |
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| Performing the Folk: Pete Seeger and Bob Dylan Coda | |
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| Notes | |
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| Bibliography | |
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| Discography Index | |
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| Illustrations Front cover of Folk Songs of the Kentucky Mountains, 1917 | |
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| Front cover of Twenty Kentucky Mountain Songs, 1920 | |
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| Front cover of Carl Sandburg's | |
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| American Songbag, 1927 | |
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| Recording equipment in the back of John Lomax's car, probably late 1930s | |
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| Prison Compound No. 1, Angola, La., 1934 | |
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| Lead Belly in prison, Angola, La., July 1934 | |
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| Lead Belly in | |
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| Negro Folk Songs as Sung by Lead Belly, 1936 | |
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| Lead Belly, 1942 | |
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| Muddy Waters, ca. 1960s | |
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| Leonard Chess, ca. 1960s, ca. 1960s | |
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| Fathers and Sonsalbum cover, 1969 | |
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| Franklin Roosevelt with local musicians, Warm Springs, Ga., January 1933 | |
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| Charles Seeger with his family at their home in Washington, D.C., ca. 1937 | |
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| with guitar, ca. 1940 | |
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| at typewriter, 1941 | |
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| Pete Seeger and Bob Dylan, 1963 | |
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| Pete Seeger at Newport Folk Festival workshop, 1964 | |
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| Bob Dylan goes electric, Newport Folk Festival, 1965 | |