Average customer rating:
- Good for fans of Photography and Music
- An intimate collection
- Spectacular Photos!
- Beautiful Photographs from a master, however unfinished
- Classical?
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Annie Leibovitz: American Music
Manufacturer: Random House
ProductGroup: Book
Binding: Hardcover
 Leibovitz, Annie
| ( J-L )
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ASIN: 0375505075
Release Date: 2003-10-28 |
Amazon.com
It looks like a gorgeous nostalgia trip to judge by the cover image alone. The photo is of an old school record player that lies unplugged, a white label test-pressing waiting on the turntable, while a band of paper wrapped around the cover announces the title in ye olde woodblock-looking type, American Music. A reading of the small type on the back cover reveals the image to be the very record and turntable left in Elvis Presley's bedroom the day he died, and the mind reels, thinking about whether the King listened to this record on that day or not, and who are the Stamps, anyway? An excellent selection of musician portraits interspersed with crumbly wooden jook joints and wide open fields in the South, American Music covers a wide gamut of jazz, blues, punk, country, hip-hop, rock and roll, folk and gospel musicians. And while most of the pictures were shot between 1999 and 2002, some go back to the early 1970s, when Leibovitz first became Rolling Stone magazine's chief photographer. Some of the artists are very well-known (Michael Stipe, Dolly Parton, Bob Dylan) and some of them are not (Jessie Mae Hemphill, Other Turner, Carlos Coy). Leibovitz really has a way of relaxing her performers, and this is a great part of her gift. Even when the pictures are so posed as to be ridiculous (like, what's Michael Stipe doing on that bedbug-ridden mattress—-the guy's a billionaire?), she catches her subjects at their most "real." They are lost in their music, or just doing some "real person" thing (look, there is Beck in his car—does Beck really drive his own car?). The presentation may be a little hokey, but this book is sure to please most any music fan. --Mike McGonigal
Book Description
The impulse to do
AMERICAN MUSIC, writes famed photographer Annie Leibovitz, “came from a desire to return to my original subject and look at it with a mature eye. Bring my experience to it…make it a real American tapestry.” Her ambitious idea became
AMERICAN MUSIC, a stunning collection of photographs of the musicians, places and people that enrich the landscape of American music.
As Rolling Stone’s chief photographer for over thirteen years, Leibovitz created a legendary body of work. Her portraits of some of the world’s most talented musicians capture more than the performer, they convey the art of making music. For
AMERICAN MUSIC, Leibovitz traveled across the country to juke joints in the Mississippi Delta, honkytonks in Texas, and jazz clubs in New Orleans “to take pictures in places that mean something.” In her signature style, she shares stunning portraits of American greats --
B.B. King,
Willie Nelson,
Bonnie Raitt,
Bruce Springsteen,
Beck,
Bob Dylan,
Mary J. Blige,
Jon Bon Jovi, S
teve Earle,
Ryan Adams,
Miles Davis,
Etta James,
Pete Seeger,
Emmylou Harris,
Tom Waits,
The Dixie Chicks,
Dr. Dre, The Roots and many more.
AMERICAN MUSIC includes a commentary about the American Music project by Leibovitz, short essays by musicians
Patti Smith,
Rosanne Cash,
Steve Earle,
Mos Def,
Ryan Adams, and
Beck as well as biographical sketches of all the musicians.
Customer Reviews:
Good for fans of Photography and Music.......2007-01-28
If you love the blues, or love photography this is a great book. While not specific to just Blues musicians this book just makes me think of good old delta blues. The prints in this book shine like they were hand printed by Annie herself. Theres a heart and soul driving this book from begining to end.
This is a more personal project for Annie Leibovitz and so doenst allway have her studio style inside.
That does not mean that each photograph is not amazing for they are, but some are a smaller more
candid world that Annie Leibotiz is capturing.
An intimate collection.......2005-08-08
I just saw this exhibit at our MoMA, and the work is outstanding. Some of the images are color, some black and white. There are a number of styles and artists, ranging from the very famous to those unknown outside of their small communities. The point is that these are images of musicians--it's that simple.
Sometimes, Liebovitz's work is witty, sometimes it is unflinching in its honest portrayal. There is vulnerability in the subjects of her black and whites because they are so close, often just the face of the subject. To term them "ugly" is simply wrong. It is rare to see behind the artifice of celebrity images and see performers without makeup and with their skin texture and pores visible. Some of the photos are taken in people's homes, or backstage rather than on a set. This lends considerably to the intimacy and honesty that she is trying to convey.
If you want shots of your favorite singer looking oh so pretty, go to their PR person. This is a serious body of work from a renowned photographer. It blends both her celebrity work with her own private interests in portrait photography for non-commercial audiences.
Spectacular Photos!.......2005-08-02
The catalog is gorgeous, the photographs are indeed spectacular. While the written entries were wonderful, they were too few and left me wanting more. I guess that's a good thing!
Beautiful Photographs from a master, however unfinished.......2004-11-17
In response to another review on this site, clearly if you think the book has "poor aesthetic quality" You know nothing of photography or art for that matter.
The people in this book are beautifully portrayed in silver and in color. Clearly the photographs were taken over a number of years, which shows the scope of the project.
The only thing that I find wrong with this project is that it may be unfinished. The book is called American Music. Cleary that is why there are mainly blues, rock and roll and hip, country/folk and hip hop artists. Obviosly everyone would like to see their favorite artists in the book and have the ones they dislike removed. I however feel that this is the artists choice, and we have to live with it. If Leibovits decides to put out a 'Part II' it would do all of us a favor.
The only reason why I don't give this a 5 out of 5 stars is that most of the photographs don't grab you by the face and demand your attention. The ones that grab me the most are the artists I folllow, so perhaps there is something in that. Some measure of knowlegde that must accompany the photographs. Buy the book anyways...and listen to more blues albums. I didn't check this review for spelling, HA!
Classical?.......2004-04-07
OK, think for a minute what it means deep down to chronical AMERICAN music.
That would be music that comes from the Delta and from Chicago and spread from there as essential Blues, Jazz, Rock and Roll and later forms of Pop. Classical came to us from Europe, what these artists represent are the outcome of truly American born music. I'm staggered that anyone would not make that connection..
And yes, we know that some may find Iggy Pop "ugly", but American Music isn't all about chicks that look like Britney Spears..
Average customer rating:
- 4 1/2* Psychedelic Music and Culture in 1960's S.F.
- Quite Disappointed
- Yawn and great disapointment!
- It's beautiful, man!
- beautiful addition for all libraries
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Beneath the Diamond Sky: Haight Ashbury 1965 1970
Barney Hoskyns
Manufacturer: Simon & Schuster
ProductGroup: Book
Binding: Hardcover
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The Haight-Ashbury: A History
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The San Francisco Oracle / The Psychedelic Newspaper of the Haight Ashbury (Digital Re-Creation)
ASIN: 0684841800 |
Book Description
Tells the story of Haight-Ashbury, San Francisco, in the years 1965-1970, the years "the Haight" emerged as the mecca of the countercultural scene. Hoskyns begins his history of this 8-block-wide area during the Beat period, which created the aesthetic for the psychedelic period that followed. He goes on to document the era's end with the defining moment of Altamont. Between these signal events, he analyzes the place & the people that became the catalyst for the greatest social revolution of 20th-century America. Includes more than 100 reproductions of the great bands, the fashions, & the psychedelic posters/artwork
Customer Reviews:
4 1/2* Psychedelic Music and Culture in 1960's S.F........2004-10-25
This nicely illustrated musical history explains how the "psychedelic" sound of mid- to late- 60's San Francisco bands (e.g., the Grateful Dead, Jefferson Airplane, Quicksilver Messenger Service, Janis Joplin, Country Joe and the Fish, Moby Grape, and others) were an extension of folk music with roots in 1950's beat culture. Thus, Kesey, Kerouac, Ginsberg, and Burrows figure prominently in the book, giving the music its foundation, it's apolitical ethos, and (as Hoskyns repeatedly emphasize) its acid and other drugs. The author's most fascinating and best writing occurs when he explores the roots and evolution of the San Francisco sound, and its love/hate relationship with the subcultures in which it was embedded.. For example, his analysis of the tension between the Berkeley radicals and the hippies is surprisingly astute and well documented (especially since there is inadequate analysis in much of the book).
The end of the psychedelic scene is a familiar and shallow account that includes legions of teen runaways, rampant drugs and violence, and, (must we hear this again?) the conveniently symbolic disaster at Altamount. More instructive is his description of how the music industry co-opted the scene (with help from musicians who actually wanted to make money!), the organizational talent of promoter Bill Graham who competed with the established but looser "Family Dog" outfit, the overdoses, and the dissolution of the beat-inspired ethos. Hoskyns writes that some of this was dissolution was inevitable, as the once young hippie musicians became the establishment, and a new generation rebelled against it. However, while San Francisco was a major part of the 60's scene, it was not the only part, and Hoskyns doesn't place it within the national context of the Nixon presidency, the increasing military/police complex, and the growing politicalization and militancy of women and other disenfranchised groups.
More importantly, for a music history Hoskyns' musical analysis is fairly weak, you don't get an idea of what the music was like, nor is there much discussion of how the groups differed. But that would have required a more serious, even scholarly book. "Beneath the Diamond Sky" is meant to appear a bit trippy, with different fonts and font SIZES and various tie-dye colors thrown in to replicate the feeling of the period. This mostly doesn't work; it's too much artifice, but at least you get some feeling for the creative impulse of the time. Finally, the book would have been better with a epilogue tracing what more of what happened to the S.F. musical and cultural leaders after the 60's ended, and what their influence has been on others.
However, that's not really what this book is about (despite its excellent early cultural analysis). The book is best for its great photographs of these seminal musicians and cultural icons in their prime, including pictures of street scenes, posters, and free concerts at Golden Gate park Still, the book can be annoying because of typos and other mistakes, and seemingly contradictory statements. It appears there was no single Haight Ashbury scene, and that's why this book may offend some who were actually there. However, I can strongly recommend this for its photos, and as an introduction to the subject (especially if you can find it used or discounted}. A short bibliography--but no discography!--may encourage further research into "Hashbury" history. Note: The book title is taken from Bob Dylan's "Mr. Tangerine Man."
Quite Disappointed.......2001-08-30
I am quite pleased I ordered a used copy of this book, and would have been quite disappointed if I had paid the [money on the] price tag.. Nice photos and much ado about music. In short, I lived in the Haight-Ashbury during those wonderful years. And this book reflects nothing of what life was really like. At all, to us that were not directly tied to a band. I partied at ...Ashbury and other places. I had hopes this would address what street life was truly like back then. It does not.
Yawn and great disapointment!.......2001-08-30
...Great photos and much ado about music. In short, I lived in the Haight-Ashbury during those wonderful years. And this book reflects nothing of what life was really like. At all, to us that were not directly tied to a band. I partied at 710 Ashbury and other places. I had hopes this would address what street life was truly like back then. It does not.
It's beautiful, man!.......1999-07-10
If you are like me, the subject matter of Beneath the Diamond Sky will be quite familiar turf: Haight-Ashbury in the sixties. In this case familiarity does not breed contempt. It breeds Love (as in "Summer of"). This bygone pop culture big bang has never been more concisely or attractively typified as in this book.
I fell in love with this book at first sight. I held it in my hands and yea, it was beautiful. I paged through it's rainbow-hued, lavishly illustrated pages and was filled with Satisfaction. I read the text and it was Righteous, dude. I admired the posters and buttons, rare photos and it was all very far out. This is a very reassuring book, a chronicle of the time when the universe swirled psychodynamically around Haight-Ashbury. It betokens all things Hippie and San Francisco without being sugar-coated.
Previous books addressing this topic have not found the right mix of form and content. "Summer of Love" by Joel Selvin, for instance was a pop history document which lacked the design and illustrative qualities of this book. Also, Selvin tended to rewrite things to the chagrin of the psychedelic cognoscenti enough to bring doubt upon the enterprise. "Diamond Sky" tends to neglect revisionism in favor of what is actually known.
Hoskyns does an admirable job of running all of the characters across the page for our scrutiny. The quotes, the deeds, the legends are all covered. I can't quibble with any of it, it's there and its familiar and as I stated before, it is beautifully presented. Hello to Jerry, Janis, Skip, Grace, Chet et. al.
Barney Hoskyns is a very adept pop music writer whose work appears quite often in 'serious pop music' magazines like Mojo. What I like about him here is that he doesn't seem to intrude upon the luminous subject matter at all. He lets the Haight speak for itself, which it continues to do quite well.
beautiful addition for all libraries.......1999-07-03
This book is small in size only! Author Barney Hoskyns' historical narrative of San Francisco's Haight-Ashbury 1965-1970 reads like a fascinating novel. I read this book in one siting and when I reluctantly turned the last page I suddenly realized that I had just received an intense lession in California history and the world of music. What a joy! I went out and bought three more copies for some close friends. Buy it!
Book Description
Compiled from the literary estate of the singer who brought a wildly lyrical poetry of the damned to the world of rock 'n' roll. Includes unpublished poems, drawings, photos, and a candid self-interview.
Customer Reviews:
Excellent Collection .......2007-05-17
This book is by far one of the best books of poetry I have had the pleasure of reading. Recommended to anyone that not only love's poetry but are interested in enter deeper into the mind of Jim Morrison.
I AM IN LOVE WITH JIM!.......2007-02-18
Jim Morrison is my favorite artist, idol, poet, male, and anything else. He is such an amazing person and his art is truly appreciated. Not only was he hot and sexy-he can actally write! Enclosed are his lyrics and deep emotions-a great read with a bunch of friends by a fire at night. You will love all these poems and the photos of the amazing beast himself-Jim Morrison himself revealed.
Strangely beautiful and mesmerizing...hypnotic.......2005-10-15
I love this book and you don't have to be a lover of poetry to admire and appreciate the poems contained in this book. Jim Morrison was a man who was deeply committed to his art. As the lead singer and lyricist of The Doors (one of the greatest rock bands of all time) he took special care that his lyrics as well as his poems aim to release people from the constraints of what is normal and that we as people should follow our own destiny and draw our own conclusions and live our life the way that we want it. Jim Morrison was a tortured, confused and misunderstood soul but nevertheless a genius. An enigma and legend that will live on forever. The lizard king, the electric poet cannot and will not be silenced ever... as long as his music and poetry continues to thrive in all who appreciate and love his unique and captavating artistry. Get this book and you will not disappointed.
Mesmerizing , Magical, Mystical Poetry.......2005-07-11
Jim Morrison was a poet far, far ahead of his time. His words evoke dancing, metaphorical images that bloom in your mind like rare hothouse flowers. You can feel the angst, pain and beauty of his soul in these poems.
If you love poetry, this book is a must-have. I keep it by my bed and read it every night. I've had some pretty awesome dreams, too!
Haunting.......2005-06-22
The words and images in this book have a way with your mind. They stick in your subconscious as if they are the stories your ancestors told around the campfire.
Jim Morrison's poetry is a mix of Greek mythology, and Shamanic mysticism. Throw in some books from long ago that are deep in the blood of mankind, and you end up with Morrison.
His poetry does not talk about himself. Instead he writes about archetypical themes in a modern setting. His setting was the 60's, which provided a lot of material: Vietnam, new drugs, the Women's Rights Movement, and the Civil Rights Movement.
All of these things were ripping at the fabric of America (and humanity). Morrison's poetry attacks these chaotic times head on. However, he writes as if he were a 19th century poet in the mold of Lord Byron, or Arthur Rimbaud. He achieved his goal, and a place in history.
Customer Reviews:
A wonderful step back in time!.......2007-09-09
The issue of all the old Radio Shows is by far the best decision ever made. I think I now own most of them and always look forward to adding more to my collection. Wonderful!
I Love A Mystery!.......2007-08-09
I used to listen to this show when I was younger. I was so excited to hear it again on a cd. The quality of this cd is good. I recommend this cd to anyone that liked the show.
Reason it is the same material.......2006-04-14
To the other reviewer's point, there is a reason that this collection features the "same old shows" that have been kicking around for years, etc. If you read the Encylopedia of Old-Time Radio, you'll see that tapes of the other shows have not been found to date -- the only ones out there are from the later Hollywood shows, not the New York shows with the original cast. Rumors have circulated for years that the tapes are being hoarded somewhere ... but at any rate, these are the ones that are available, until more are discovered.
Another Scam Perpetrated on Us OTR Fans.......2005-12-19
Here again we have the same shows that have been kicking around for decades hugely over-priced to make yet ANOTHER buck out of someone else's work. There is nothing new here so don't waste your money.
Someday (maybe) someone will put together one of these things and will give us something that will make the collection worthwhile. How about the ORIGINAL CAST of "I LOVE A MYSTERY"?
Michael Raffeto is the original Jack Packard (and is the guy creator Carleton E Morse had in mind when he created the part) He, along with Barton Yarborough as "Doc Long" and Reggie Patterson as "Reggie York", are the cast who put I LOVE A MYSTERY into our living rooms back in the good old days...but...no...we get the same old version everybody's been hearing for years with Russell Thorson as Jack, Jim Boles as Doc and Tony Randall as Reggie.
Now, please, I'm saying nothing against these three actors...(nor against Tom Collins, who took over the part of Reggie after Mr Patterson's death --Tom sure got around---he inherited the part of Chandu the Magician too---the original Chandu was Gayne Whitman---interesting because he's the guy trying to get radio stations to buy ADVENTURES BY MORSE on those two "audition shows" you hear on this cd---they did a FINE job recreating these classic shows back in the early 50s but everyone HAS these or can get them much cheaper than they are being offered here...my point is if you're gonna charge me over twenty bucks for something it better not be something I can get free from any collector (minus the cost of a blank cd or dvd). Give me something I haven't heard!!! Please!!!
In the meantime save your money until the people putting these albums out finally realize they are going to have to put in some work if they want to make some money.
A Must Have!!.......2004-12-07
After being out of print for a long time I Love A Mystery returns. This set is an excellent representation of Carlton E. Morse's radio series. The set of 20 CDs contains the following programs:
From I Love A Mystery:
The Thing that Cried In the Night
Bury Your Dead Arizona
The Million Dollar Curse (still missing episode 10)
The complete run of Morse's I Love Adventure
The complete first story, "City of the Dead", from Adventures by Morse
Plus the two audition shows for Adventures by Morse.
All sound like they have some cleaning done to them, and sound fantastic. This is a great set, and highly recommended!
Book Description
In one compact volume, POP DREAMS analyzes the trends, events, and personalities that influenced American culture from 1945 to 1970. The discussion broadens students' understanding of major events in popular culture by putting those events in historical context.
Customer Reviews:
brief and well written.......2005-08-25
This little book could easily have been a fully fledged tome. Loss surveys the popular American media in the 1960s. He shows how it echoed and in turn fed back on the burning issues of the times. The Vietnam War and the civil rights movement.
There is discussion of politics at the Federal level, with the actions of US Presidents being key events. But Loss manages to tie this all into a narrative that also encompasses analysis of the rock and roll scene and the counterculture.
The book is aimed at an undergraduate or high school reader, as a quick synopsis of trends that Loss traces back to 1945 and the emergence of the US from the Second World War. He hopes to whet the reader's appetite for more detailed reading of these vast topics.
Customer Reviews:
Wonderful Story.......2005-05-28
I have the audio cassette of A Dream Is a Wish Your Heart Makes, and it is beautiful. I've listened to it several times in my car. I don't tire of it because it is a human story. Annette Funicello suceeded on her own -- her father was an auto mechanic and her mother stayed at home. This is an inspiration to children and even adults.
Fresh, lively writing and colorful anecdotes .......2005-05-06
Surprisingly absorbing and lively recollections from Annette Funicello, one-time Mouseketeer and Disney darling who was the only teen-mouse to graduate to the big screen via "Babes In Toyland" and the "Beach Party" and "Merlin Jones" comedies. Annette comes clean about being the only Mouseketeer kept on contract by Walt Disney after MMC ran its course, and she contemplates why that was and how her co-stars struggled without Disney's guidance. She is very upfront, but also a little indifferent to her own good fortune, embarrassed and innately shy about a career that just fell into her lap. She says she never aspired to fame, but got it regardless. The book continues its interesting narrative even after Annette marries and retires, cleaning the house the day she heard Walt Disney passed, and eventually realizing her marriage was out of gas. Fate dealt Annette (and all her fans) a bitter hand when she was diagnosed with MS, which she still continues to fight, but her inspiring conclusion to the book gives all of us hope.
Relatively engaging, but missing a lot.......2002-10-12
As a fan of the "pop" movies and music of the 1960's, I've had a long term interest in the author. So I opened up this book not just curious, but perhaps somewhat already knowlegable about Annette, particularly her "post-Mickey Mouse club" career and life.
And perhaps that's why I give this book at best 3 stars.
Annette and Patricia Romanowski (perhaps the names should be the other way around, one gets the sense reading this -- given much of the vocabularily used and the quality of the writing -- that Romanowski, not Funicello wrote most of it; nothing against Annette, but I have a hard time believing a woman with just a high school education writes this well) really cherry-pick way you learn about.
Fine, I understand that's the nature of celebrity "autobiography," but this one goes too far. It over-focuses heavily on certain stories (her adolescent relationship with Paul Anka, making it out to be a lot more than it probably was) and completely ignores others.
As example, some of the messy "politics" that went on in the cast of the original Mickey Mouse club -- everything is warm and fuzzy in Annette's version -- remain unmentioned.
The book also glosses over Annettes entry into the American International Beach Party movies. In the book, Annette implies Walt Disney simply offered her a script one day for a film named "Beach Party." Well, the story isn't quite that simple:
Annette's entry in the series came partly because she and Walt Disney knew she desperately needed a change in career direction. By early 1963, Annette was 20 and had clearly grown out of her "kiddy" positioning as a Mouseketeer. Walt did his best, but could only find so many internal opportunities for a "grown up"" Annette. She'd appeared in a handful of live action movies for Disney, and still made occasional appearances on his Sunday TV show, but this wasn't leading to any starring role opportunities outside of his company. Also, a pop singing career that started in 1959 and produced a handful of hits had slowed down (by early 1963, Annette hadn't charted in almost 3 years). As a result, when AIP approached Walt, looking for an affordable, beautiful brand-name leading lady who could sing for their new, trendy "surfing" movie, he immediately saw an opportunity to fix his "what-do-I-do-with-Annette" problem. With his blessing (Annette was still under contract to Disney,) a deal with AIP was quickly finalized.
But you'll never hear about any of that in this book.
Also, Annette repeats an infamous "urban legend" about the Beach Party series.
Since she was still under contract with Disney while appearing in these movies, Annnete claims Walt Disney insisted in negotiations with AIP that she never be involved in any "suggestive" sequences. Specifically, she says Walt insisted she could not be filmed wearing anything that "showed her navel." Annette goes on to state that through the course of 6 Beach Party movies, she never wore anything that showed her navel "out of respect" for Mr. Disney.
Well, irrespective of what Walt supposedly requested/desired, Annette apparently forgot about the bathing suits she wore during early scenes in both Muscle Beach Party and Bikini Beach: in the former, a white supposedly "tummy-covering" two piece, and the latter an honest to goodness blue and white bikini. Both of these at times clearly left her navel 100% uncovered and readily viewable to anyone who isn't asleep (the "navel appearance" is brief and somewhat subtle in Muscle but obvious and extensive in Bikini, particularly in the scenes where Annette first gets involved with Avalon's "Potato Bug" character). As far as navels go, Annette's is nice, but hardly anything to get all hot and bothered over (particularly in the context of the distraction produced by all the other undulating, bikinied females floating around in those scenes). Frankly, one is really left wondering what all the fuss was about.
The book also completely ignores Annette's post Beach Party career at American International Pictures, an intriguing period that had a lot to do with her "retiring" from acting when she did.
Botttom line: one ends up respecting the author - she is indeed is the class act and lady you always presumed - but frustrated, knowing there's a lot more to her story.
I ACTUALLY WANT THE MOVIE ON TAPE OR DVD.......2002-01-30
This is the very touching autobiography of Annette Funicello. It is acurate because she is in it and so is Frankie Avalon and some other people played themselves, too. Linda Lavin does a good job playing her mom. It is very well acted and detailed.
One Of The Best Books I Have Ever Read.......1998-12-31
Since I've been a fan of Annette ever since day one on the Mickey Mouse Club, how can I not rate it as number one. She's the best.
Average customer rating:
|
Beale Street: Crossroads of America's Music
William S. Worley
Manufacturer: Addax Pub Group Inc
ProductGroup: Book
Binding: Hardcover
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ASIN: 1886110182 |
Book Description
Take the Mississippi River flowing through the heart of America, to Memphis. Go east and find the birthplace of the Blues and the heart of our American music heritage. Find a melting pot of delta blues, jazz, rock-n-roll, R&B, and gospel. Find cold brew and hot music. Find Beale Street. The stories and photos in Beale Street, Crossroads of America's Music capture a legacy passed on by the masters - a living, pulsating howling rhythm that smacks you at the turn of every page.
Three million people a year visit the authentic blues clubs, unique shops, art galleries, cafes, and other great attractions. They come for the celebrations. They come for great food. Some come just to experience the legendary Beale Street beat, the granddaddy of today's popular music.
This book is filled with never before published photos of a young Elvis Presley, B.B. King, Martin Luther King and more as they contribute to the heritage of Beale Street. Reach down and grab American music by its roots. Experience the legend of Beale Street.
Book Description
View the
Table of Contents. Read the
Prologue.
”Sharpley-Whiting's book does not suffer from the sort of cowardice one too often hears from black academics who genuflect to hip hop in order to stay current with the tastes of the students who provide them with whatever power they have on college campuses. Sharpley-Whiting calls them as she sees them and wisely quotes the offensive material when necessary. Her book is high level in its research and its thought, and those looking for adult ideas about the subject should look it up.”
—Stanley Crouch, New York Daily News
”Sharpley-Whiting gets at the heart of the paradox . . . and puts the discussion on the turntable.”
—Washington Post
”Sharpley-Whitting's uncommon perspective is one that deserves to be examined more often.”
—Bitch
”For B-girls who embrace both the brashness of Lil' Kim and the pro-feminism of Lauryn Hill,
Pimps Up, Ho's Down is an intellectual look at the intricate, diverse attitudes of young black women within the hip hop community. Sharpley-Whiting combines thought-provoking text with interviews that range from the `rich' (see Trina) to the `regular' (everyday women), giving a voice to today's complex and contradictory females within hip hop.”
—The Source Magazine
”Through provocatively titled chapters such as `Sex, Power, and Punanny' and `Strip Tails: Booty Clappin', P-poppin', Shake Dancing,' Sharpley-Whiting provides a sobering analysis of women's participation in the hyper-sexualized black American, urban youth culture known as hip hop. . . . This book delivers a riveting portrayal of hip hop, from the thumping rap music that serves as a soundtrack for America's strip clubs to the predatory groupies who relentlessly pursue rap stars.”
—Ms. Magazine
”Probing. . . . A canny study. . . . Sharpley-Whiting brings both street smarts and sophisticated cultural analysis to her subject.”
—Philadelphia Inquirer
”Clear and well written. . . . It serves as a decent jumping-off point to discussions of young black women in our current society. . . . Sharpley-Whiting has opened up the dialog, offering a source for research in a burgeoning area of study.”
—Library Journal
”Sharpley-Whiting provides interesting anecdotes about the ways in which women are portrayed (and often used) within hip hop. . . . [Her] insightful analyses [include] a particularly interesting discussion of the intersections of race, class, and capitalism in strip clubs.”
—Bust Magazine
Pimps Up, Ho's Down is an in-depth look at hip hop's effect on young black women. Sharpley-Whiting discusses topics such as light-skinned black (or ethnically ambiguous) females getting more love in hip hop videos, unreported sexual abuse within black communities — even the fact that most hip hop groupies do not consider themselves groupies. She successfully ties these trends into the mainstream hip hop culture of today.
Pimps Up, Ho's Down provides an intellectual look at how hip hop views and affects the young black women of this generation, most who are oblivious to what is actually going on. Sharpley-Whiting's uncommon perspective is one that deserves to be examined more often.”
—URB
“Offers a bracing, brilliant, and provocative take on how hip hop has affected young black women. Sharpley-Whiting manages the difficult task of being critical of destructive elements of hip hop culture without being dismissive of its edifying dimensions. This lucidly penned manifesto in defense of the intellectual spaces between hip hop and feminism will undoubtedly inspire heated debate and fruitful conversation about gender, black identity, and conflict between the generations."
—Michael Eric Dyson, author of Know What I Mean?
“In
Pimps Up, Ho's Down, Sharpley-Whiting's razor-sharp analysis turns an illuminating spotlight on the dark, complicated intersection where feminism and hip hop meet.”
—Joan Morgan, author of When Chickenheads Come Home to Roost
"
Pimps Up, Ho's Down provides a vital critical assessment of the sexual exploitation of women and girls all too prevalent in hip hop culture and in our larger society. This intelligent and sensitively written study is mandatory reading for those of us who must stop the violence."
—Darlene Clark Hine, co-author of A Shining Thread of Hope: The History of Black Women in America
“In this bold critique of popular culture's stereotypical representations of hip hop, Tracy Sharpley-Whiting never wavers from her end goal of empowering the hip hop generation.
Pimps Up, Ho's Down takes this discussion beyond the ivory tower and into the lives of everyday people.”
—Bakari Kitwana, author of The Hip-Hop Generation
"This compelling, well-researched-and alarming-account of how hip hop culture has impacted the lives and shaped the identities of young black women should be read by women and men of every generation."
—Paula Giddings, author of When and Where I Enter: The Impact of Black Women on Race and Sex in America
“Tracy Sharpley-Whiting's groundbreaking book makes central the harsh sexist and racist realities that hip hop generation Black women face on a daily basis.”
—Aishah Shahidah Simmons, Producer/Director of NO! (The Rape Documentary)
Pimps Up, Ho's Down pulls at the threads of the intricately knotted issues surrounding young black women and hip hop culture. What unravels for Tracy D. Sharpley-Whiting is a new, and problematic, politics of gender. In this fascinating and forceful book, Sharpley-Whiting, a feminist writer who is a member of the hip hop generation, interrogates the complexities of young black women's engagement with a culture that is masculinist, misogynistic, and frequently mystifying.
Beyond their portrayal in rap lyrics, the display of black women in music videos, television, film, fashion, and on the Internet is indispensable to the mass media engineered appeal of hip hop culture, the author argues. And the commercial trafficking in the images and behaviors associated with hip hop has made them appear normal, acceptable, and entertaining-both in the U.S. and around the world.
Sharpley-Whiting questions the impacts of hip hop's increasing alliance with the sex industry, the rise of groupie culture in the hip hop world, the impact of hip hop's compulsory heterosexual culture on young black women, and the permeation of the hip hop ethos into young black women's conceptions of love and romance.
The author knows her subject from the inside. Coming of age in the midst of hip hop's evolution in the late 1980s, she mixed her graduate studies with work as a runway and print model in the 1990s. Her book features interviews with exotic dancers, black hip hop groupies, and hip hop generation members Jacklyn "Diva" Bush, rapper Trina, and filmmaker Aishah Simmons, along with the voices of many "everyday" young women.
Pimps Up, Ho's Down turns down the volume and amplifies the substance of discussions about hip hop culture and to provide a space for young black women to be heard.
Customer Reviews:
insightful, well-written take on misogyny in popular culture.......2007-05-08
Sharpley-Whiting's accessible prose style and unique insight make this a must for anyone interested in popular culture, hip hop and rap, women's issues, Black popular culture, and youth. In all my years researching the topics of rap music, hip hop culture, gender and violence, I have never encountered such a unique and much needed approach. While much has been said about the sexist and homophobic nature of rap lyrics, very little has been done to understand how our sexually repressive, yet permissive, society including rap music has negatively affected Black girls and women. Sharpley-Whiting tackles this issue from a variety of angles demonstrating how the misogyny and sexual obsession in rap music impacts girls' and women's sense of self, how sex and rendering women as sexual objects in rap music affects Black women erotic dancers, video dancers, and groupies, and related topics.
Dr. Sharpley-Whiting broke it down! .......2007-03-23
Dr. Sharpley-Whiting has contributed a necessary and extremely timely analysis to the surface-level discussions surrounding hip hop and its impact on young black women. The exploration of complex contradictions within hip hop music and culture is both scholarly and sincere. This book is a necessary read, as it departs from the easy criticism of lyrics to the difficult and largely un-had conversations regarding sexual abuse, constructions of beauty, and the relationship between hip hop and the flourishing sex tourism industry. I learned about the prophetic warnings and relevance of Franz Fanon, I laughed about the similar and stark realities I share with the writer, and I learned, once again, that I love and am hip hop--contradictions and all!
Book Description
In American Popular Music: From Minstrelsy to MP3, Second Edition, Larry Starr and Christopher Waterman examine popular music in the United States from its beginnings into the 21st century, offering a comprehensive look at the music, the cultural history of the times, and the connections between them. Using well-chosen examples, insightful commentaries, and an engaging writing style, this text traces the development of jazz, blues, country, rock, Motown, hip-hop, and other popular styles, highlighting the contributions of diverse groups to the creation of distinctly American styles. It combines an in-depth treatment of the music itself--including discussions of stylistic elements and analyses of musical examples--with solid coverage of the music's attendant historical, social, and cultural circumstances. The authors incorporate strong pedagogy including numerous boxed inserts on significant individuals, recordings, and intriguing topics; coverage of early American popular music; and a rich illustration program. Detailed listening charts explain the most important elements of recordings discussed at length in the text. The charts are complemented by two in-text audio CDs and--new to this edition--an iMix published at iTunes, which makes most of the songs immediately available to students and instructors. Features of the Second Edition * Integrates full color throughout * Provides more coverage of women artists, with new material on women in rock 'n' roll in Chapter 8 and a box on Queen Latifah in Chapter 14 * Reorganizes the discussion of post-1970s music: disco is now included with mainstream 70s pop, while hip-hop is treated in two chapters (12 and 14) in order to emphasize its significance and diversity * Adds new material on the recent alternative country music explosion * Includes new developments in music technology in the thoroughly revised concluding chapter * Offers revised and more vivid visual elements, including more than 100 new photos (most in full color) and an illustrated timeline * Provides redesigned listening guides, enhanced by an iMix published at iTunes (accessible at www.oup.com/us/popmusic) * Supplemented by a Companion Website at www.oup.com/us/popmusic (containing both student and instructor resources) and an Instructor's Manual and a Computerized Test Bank on CD * FREE with the purchase of this book: a 6-month subscription to Grove Music Online (www.grovemusic.com)--a $180 value Remarkably accessible, American Popular Music, Second Edition, is ideal for courses in American Popular Music, the History of Popular Music, Popular Music in American Culture, and the History of Rock 'n' Roll. Its welcoming style and warm tone will captivate readers, encouraging them to become more critically aware listeners of popular music.
Customer Reviews:
Just the facts, please...just the facts.......2007-04-19
"However, for most white Americans, who had little experience dancing to syncopated music, ragtime pieces apparently created a slightly disorienting or dizzying sensation. Descriptions of the time stress the titillating effect of offbeat rhythms, sometimes likening them to a pinch of pepper used to spice up an otherwise bland soup or stew. Of course, it is important to remember that the dancers' prior experience and cultural values conditioned these attributions of "spiciness." It seems likely that many African Americans would have found the mildly syncopated music performed by the most successful dance orchestras of the era neither stimulating nor scandalous."
"Seems"? "Apparently"? I really wish that this book was less subjective and more concise and factual. I understand that there is always a bit of personal bias and opinion in everything written...but at least the authors could have made it a little less apparent? It is written in a smug tone that is unbecoming of a college textbook.
But then again, don't you just love it when professors write the textbook for their class then have it end up being 70+ dollars?
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