Book Description
Herman Gray takes a sweeping look at black popular culture over the past decade to explore culture's role in the push for black political power and social recognition. In a series of linked essays, he finds that black artists, scholars, musicians, and others have been instrumental in reconfiguring social and cultural life in the United States and he provocatively asks how black culture can now move beyond a preoccupation with inclusion and representation.
Gray considers how Wynton Marsalis and his creation of a jazz canon at Lincoln Center acted to establish cultural visibility and legitimacy for jazz. Other essays address such topics as the work of the controversial artist Kara Walker; the relentless struggles for representation on network television when those networks are no longer the primary site of black or any other identity; and how black musicians such as Steve Coleman and George Lewis are using new technology to shape and extend black musical traditions and cultural identities.
Customer Reviews:
The Poverty of Sociological Reductionism in Black Cultural Studies.......2006-07-20
Gray, a sociologist at the University of California, Santa Cruz, builds on his previous scholarship on the circulation of race in network television and jazz in this study of contemporary black cultural politics. The book starts on a promising foot, offering a paradigm of cultural production that examines how current "black self-representation and collective self-fashioning in music, visual arts, broadcast television, and new information technologies...move beyond cultural politics preoccupied solely with inclusion, representation, and identity" (3). According to Gray, *Cultural Moves* is interested in the interplay between media, technology, consumerism, and institutionality as they bear on current strategies of black cultural representation.
Unfortunately, the rest of the book fails to deliver on this intriguing premise. Gray is the type of sociologist who spends so much time setting up his structuralist account of social action that he never gets around to actually analyzing the things -- artistic practices, musical and visual texts -- that constitute cultural production as such. On the potentially illustrative case of Wynton Marsalis' directorship of the jazz program at the Lincoln Center, for example, Gray is paralyzed by utterly meaningless abstractions -- to wit, "jazz is characterized by a complex set of social values, a sophisticated tradition of recognizable texts and practitioners, and a systemic means of reproduction" (37). Wow. I can almost hear Marsalis howling in mock disgust at Gray's sociological reductionism, for evacuated from this discussion is *any* concept of the properly aesthetic irruptions that Marsalis' jazz project brings to the U.S. musical and concertgoing establishment. Instead, we leave this example with merely a vague intimation of Marsalis' "cultural difference."
In a similar vein, chapters on the circulation of blacks in postnetwork TV culture (pp. 77-113) and in cyberspace (pp. 133-47) cite NO examples of actual texts, television shows, websites, etc. to support Gray's theories, save a smattering of references to Fox's *In Living Color*. Rather than engage original interpretive analysis of the multitude of examples available to him, Gray is content to wax academic on the *idea* of black cultural production with trite, vacuous pieties such as, "To the extent that television ever did produce effective national identifications by managing racial difference through exclusion and eventually incorporation, it did so primarily through representation and consumption" (105). This is a truly unfortunate sentence, enamored as it is of its seeming intelligence when all it says is the painfully obvious -- that television's "racial" meaning is a function of representation and consumption.
In short, this book is a reductive sociological account of complex cultural phenomena -- a mode of scholarship that I've noted is all-too-common in the field of black cultural studies in particular. As someone who is committed to the serious, in-depth study of black cultural politics, I'm dismayed by scholars like Gray who cannot understand cultural practices as they are taken up by living, breathing people rather than disembodied, structuralist theories. (And not especially smart structuralist theories at that.)
Book Description
Ten songs: Cocaine * Crossroads (Cross Road Blues) * Knockin' on Heaven's Door * Lay Down Sally * Layla * Ramblin' on My Mind * Wonderful Tonight * Worried Life Blues.
Book Description
Proud to Be an Okie brings to life the influential country music scene that flourished in and around Los Angeles from the Dust Bowl migration of the 1930s to the early 1970s. The first work to fully illuminate the political and cultural aspects of this intriguing story, the book takes us from Woody Guthrie's radical hillbilly show on Depression-era radio to Merle Haggard's "Okie from Muskogee" in the late 1960s. It explores how these migrant musicians and their audiences came to gain a sense of identity through music and mass media, to embrace the New Deal, and to celebrate African American and Mexican American musical influences before turning toward a more conservative outlook. What emerges is a clear picture of how important Southern California was to country music and how country music helped shape the politics and culture of Southern California and of the nation.
Book Description
Ranging from Los Angeles to Havana to the Bronx to the U.S.-Mexico border and from klezmer to hip hop to Latin rock, this groundbreaking book injects popular music into contemporary debates over American identity. Josh Kun insists that America is not a single chorus of many voices folded into one, but rather various republics of sound that represent multiple stories of racial and ethnic difference. To this end he covers a range of music and listeners to evoke the ways that popular sounds have expanded our idea of American culture and American identity. Artists as diverse as The Weavers, Café Tacuba, Mickey Katz, Rahsaan Roland Kirk, Bessie Smith, and Ozomatli reveal that the song of America is endlessly hybrid, heterogeneous, and enriching--a source of comfort and strength for populations who have been taught that their lives do not matter. Kun melds studies of individual musicians with studies of painters such as Jean-Michel Basquiat and of writers such as Walt Whitman, James Baldwin, and Langston Hughes. There is no history of race in the Americas that is not a history of popular music, Kun claims. Inviting readers to listen closely and critically, Audiotopia forges a new understanding of sound that will stoke debates about music, race, identity, and culture for many years to come.
Customer Reviews:
A disappointment and poorly constructed.......2006-12-22
In most of the articles Kun has written, he goes on about his upbringing as a "rich kid in LA." I keep reading in various articles the same nostalgic patter about bar mitzvahs and being into records as if no one else in the world was, and more about being rich and a "disaffected Jew". They are strangely the same autobiographical stories, told over and over and over again, and so mundane and boring you wonder what the fuss is about, and what he's so proud of with this, and why he thinks we should view them as anything beyond the dull world of an over-indulged child of priviledge. True to form, the book starts out with this AGAIN! After his usual first person ramble on the subject (the reason why is unclear.. since often it has nothing to do with the subject matter being covered), he then goes on-- rambles on-- about the subject of "American music" (I think) -- switching to a opaque academic "professorial" voice, veering into various declarations about "race." His "opinions" on race-- particularly Mexican and African-American (I'm talking about the poor societies therein, not the priveledged tier)-- too often come across through a foggy lens, not by someone who has a clear vision of and experience with the issue (why he impresses the fact that he lives in a glass house and then tries to get us to believe that he "really gets" the world of ghettos and poverty is beyond me). His attitude toward the world of the new Jewish immigrant in America is often insulting and strange, particularly in the way he mocks this group. This, and other rants, only impresses the fact that a boy in an ivory tower attempting a hipper-than-thou stance has little true understanding of the subjects he writes about. Beyond this turn off, there are other problems. This is a very poorly constructed book, and very tiring. The subject matter is far above the tiresome presentation and the quality of writing. Wish someone else had tackled the subject, and by a more outstanding press (but perhaps it was turned down by the bigger houses).
an illuminating discussion of race and popular music.......2006-03-25
*Audiotopia* takes on a difficult question: if we tell the history of America through its popular music, what does the country look like (or, should we say, sound like)? Kun's answer is that music is one of the most multicultural parts of American culture, able to evoke 'audiotopias' through the clash and fusion of different musical idioms. The audiotopia of Ozomatli, for instance, suggests that the various communities that produced salsa, ranchera, reggae, ska, and funk might not be so far apart in the end -- a hopeful vision that contrasts with the real-life segregation of communities in America.
While some parts of the book (e.g., the section on James Baldwin) do have a more academic ring, the sections on music are written with verve and a canny sense of the *sound* of the music. For my money, Kun is more alive to the beautiful strangeness of Roland Kirk's music than anyone else I've read on the saxophonist. And his affectionate reconsideration of the career of Mickey Katz -- a clarinetist who mixed Spike Jones absurdities, klezmer tunes, and Catskills-like Jewish humor -- is wonderful too.
On a final note, I would add that I teach the history of popular music on the college level and have recommended the book to undergraduates doing research papers on various kinds of contemporary music. In several cases, the students have told me that the book helped them think in new ways about the special cultural space that music can create -- that it helped them understand why they felt so attached to some kinds of music and the worlds they felt invited into.
no gracias.......2006-01-29
Kun's "Audiotopia" is incredibly dense and mostly mundane. Its ideas are buried in academic blather and pseudo-technical vocabulary like "audioracial" and "univocality." Suitable for graduate students in dire need of quotations for middle-of-the-road American Studies papers.
The closing line of "Audiotopia" sums up the chaos of the book's thesis:
"There were no 'open mouths,' no 'strong melodious songs,' no symphonies and no orchestras, just a house full of strangers huddled beneath a sky still ringing with sound."
Indeed, this book is a house full of strange, obvious ideas.
Average customer rating:
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Crossroads: Popular Music in America
Elizabeth F. Barkley
Manufacturer: Prentice Hall
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ASIN: 0130971464 |
Average customer rating:
- some Blakean breakthrough into the heavens of poetry...
- Let Us Now Praise Famous Pop Songs
- A really good magazine article that went undited.
- Where's That Zero Star Option When You Need It?
- What Did You Say this Book is About?
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Like A Rolling Stone: Bob Dylan at the Crossroads
Greil Marcus
Manufacturer: PublicAffairs
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ASIN: 1586482548
Release Date: 2005-03-29 |
Book Description
For the fortieth anniversary of the recording of"Like a Rolling Stone," the definitive biography of the song that caught the questing spirit of its time and overnight changed the rules of the possible in popular music for all time
Greil Marcus saw Bob Dylan for the first time in a New Jersey field in 1963. He didn't know the name of the scruffy singer who had a bit part in a Joan Baez concert, but he knew his performance was unique. So began a dedicated and enduring relationship between America's finest critic of popular music-"simply peerless," in Nick Hornby's words, "not only as a rock writer but as a cultural historian"-and Bob Dylan. In Like A Rolling Stone Marcus locates Dylan's six-minute masterwork in its richest, fullest context, capturing the heady atmosphere of the recording studio in 1965 as musicians and technicians clustered around the mercurial genius from Minnesota, the young Bob Dylan at the height of his powers. But Marcus shows how, far from being a song only of 1965,"Like a Rolling Stone" is rooted in faraway American places and times, drawing on timeless cultural impulses that make the song as challenging, disruptive, and restless today as it ever was, capable of reinvention by artists as disparate as the comedian Richard Belzer and the Italian hip-hop duo Articolo 31."Like a Rolling Stone" never loses its essential quality, which is directly to challenge the listener: it remains a call to arms and a demand for a better world. Forty years later it is still revolutionary as will and idea, as an attack and an embrace. How Does it Feel? In this unique, burningly intense book, Marcus tells you, and much more besides.
Customer Reviews:
some Blakean breakthrough into the heavens of poetry..........2007-07-07
This reader thought he knew this era-shattering Dylan song and its contexts; but this book kept enriching it start to finish, and showed as well how it nearly did not happen, could have easily been abandoned in the drafts of the studio or the maze of putting Bloomfield and Kooper in on it. I was a CT kid in the shadows of Forest Hill concert, and in truth I was applauding that electric guitar like it was some Blakean breakthrough into the heavens of poetry, same thing when I heard the Byrds sing Turn Turn Turn or Tambourine Man. Re Dylan, Marcus keeps raising spectral contexts out of the airwaves, shows how the song breaks into the `great time' and afterlife of music created by Sam Cooke and Robert Johnson. This books shows how Dylan was using the top 40 as an access into that depth of folk-pop poetry coming out of the future, making a future America happen in the present, endure as a legacy and obligation. I can see how a poet such as Dylan would be grateful for such a reading, breaking his poetry into the invisible republic of the spirit.
Let Us Now Praise Famous Pop Songs.......2007-04-21
Marcus, especially in this book, reminds me of James Agee. Not Agee the reactionary film critic, but the ecstatic Agee of Let Us Now Praise Famous Men - the way he could look deeply and lovingly at a sharecropper's cabin and find every splinter and stain luminous and profoundly human and dignified. Check out Agee's riff about listening to Beethoven with your head crammed into the speaker and cranking it up until it hurts. When Marcus digs into his obsessions it can be like that, revealing details of perception and levels of feeling that you can't imagine having missed.
On the downside, Marcus also shares Agee's tendency to lapse into rambling and grandiosity, and the words can pile up and stumble over themselves, leaving you wondering what the hell he's talking about. He has so many ideas and passions, and wants to draw connections between his subject and so many other things. When it works it can be fascinating, but sometimes it's a bit of a stretch, and you wish he would at least not try to cram them all into one sentence/paragraph/page. In this book especially, I often found myself wishing for a stronger editorial hand to rein him in and clear up some of the log jams. It raises an interesting question about how far you can push journalism in the direction of literature and have it still be effective. After all, Agee's great tome began as a magazine article that got out of hand...
But I like to watch Marcus' mind at work, even when he goes off the deep end. He's one of my favorite writers to argue with; I may occasionally think he's full of it, but I admire the effort. When so much music writing is either lame fanboy drivel, shallow blurbage, or arid academic nonsense, it's a pleasure to read someone both passionate and scholarly who is prepared to dig so deeply, to stake a claim that this music (whatever it is - in this case Dylan's) really matters.
A really good magazine article that went undited........2007-04-03
There are many interesting facts regarding the cultural and musical importance of this song and many good anectodes from the studio. However, the interesting parts could have made a decent magazine article (and have already) while the rest is quite rambling and bloated. Still, a decent enough book and if you don't know much about the song or its importance, not a waste of time.
Where's That Zero Star Option When You Need It?.......2006-09-06
I happen to believe that Bob Dylan is the most important American artistic voice of the last half century at least. I also happen to believe that Like a Rolling Stone is the best rock song ever. If one does not believe those two things, Greil Marcus' hyperbolic huffing of a book is not going to convince you. Only Dylan's work will do that. If, on the other hand, you do already agree, Marcus' hip pomposity is pointless. Is the man capable of writing a sentence without layered metaphors and with fewer than twenty-five words? By the evidence in Like a Rolling Stone, no. If you want to know what Dylan is and means, read his own Chronicles, not this.
What Did You Say this Book is About?.......2006-04-07
This is about Bob Dylan, based on the title of his most famous song, or maybe about his music and others who also sang his songs. Or maybe it is about the culture and trends of that time, or about the uncertainty of American cultural identity. I don't know. I was left puzzled and a bit frustrated.
The author writes very impressionistically, and it is sometimes hard to tell what he is talking about. He includes some interesting details about particular songs and their performances, but this is not a chronological epic. The author jumps around and uses creative associations and metaphors.
Thus it is difficult to relate one song to another, one event to another, to get a picture of what was really happening in Dylan's life and music or in the culture around him, to which his music supposedly speaks. I kept feeling like something was about to happen, to be revealed, to unfold dynamically out of the somewhat surreal scatter of events, people, places and songs. But it never happened.
No culminating event occurred; no point was ever made. No summarizing reflection ever arrived to clarify the muddle and tie the pieces together.
Marcus seems to present some keen insights about Dylan (real name Robert Zimmerman) and the times, and many other music groups and songs, events and places, trends and impressions, but most of the time it is not clear just what the insight is.
Maybe that is the insight, as a commentary on the times and the spirit Dylan is thought to represent. Is this an ode to one song; a tribute to the writer-singer? A personal flight of skittish memory clips?
Somewhat frustrating reading on what would have been a good topic.
Average customer rating:
- Great ideas but not a great read
- From the inside
- A Wake Up Call
- not just about CCM, but about life
- An instructional approach to CCM
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At the Crossroads: An Insider's Look at The Past, Present, and Future of Contemporary Christian Music
Charlie Peacock
Manufacturer: B&H Publishing Group
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The Billboard Guide to Contemporary Christian Music
ASIN: 0805418229 |
Customer Reviews:
Great ideas but not a great read.......2005-03-19
I'll agree with other reviewers on some of the criticisms of the book in that it doesn't necessarily read very well. Peacock does take a long time on expository setting up his main point of how the CCM industry's worldview may be misguided when it's probably not needed. The audience for this book presumably is already Christian, whether they be record company label heads and workers, musicians, or just dedicated listeners of gospel music. If you're involved with the music, you probably know the history.
I also felt that perhaps too much attempt was made to "blame" CCM's often utilitarian [i.e. music strictly as salvation tool] emphasis on John Wimber and his followers (Please note: I am not personally a member of the Vineyard..nor would I even consider myself charismatic. I just felt that he was singled out as being the cause of CCM theology being more oriented to the experiential rather than the theological...i.e. how do I FEEL about God as opposed to what do I learn about God from His WORD)
That being said, Peacock rightly points out that if CCM truly does intend to reach the lost, it's not doing a good job of spending promotional money and aiming marketing at putting its artists in places where they're more likely to find the unconverted (i.e. trying to get them into bars, coffeehouses, mainstream music fests, etc etc etc) He also suggested (I believe correctly) that the industry's focus on appealing to what it perceives as the desires of the already converted in terms of lyrical expression, direct testimony and salvation appeals at live appearances, and artists parroting the "approved" answers in interviews tend to stifle the musicians' proper role as artists and limit the reach they can have within the greater culture at large.
While I'm not sure whether Peacock has the answers to really getting the message out to those who need to hear most and of restoring the Church to its place of preeminence in the arts, it appears he's at least asking the correct questions and that's a good start.
From the inside.......2001-05-20
Charlie has written probably one of the most thoughtful treatise on the CCM monster. I have my own issues with this industry and dare I say, Peacock addresses 90% of them. He also does it in a fashion that is fair and careful. He clearly wants to see the artists thrive and looks at the chasm that has grown between the church and the artist. Leaving many artists to forage on their own without support from fellow Christians, or to water down their art into a palatable cheerleading craft. Ministry, art, stardom are all topics Charlie approaches with great care and concern. If some are offended by Charlie's approach, it is through not fault of his, and they are likely people who find fault everywhere but with themselves. This is an excellent book for anyone curious about Christian music, both where it's been and where it's can go.
A Wake Up Call.......2000-11-12
Where did Christian music come from and what were its early driving forces? What mistakes were made that caused many of the problems we wrestle with today to arise? What exactly IS Christian music? Is music to be used only for ministry? Where is Christian music going? How do we, or even CAN we, meld our music with business, and what about the partnership with the mainstream record companies?
These are questions that Peacock confronts head on, using history, reason, common sense, and, most importantly, solid Biblical scripture and principles. He has truely strived to give a fair and balanced view of the situations that we are in, and then appealed the the Scriptures to give Biblical solutions and answers to the problems and roads that we are facing. No matter what position you take on any of the above issues, you should be touched and encouraged by what Peacock lays out here, since he does it gently and Biblically, and he really is one of the best equipped men to do something like this. Steven Curtis Chapman wrote "I know of no one who has wrestled more profoundly with these issues and how they may relate to the arts, especially Christian music, than Charlie Peacock."
If you're planning on entering a career related to CCM in any way this should be required reading, but even as a fan it's something you'll want to pick up. It should radically alter the way you think about Christian music and view its place and mission in the world, as well as affect your over-all Christian walk as you try to approach life from a Kingdom Perspective. I give At the Crossroads my full support and recommendation, both critically and as someone who has a passion, love, and concern for CCM and its future.
not just about CCM, but about life.......2000-01-19
This book is tremendously awesome. That's too bad that some people have gotten confused with what Peacock was trying to say. The book is wonderful in declaring we should be living our lives with a Kingdom Perspective. The Kingdom Perspective is one of the most useful connotations I have discovered in my recent Christian walk. This book shows how important God's word and truth are. They are what we should base our decisions on.
An instructional approach to CCM.......1999-11-10
Having in my life been more accustomed to making fun of CCM than actually supporting it, I approached this book with the sole purpose of trying to understand why such an industry exists and what an insider, and a musician I have a lot of respect for has to say about it. What I found was a book that focused more on what Peacock calls the "kingdom life" principle and less an informative background and history of CCM and its shortcomings. Clearly, the difference between what Peacock has done here and what I was looking for is the difference between something written by a scholar and something written by a musician. I'm in no way knocking Peacock's intelligence, because I feel that he did appropriate research for the book, I only had hoped it would be more of an informative book than it is. The style in which he constructed the book, breaking down each chapter into subtitles often confused me and kept the book from being a cohesive unit. I admire his presenting the issues on every side and not taking a definite side, and his use of Bible verses highlighted the importance of the Gospel not only in the industry, but also for the fans of the industry, however I would have much rather been taken down a more informative than instructional path. In going into this book I had little interest in any of the music coming out of the closed CCM market, and I would say now that I have even less desire to give out "Christian Charity" to any of those artists.
Book Description
An intelligent survey of world music's inter-cultural fusions. In a wild tour across the globe, touching down in Havana, Port-au-Prince, Kingston, Budapest, Paris, London, New York, Los Angeles and Tokyo, George Lipsitz explores the fusion of immigrant and mainstream cultures displayed in world music, including rap, jazz, reggae, zouk, bhangra, juju, swamp pop, and Puerto Rican bugalu and Chicago punk.
Book Description
29 songs from this enigmatic blues legend: Come on in My Kitchen * Cross Road Blues (Crossroads) * Dead Shrimp Blues * Drunken Hearted Man * From Four Until Late * Hell Hound on My Trail * Honeymoon Blues * I Believe I'll Dust My Broom * I'm a Steady Rollin' Man (Steady Rollin' Man) * If I Had Possession over Judgment Day * Kind Hearted Woman Blues * Last Fair Deal Gone Down * Little Queen of Spades * Love in Vain Blues * Malted Milk * Me and the Devil Blues * Milkcow's Calf Blues * Phonograph Blues * Preachin' Blues (Up Jumped the Devil) * Ramblin' on My Mind * Stones in My Passway * Stop Breakin' down Blues * Sweet Home Chicago * Terraplane Blues * They're Red Hot * 32-20 Blues * Traveling Riverside Blues * Walkin' Blues * When You Got a Good Friend.
Customer Reviews:
The best Robert Johnson guitar lessons.......2005-12-29
I highly recommend Scott's Robert Johnson video. The lessons are clear and easy to follow and Scott adds a bit of his extensive knowledge of the blues interspersed with the lessons. A big difference over other videos is that he takes time to explain technique and rhythms that are some of the subtleties to Robert Johnson's songs. I wish it was longer, but there is plenty to practice. I am glad he finally has this out on DVD.
Book Description
The Stakes Are Too Great to Ignore
After more than two decades as a performer, writer, and producer, no one offers a more honest, pastoral critique of contemporary Christian music (CCM) than Charlie Peacock. In At the Crossroads, Peacock traces the history of CCM and considers its future. Offering wisdom and information from an insider’s perspective, Peacock draws from interviews and experience to shed light on the weaknesses and potential of Christian music today. As Peacock writes, “All of us involved with CCM, from the artist to the audience, should seek to bring the full and sufficient truth to bear upon the subject of music, ministry, entertainment, and business.”
With sensitivity, insight, and unflinching truth, Peacock comments on lyrics, criticism, Christian artists in the mainstream, and the recent “worship movement,” challenging us to follow our first call: to be and do after the pattern of Jesus.
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- Dionysian Art and Populist Politics in Austria
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- Fourth, Fifth and Sixth Symphonies in Full Score
- Fretboard Logic SE: The Reasoning Behind the Guitar's Unique Tuning + Chords Scales and Arpeggios Complete (The Fretboard Logic Guitar Method Parts I and II) (Fretboard Logic Guitar Method Ser)
- From Jumpstreet, a story of black music: Secondary school teaching guide
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- Graceland: An Interactive Pop-Up Tour
- Hip Cat
- History: Fiction or Science? (Chronology, No. 1)
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