Listen Again: A Momentary History of Pop Music

Couverture
Eric Weisbard
Duke University Press, 1 nov. 2007 - 336 pages
Arguing that pop music turns on moments rather than movements, the essays in Listen Again pinpoint magic moments from a century of pop eclecticism, looking at artists who fall between genre lines, songs that sponge up influences from everywhere, and studio accidents with unforeseen consequences. Listen Again collects some of the finest presentations from the celebrated Experience Music Project Pop Conference, where journalists, musicians, academics, and other culturemongers come together once each year to stretch the boundaries of pop music culture, criticism, and scholarship.

Building a history of pop music out of unexpected instances, critics and musicians delve into topics from the early-twentieth-century black performer Bert Williams’s use of blackface, to the invention of the Delta blues category by a forgotten record collector named James McKune, to an ER cast member’s performance as the Germs’ front man Darby Crash at a Germs reunion show. Cuban music historian Ned Sublette zeroes in on the signature riff of the garage-band staple “Louie, Louie.” David Thomas of the pioneering punk band Pere Ubu honors one of his forebears: Ghoulardi, a late-night monster-movie host on Cleveland-area TV in the 1960s. Benjamin Melendez discusses playing in a band, the Ghetto Brothers, that Latinized the Beatles, while leading a South Bronx gang, also called the Ghetto Brothers. Michaelangelo Matos traces the lineage of the hip-hop sample “Apache” to a Burt Lancaster film. Whether reflecting on the ringing freedom of an E chord or the significance of Bill Tate, who performed once in 1981 as Buddy Holocaust and was never heard from again, the essays reveal why Robert Christgau, a founder of rock criticism, has called the EMP Pop Conference “the best thing that’s ever happened to serious consideration of pop music.”

Contributors. David Brackett, Franklin Bruno, Daphne Carr, Henry Chalfant, Jeff Chang, Drew Daniel, Robert Fink, Holly George-Warren, Lavinia Greenlaw, Marybeth Hamilton, Jason King, Josh Kun, W. T. Lhamon, Jr., Greil Marcus, Michaelangelo Matos, Benjamin Melendez, Mark Anthony Neal, Ned Sublette, David Thomas, Steve Waksman, Eric Weisbard

 

Pages sélectionnées

Table des matières

Introduction
1
The Difference Bert Williams Makes
7
James McKune Collectorsand a Different Crossroads
26
On Masks Birthmarks and Hunchbacks
50
4 The Kingsmen and the ChaChaChá
69
Lessons in Mayhem from the First Age ofPunk
95
6 Magic Moments the Ghost of FolkRock and the Ringof E Major
103
The Forgotten Artistry of Bobbie Gentry
120
12 All Roads Lead to Apache
200
13 On Punk Rock and Not Being a Girl
210
A Necromusicology
219
15 ORCH5 or the Classical Ghost in the HipHop Machine
231
Teena Marie and Lewis Taylor
256
Polands Disco Polo
272
18 How to Act Like Darby Crash
286
19 Death Letters
296

8 Is That All There Is? and the Uses of Disenchantment
137
The Bronx Gangs the Beatles theAguinaldo and a PreHistory of HipHop
150
10 Grand Funk Live Staging Rock in the Age of the Arena
157
The Power of Vibe in theMusic of Roberta Flack
172
Acknowledgments
307
Contributors
309
Index
313

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À propos de l'auteur (2007)

Eric Weisbard is the organizer of the annual Experience Music Project Pop Conference. He was a curator and senior manager of the Experience Music Project from 2001 until 2005. Before that, he worked as an editor and contributing writer at Spin and The Village Voice. He is the author of Use Your Illusion I and II and the editor of This Is Pop: In Search of the Elusive at Experience Music Project and the Spin Alternative Record Guide.

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