New York and London: Routledge, Keith Kahn-Harris. Extreme Metal: Music and Culture on the Edge. Oxford and New York: Berg, Not since the early s have multiple scholarly books on metal seen the light of day in such proximity to one another.
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Nirvana, Leadbelly and the allure of the primeval: In which our authors restate arguments which have now become familiar, having been thoroughly presented in three or four books before. John Lomax again gets a good kicking for his treatment of Leadbelly. Quite rightly so. The authors use the previous books 1. Then in came Ralph Peer - genius businessman - who invented the whole notion of recording the blues and hillbilly music - and he enforced a strict apartheid.
Which gave succeeding generations a distorted view. A completely wrong notion, which many people, including those who passionately cared for the various genres of American music, have shared. Check out the huge arguments about the white contribution to jazz, for instance.
TB Blues - The story of autobiographical song. So from Jimmie Rodgers to John Lennon and onwards. I confess I had never thought about that before now.
Heartbreak Hotel - the art and artifice of Elvis Presley. This is about how very weird he was. He sounded evil. Sugar Sugar : Faking it in the age of Singer Songwriters. Come on, guys! The authors make a lot of good points in all of this, but they do labour their insights just a little too much. Comparison of Neil Young and Billy Joel. One was real, the other was completely made up. Love to Love you Baby : Disco and the mechanization of music.
Apparently some people think disco was a low point. Possibly the best chapter, trying to unravel the complexities of those three-chord wonders whose poster boy was Sid Vicious performing My Way. Were all the punks just the electric three-minute working class version of Holden Caulfield? Y Tu, Que Has Hecho? Well by now I was a bit bored to tell you the truth.
But hey, these ideas are well worth booting around the football pitch.
Faking It: The Quest for Authenticity in Popular Music
If we follow the implications of this post, then all art is nothing but "inauthentic. Let us now ignore theatre, painting, photography, music, writing. It is all "fake. The strongest argument of Faking It is for the endless "miscegenation" of music. Great popular music is always a collage of cultures, while the quest for authenticity all too often functions as a means of policing racial boundaries. The story of American music is the story of constant borrowing, sampling, covering, remixing, swapping, and stealing. Traditional musics evolve as musicians work with and in response to one another.
FAKING IT THE QUEST FOR AUTHENTICITY IN POPULAR MUSIC PDF
But still, But I picked this up ready to have my preconceptions challenged. Were the Sex Pistols more real than disco? Having authors with an in-depth know A critical popjlar at not just the concept ib authenticity and its relevance for music, but also the evolution of genre classifications in general. I confess I had never thought about that before now. All of us, not just the miserably pigeonholed stars they highlight Cobain, Donna Summer, John Lydon, etc. Your taste is merely your gut and your mind hinting to you what paths can be followed to get closer to your own artistic essence. They also focus with near exclusivity on diary-style songwriting as the way in which authenticity is claimed in modern pop.