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  • 1
    Book
    Book
    Chicago ; London :The University of Chicago Press,
    UID:
    almahu_BV047318502
    Format: 225 Seiten, 12 ungezählte Seiten Tafeln : , Illustrationen.
    ISBN: 978-0-226-76821-2 , 978-0-226-76818-2
    Content: "Rock and roll's most iconic, not to mention wealthy, pioneers are overwhelmingly white, despite their great indebtedness to black musical innovators. Many of these pioneers were insensitive at best and exploitative at worst when it came to the black art that inspired them. Tear Down the Walls is about a different cadre of white rock musicians and activists, those who tried to tear down walls separating musical genres and racial identities during the late 1960s. Their attempts were often naïve, misguided, or arrogant, but they could also reflect genuine engagement with African American music and culture and sincere investment in anti-racist politics. Burke considers this question by recounting five dramatic incidents that took place between August 1968 and August 1969, including Jefferson Airplane's performance with Grace Slick in blackface on the Smothers Brothers Comedy Hour, Jean-Luc Godard's 1968 film, Sympathy for the Devil, featuring the Rolling Stones and Black Power rhetoric, and the White Panther Party at Woodstock. Each story sheds light on a significant but overlooked facet of 1960s rock-white musicians and audiences casting themselves as political revolutionaries by enacting a romanticized vision of African American identity. These radical white rock musicians believed that performing and adapting black music could contribute to what in the Black Lives Matter era is sometimes called "white allyship." This book explores their efforts and asks what lessons can be learned from them. As white musicians and activists today still attempt to find ethical, respectful approaches to racial politics, the challenges and victories of the 1960s can provide both inspiration and a sense of perspective"--
    Note: Includes bibliographical references and index , Honkie Soul: The MC5 at the Democratic National Convention-Lincoln Park, Chicago, August 25 -- Blue Eyes and a Black Face: Jefferson Airplane and the Rock Revolution-The Smothers Brothers Comedy Hour (CBS-TV), November 10 -- One Plus One: Jean-Luc Godard Meets the Rolling Stones-London Film Festival, November 29 -- The Seats Belong to the People: The Battle of the Fillmore East-Lower East Side, Manhattan, December 26 -- Declare the Nation into Being: Woodstock and the Movement-Woodstock Music & Art Fair, White Lake, NY, August 15-18
    Additional Edition: Erscheint auch als Online-Ausgabe, ebk ISBN 978-0-226-76835-9
    Language: English
    Subjects: Musicology
    RVK:
    Keywords: Rockmusik ; Weiße ; Black power ; Aktivismus ; Criticism, interpretation, etc ; History ; Criticism, interpretation, etc ; History
    Library Location Call Number Volume/Issue/Year Availability
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  • 2
    Online Resource
    Online Resource
    Chicago : University of Chicago Press
    UID:
    gbv_1821574982
    Format: 1 Online-Ressource (256 Seiten)
    ISBN: 9780226768359
    Content: From the earliest days of rock and roll, white artists regularly achieved fame, wealth, and success that eluded the Black artists whose work had preceded and inspired them. This dynamic continued into the 1960s, even as the music and its fans grew to be more engaged with political issues regarding race. In Tear Down the Walls, Patrick Burke tells the story of white American and British rock musicians’ engagement with Black Power politics and African American music during the volatile years of 1968 and 1969. The book sheds new light on a significant but overlooked facet of 1960s rock—white musicians and audiences casting themselves as political revolutionaries by enacting a romanticized vision of African American identity. These artists’ attempts to cast themselves as revolutionary were often naïve, misguided, or arrogant, but they could also reflect genuine interest in African American music and culture and sincere investment in anti-racist politics. White musicians such as those in popular rock groups Jefferson Airplane, the Rolling Stones, and the MC5, fascinated with Black performance and rhetoric, simultaneously perpetuated a long history of racial appropriation and misrepresentation and made thoughtful, self-aware attempts to respectfully present African American music in forms that white leftists found politically relevant. In Tear Down the Walls Patrick Burke neither condemns white rock musicians as inauthentic nor elevates them as revolutionary. The result is a fresh look at 1960s rock that provides new insight into how popular music both reflects and informs our ideas about race and how white musicians and activists can engage meaningfully with Black political movements
    Additional Edition: ISBN 9780226768182
    Additional Edition: ISBN 9780226768212
    Additional Edition: Erscheint auch als Druck-Ausgabe Burke, Patrick Lawrence, 1975 - Tear down the walls Chicago : The University of Chicago Press, 2021 ISBN 9780226768212
    Additional Edition: ISBN 9780226768182
    Language: English
    Keywords: USA ; Großbritannien ; Rockmusik ; Black power ; Weiße ; Aktivismus ; Geschichte 1968-1969
    URL: Cover
    Library Location Call Number Volume/Issue/Year Availability
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  • 3
    Book
    Book
    Chicago [u.a.] :Univ. of Chicago Press,
    UID:
    almahu_BV023274572
    Format: XIII, 314 S., [12] Bl. : , Ill.
    ISBN: 978-0-226-08071-0 , 0-226-08071-4
    Content: Between the mid-1930s and the late '40s the centre of the jazz world was a two-block stretch of 52nd Street in Manhattan. Dozens of crowded basement clubs played host to legends like Charlie Parker and Billie Holiday. These clubs defied the traditional boundaries between art and entertainment, and between the races.
    Note: Includes bibliographical references and index. - First for the musicians, then for the world : the birth of Swing Street -- Let's have a jubilee : 52nd Street goes commercial -- Here comes the man with the jive : Stuff Smith -- A little law and order in my music : the John Kirby Sextet and Maxine Sullivan -- Swingin' down that lane : 52nd Street at the height of the swing era -- Making it into the big time : Count Basie, Joe Marsala, and "mixed" bands -- This conglomeration of colors : bebop comes to Swing Street -- Apples and oranges : 52nd street and the jazz war
    Language: English
    Subjects: Musicology
    RVK:
    RVK:
    Keywords: Jazz
    Library Location Call Number Volume/Issue/Year Availability
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  • 4
    Book
    Book
    Chicago [u.a.] :Univ. of Chicago Press,
    UID:
    almafu_BV023274572
    Format: XIII, 314 S., [12] Bl. : , Ill.
    ISBN: 978-0-226-08071-0 , 0-226-08071-4
    Content: Between the mid-1930s and the late '40s the centre of the jazz world was a two-block stretch of 52nd Street in Manhattan. Dozens of crowded basement clubs played host to legends like Charlie Parker and Billie Holiday. These clubs defied the traditional boundaries between art and entertainment, and between the races.
    Note: Includes bibliographical references and index. - First for the musicians, then for the world : the birth of Swing Street -- Let's have a jubilee : 52nd Street goes commercial -- Here comes the man with the jive : Stuff Smith -- A little law and order in my music : the John Kirby Sextet and Maxine Sullivan -- Swingin' down that lane : 52nd Street at the height of the swing era -- Making it into the big time : Count Basie, Joe Marsala, and "mixed" bands -- This conglomeration of colors : bebop comes to Swing Street -- Apples and oranges : 52nd street and the jazz war
    Language: English
    Subjects: Musicology
    RVK:
    RVK:
    Keywords: Jazz
    Library Location Call Number Volume/Issue/Year Availability
    BibTip Others were also interested in ...
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