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Dangerous crossroads : popular music, postmodernism, and the poetics of place Titelvorschau
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Dangerous crossroads : popular music, postmodernism, and the poetics of place

Verfasser/in: George Lipsitz
Verlag: London ; New York : Verso, 1994.
Ausgabe/Format   Buch : EnglischAlle Ausgaben und Formate anzeigen
Datenbank:WorldCat
Zusammenfassung:
In cities around the globe, immigrant populations are finding their identity by making music which combines their own experiences with the forms of the mainstream culture they have come to inhabit. Dangerous Crossroads surveys an extraordinary range of these musical fusions: Puerto Rican Bugalu in New York; Algerian rai in Paris; Chicano punk in Los Angeles; Indigenous rock in Australia; chanson Quebecois in
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Physisches Format Online version:
Lipsitz, George.
Dangerous crossroads.
London ; New York : Verso, 1994
(OCoLC)891941271
Dokumenttyp: Buch
Alle Autoren: George Lipsitz
ISBN: 1859849350 9781859849354
OCLC-Nummer: 30593978
Beschreibung: viii, 192 pages : illustrations ; 23 cm
Inhalt: 1. Kalfou Danjere --
2. Diasporic Noise: History, Hip Hop, and the Post-colonial Politics of Sound --
3. "The Shortest Way Through": Strategic Anti-essentialism in Popular Music --
4. That's My Blood Down There --
5. London Calling: Pop Reggae and the Atlantic World --
6. Immigration and Assimilation: Rai, Reggae, and Bhangramuffin --
7. But Is It Political? Self-activity and the State --
8. "It's All Wrong, but It's All Right": Creative Misunderstanding in Inter-cultural Communication --
9. Albert King, Where Y'at?
Verfasserangabe: George Lipsitz.
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Abstract:

This text focuses on the fusion music created by immigrant populations. Lipsitz finds that inter-cultural fusion music displays the contours of ethnic anxiety in an age characterized by the rapid  Weiterlesen…

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"This astonishing book deals in absorbing detail with the multiplying hybrids now loosely referred to as world music."--"Jazz Times"""Dangerous Crossroads" presents a plea: for connection, empathy Weiterlesen…

 
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schema:description"1. Kalfou Danjere -- 2. Diasporic Noise: History, Hip Hop, and the Post-colonial Politics of Sound -- 3. "The Shortest Way Through": Strategic Anti-essentialism in Popular Music -- 4. That's My Blood Down There -- 5. London Calling: Pop Reggae and the Atlantic World -- 6. Immigration and Assimilation: Rai, Reggae, and Bhangramuffin -- 7. But Is It Political? Self-activity and the State -- 8. "It's All Wrong, but It's All Right": Creative Misunderstanding in Inter-cultural Communication -- 9. Albert King, Where Y'at?"@en
schema:description"Lipsitz explores the ways in which ethnic difference in popular music enables musicians from aggrieved populations to enjoy the rewards of mainstream culture while boldly stating their divergence from it, and how it offers a utopian model of inter-cultural cooperation, at the same time making a spectacle out of ethnicity and reinforcing ethnic divisions. Some inter-ethnic music has become part of significant movements for social change; in other instances it has played a reactionary role. But in all the case studies in this book, inter-cultural fusion music displays the contours of ethnic anxiety in an age characterized by the rapid movement of people, capital, and images across national borders."@en
schema:description"In cities around the globe, immigrant populations are finding their identity by making music which combines their own experiences with the forms of the mainstream culture they have come to inhabit. Dangerous Crossroads surveys an extraordinary range of these musical fusions: Puerto Rican Bugalu in New York; Algerian rai in Paris; Chicano punk in Los Angeles; Indigenous rock in Australia; chanson Quebecois in Montreal; swamp pop in Houston and New Orleans; reggae, bhangra, and juju in London; and zouk, rap, and jazz in Europe, Africa, and the Americas. Throughout, Lipsitz highlights the issues that unite inter-ethnic music fusions across geographic boundaries. He demonstrates that what might be interpreted as a postmodern process of meaningless juxtapositions of musical forms ripped from their original contexts may actually be a redeployment of traditional music to serve untraditional purposes."@en
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