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35 of 39 people found the following review helpful:
4.0 out of 5 stars
Drums Keep Pounding Rhythm to the Brain, March 24, 1999
By A Customer
This review is from: Dionysos Rising: The Birth of Cultural Revolution Out of the Spirit of Music (Paperback)
Jones traces the work and lives of Wagner, Nietzche, Schonberg, and rockers such as Jagger to demonstrate the fall of culture and the rise of rock 'n roll. From the barricades in Dresden in 1849 to Woodstock and the death at Altamont in 1969, Jones shows that classical music and culture did not die a natural death: the demise was plotted by sexual revolutionaries as a direct attack on Christian morality. The Stones said it all: Sympathy for the Devil.
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25 of 30 people found the following review helpful:
5.0 out of 5 stars
What we know is true but don't want to admit, September 15, 2004
This review is from: Dionysos Rising: The Birth of Cultural Revolution Out of the Spirit of Music (Paperback)
My difficulty with reading this book the first time as a Yale grad student in 1994 was that I had a conservative worldview when it came to everything but music. I knew deep down inside that Jones was onto something, but I couldn't bring myself to admit it, because I was so close to my music. Now that I am a bit older and have gone back and re-read the book--and now that I am further from adolescence and from my music--I see that what he was saying is on the mark. If you start with a more liberal set of cultural assumptions about culture and the arts, you will disagree with Jones. However, if you have a basic conservative worldview and don't like this book, it's probably because you're going with your heart and not your head.
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13 of 15 people found the following review helpful:
3.0 out of 5 stars
Not as good as "Degenerate Moderns". . ., November 21, 2002
This review is from: Dionysos Rising: The Birth of Cultural Revolution Out of the Spirit of Music (Paperback)
. . .but important nevertheless. In his first book, Jones postulated that much of the decay of modernism could be traced to the sinful rationalizations of evil behavior by Freud, Jung, and others. In this volume, Jones tackles the role of modern music in this societal decay. The chapter on Wagner was very good -- although not nearly enough was said about the importance of Wagner's later work (which caused an irreparable break with Nietzche. The chapters on Nietzche and Schonberg were informative -- but one got the impression that material was being repeated over and over. A bit of editorial direction would have helped here. When Jones gets into modern pop music, his argument is both strengthened and weakened. Strengthened by the truly uncontrolled behavior of many of today's rock musicians (to say nothing of the lyrics). Weakened in the attempt to lump pretty much ALL jazz and pop into one category -- a serious mistake in my estimation. All in all, however, a good book -- but not as good as his first.
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