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Editorial Reviews
From Publishers Weekly
Bayles, former TV and arts columnist for the Wall Street Journal , takes the title for her book from the old saying, "If you don't like the blues, you've got a hole in your soul." The author of this wide-ranging study of American popular music maintains that the African American tradition--blues, jazz, gospel--is this country's "distinctive musical idiom . . . truer to civilized values" than punk, heavy metal, rap and other antisocial impulses descended from the late-19th century European avant-garde trends in art that led to futurism, surrealism, dada and ultimately to music whose aim is to shock. It is a powerful thesis, but Bayles obfuscates her arguments by forcing all types of music and art into such rigid categories as "introverted modernism" and "extroverted modernism." She calls the tendency to shock, for example, "perverse modernism" and claims that this antiart, together with racial stereotypes, has kept African American music, which should be a humanizing antidote to the brutal and the obscene, out of the mainstream.
Copyright 1994 Reed Business Information, Inc.
From Library Journal
Impressively researched and organized, this work explores historical, cultural, and sociological factors that figure in the evolution of American popular music. Bayles, an educator and arts critic, leaves few stones unturned in her effort to shed light on the current state of pop music. She begins by contrasting European and African American musical influences and defining musical modernism. She then factors in race, politics, sex, radicalism, religion, and commerce while evaluating the relative importance of each to the musical scene. Her approach is richly complex: a mixture of in-depth reflection, history, quotes, and analyses of styles and performers within the idioms of jazz, blues, rock, country, punk, rap, and the like. For large music collections with a scholarly readership.
- Carol J. Binkowski, Bloomfield, N.J.
Copyright 1994 Reed Business Information, Inc.
See all Editorial Reviews
Bayles, former TV and arts columnist for the Wall Street Journal , takes the title for her book from the old saying, "If you don't like the blues, you've got a hole in your soul." The author of this wide-ranging study of American popular music maintains that the African American tradition--blues, jazz, gospel--is this country's "distinctive musical idiom . . . truer to civilized values" than punk, heavy metal, rap and other antisocial impulses descended from the late-19th century European avant-garde trends in art that led to futurism, surrealism, dada and ultimately to music whose aim is to shock. It is a powerful thesis, but Bayles obfuscates her arguments by forcing all types of music and art into such rigid categories as "introverted modernism" and "extroverted modernism." She calls the tendency to shock, for example, "perverse modernism" and claims that this antiart, together with racial stereotypes, has kept African American music, which should be a humanizing antidote to the brutal and the obscene, out of the mainstream.
Copyright 1994 Reed Business Information, Inc.
From Library Journal
Impressively researched and organized, this work explores historical, cultural, and sociological factors that figure in the evolution of American popular music. Bayles, an educator and arts critic, leaves few stones unturned in her effort to shed light on the current state of pop music. She begins by contrasting European and African American musical influences and defining musical modernism. She then factors in race, politics, sex, radicalism, religion, and commerce while evaluating the relative importance of each to the musical scene. Her approach is richly complex: a mixture of in-depth reflection, history, quotes, and analyses of styles and performers within the idioms of jazz, blues, rock, country, punk, rap, and the like. For large music collections with a scholarly readership.
- Carol J. Binkowski, Bloomfield, N.J.
Copyright 1994 Reed Business Information, Inc.
See all Editorial Reviews
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Inside Another Edition of this Book Citations: 31 books that cite this book Explore: Citations | Books on Related Topics | Concordance | Text Stats Key Phrases - SIPs: extroverted modernism, introverted modernism, perverse modernism, atmospheric minimalism, decadent commercialism (more) Key Phrases - CAPs: New York, United States, Rolling Stones, Muddy Waters, Velvet Underground (more) Browse Sample Pages: Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover | Surprise Me! |
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Inside This Book
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First Sentence:
Hole in Our Soul is not just a history of popular music, although it does, I hope, offer a cogent survey of the major strains form spirituals and ragtime to blues, Jazz, country, and gospel; 1950s rock'n roll to 1960s rock; and from 1970s heavy metal, disco, and punk to MTV and rap today. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
extroverted modernism, introverted modernism, perverse modernism, atmospheric minimalism, decadent commercialism, perverse modernists, punk legacy, str
Hole in Our Soul is not just a history of popular music, although it does, I hope, offer a cogent survey of the major strains form spirituals and ragtime to blues, Jazz, country, and gospel; 1950s rock'n roll to 1960s rock; and from 1970s heavy metal, disco, and punk to MTV and rap today. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
extroverted modernism, introverted modernism, perverse modernism, atmospheric minimalism, decadent commercialism, perverse modernists, punk legacy, str