A band like the Rolling Stones, who in 2016—or even in 1989—it’s so easy to be cynical about, and so much of that they have brought upon themselves.But there was a period when this was a band that was making incredibly vital, dangerous, exciting music, in the best sense—music that really was coming out of status quo and doing it in a way that was really exciting and artistically impressive.
A band like the Rolling Stones, who in 2016—or even in 1989—it’s so easy to be cynical about, and so much of that they have brought upon themselves.But there was a period when this was a band that was making incredibly vital, dangerous, exciting music, in the best sense—music that really was coming out of status quo and doing it in a way that was really exciting and artistically impressive.Tags: Writing Assignments For 6th GradersIntroduction Of AssignmentTips For Writing Law School Personal Statements8d Problem Solving MethodologyStationery Writing Paper SetsBusiness Development Plan ExamplesPersuasive Essays By Famous PeopleKnowledge Management Initiatives At Ibm Case StudyThe Fundamental Theorem Of Calculus HomeworkNursing School Essay Prompts
When Greil Marcus wrote about Prince opening for the Stones in 1981 and getting pelted with garbage, he included a virulently racist letter about the incident, all misspellings verbatim.
Looking at it again it’s reminiscent of comment boxes, specifically post-Trump.
Are there two more oversaturated musical topics on the planet?
Along with the rest of the ’60s rock and soul canon, Hamilton thinks, convincingly, that we’ve only begun to understand them, especially side-by-side.
As Hamilton point out, this mindset often put black rock and rollers into the “predecessors” category even when the musicians in question were peers and contemporaries, like when a Beatles biographer claims Smokey Robinson as a precursor when, in fact, Robinson was born the same year as John Lennon.
Even that précis doesn’t do justice to the richness of Hamilton’s ideas, or his wide-ranging research, both archival and musicological—the latter particularly during a chapter on the musical interrelationship of Motown and the Beatles.
I’m a fan of their music, particularly their late-sixties music.
And there are so many crazy issues floating around them—I mean, they’re the archetypal problematic rock band.
Yeah, the way this music gets appropriated by side of things; it kind of boggles the mind. Obviously, there’s a long history of politicians, particularly on the right, clumsily using rock and pop music, the Reagan-Springsteen example being the most iconic.
But at the same time, it speaks to the extent to which a lot of that music has been really drained of its context, and drained of understandings of the contexts that produced it, understandings of the various political and cultural commitments of the artists that produced it... One of the things that did inspire me to write the book: So much of the music that I discuss in this book is so incredibly famous. A lot of the songs I write about are songs that people are really sick of hearing.