Download Ebook , by Dorian Lynskey
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, by Dorian Lynskey
Download Ebook , by Dorian Lynskey
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Product details
File Size: 2221 KB
Print Length: 683 pages
Publisher: HarperCollins e-books (April 5, 2011)
Publication Date: April 5, 2011
Sold by: HarperCollins Publishers
Language: English
ASIN: B004J18P30
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Amazon Best Sellers Rank:
#395,918 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
I am no historian, and I am not much of a music-love, but I read this book on a recommendation.I enjoy Lynskey's writing style. He manages to pack a lot into each chapter and gave me a lot of new insight into the impact of the music he was discussing as well as the context in which it was written and a bit of history on the events and culture of the time. I learned a lot about the songs, the artists and each chapter was like a snapshot of the era it was discussing.However, some chapters seemed to barely discuss the title song of the chapter or even the artist. He'll discuss all of the political events going on and other artists and songs and then finally mention the song the chapter is titled for.This didn't really detract from the book, overall, in my opinion. While a thick book, I consider it a light read. Each chapter pretty self-contained. You don't have to read them all or in order if you don't want to, so it's an easy book to pick up occasionally and take your time with or at the same time as other books.
A good 80% of the bands I never even heard of and about 90% of the songs I never heard of. Can't be a good protest song if the mainstream public never hears them. Many protest songs I HAVE heard of were barely touched on or not mentioned at all. And there was WAY too much profanity, the f word in particular. Wish I could get my money back, but at least I got it on sale rather than at the regular price.
I realize that 5 starts is the max, however, for me this book hit all the marks. It uses just over 30 songs spanning from the late 1930s until the early 2010's as catalysts for a myriad of songs, artists and styles that created what can be called protest music. The writing is crisp and concise and includes dozens upon dozens of quotes from the artists themselves. Lynskey's voice as historian is strong as he succeeds in not only putting each song in context of the social and historic times in which it was written or propagated, but he also places these songs as complements, contrasts and comparisons to other ages and eras of pop music, politics and culture. Lastly, I was glad that he accounts for his scope in the introduction where he lets us know that he will be covering specific areas of the world, but not the entire planet! The U.S., UK, Jamaica and Africa are well documented and pleasingly fills the text. I would be curious how he would cover Pussy Riot's story as they are a realized culmination of so many aspects of so many artists that he covers in his book.
This is really well done, better than I thought it would be. No pandering here; Lynskey assumes a reader of intelligence and knowledge, and gives strong opinions. The chapters are long and engaging, and he really puts you in the era and context. Highly recommended.
No one interested in how pop-culture affects society, a vastly ignored subject by social scientists, can afford NOT to include this on their bookshelf. Linsky quite humbly invites us to share his assessment of music concerned with politics and humanity, with great competence and great humility. The printed book includes a fine set of photographs.
Well written, fascinating although scattergun approach to protest songs. Author rather wisely avoids going back too far in history and does a great job providing context for each song.
This is A, rather than THE, history of protest songs.At its best, the book is informative. Even if you hate a particular song and/or artist, the author manages to keeps one's interest in reading about it/them. In part this is due to his scatter-shot approach, encompassing eras and genres. It is also well-researched.Where it fails is in the balance of history. There are far too many relatively recent songs included. That Phil Ochs wasn't granted a chapter, while Frankie Goes To Hollywood was, is criminal. Broadside magazine is hardly even mentioned, while the author goes out of his way to include an obscure disco song, as well as U#2's "Pride (In The Name of Love)," which isn't even a protest song but, rather, a song of celebration. So why include it? I suspect it's for the same reason that the book is so laden with relatively recent songs, that the main concern was the bottom line. Most people will want to read about songs that they're familiar with.So the blues, a form of music that, by it's very nature, is a protest, is totally ignored. Part of this is probably due to the author's definition of protest music, which he links to politics. There are, of course, other forms of revolution, such as cultural and social, but the author chooses to put blinders on concerning them. Still, I'd much rather have read something about the "Bourgeois Blues" than "Two Tribes."Even among the modern music the author does highlight, there is some head-scratching on my part. Does Dorian Lynskey honestly believe that Huggy Bear is more representative of Riot Grrrl than Bikini Kill? Does he not believe that Patti Smith's song "People Have The Power" is even worth mentioning? Doesn't he see the implicit revolutionary aspect of the entire DIY culture / "indie scene," in which the "workers" have seized the means of production?This is still a worthwhile book. I learned quite a bit about such artists as Crass, Linton Kwesi Johnson, Victor Jara and Feli Kuti. While I would not say that it is at all definitive, it is a good start.
what I enjoed most about the book was the amazing and interesting stories beghind the songs. A history lesson of each song!
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