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- KurzbeschreibungIn 1975, Greil Marcus's Mystery Train changed the way readers thought about rock 'n' roll and continues to be sought out today by music fans and anyone interested in pop culture. Looking at recordings by six key artists - Robert Johnson, Harmonica Frank, Randy Newman, the Band, Sly Stone, and Elvis Presley - Marcus offers a complex and unprecedented analysis of the relationship between rock 'n' roll and American culture. In this latest edition, Marcus provides an extensively updated and rewritten Note and Discographies section, exploring the recordings' evolution and continuing impact.<br>
- AutorGreil Marcus
- Ausgabe6th, rev. ed.
- Seiten448 Seiten
- Gewicht415 g
- Leseprobe<br>AUTHOR'S NOTE<br />Writing these opening notes reminds me of the prefaces to the American history books that were written during World War II, when the authors, looking back for the meaning of the Revolution or the Civil War or whatever, drew modest but determined parallels between their work and the struggle. They were affirming that their work was part of the struggle; that an attempt to understand America took on a special meaning when America was up for grabs. Those writers were also saying-at least, this is what they now say to me-that to do one's most personal work in a time of public crisis is an honest, legitimate, paradoxically democratic act of common faith; that one keeps faith with one's community by offering whatever it is that one has to say. I mean that those writers were exhilarated, thirty years ago, by something we can only call patriotism, and humbled by it too.<br />Well, I feel some kinship with those writers. I began this book in the fall of 1972, and finished it late in the summer of 1974. Inevitably, it reflects, and I hope contains, the peculiar moods of those times, when the country came face-to-face with an obscene perversion of itself that could be neither accepted nor destroyed: moods of rage, excitement, loneliness, fatalism, desire.<br />- - -<br />Like a lot of people who are about thirty years old, I have been listening and living my life to rock 'n' roll for twenty years, and so behind this book lie twenty years of records and twenty years of talk. Probably it began when a kid pushed a radio at me and demanded that I listen to a song called "Rock Around the Clock," which I disliked at the time and still do. I know the music came together for me in high school, thanks to my cruising friend, Barry Franklin. We spent years on the El Camino, driving from Menlo Park to San Francisco to San Jose and back again, listening to Tom Donahue and Tommy Saunders on KYA, trying to figure out the words to "Runaround Sue" and translating "Little Star" into French. Later, we followed the sixties trail to college, Beatles shows, and Dylan concerts.<br />About a month before the Beatles hit I met my wife, Jenny, who confirmed my enthusiasms and who has always kept them alive; it means more to me to say that this book wouldn't have been written without her than to say that it couldn't have been.<br />The time I have spent talking rock 'n' roll with my friends Bruce Miroff, Langdon Winner, Ralph Gleason, Ed Ward, Michael Goodwin, and many more, has gone into this book; so has talk with my brothers Steve and Bill, with teachers and students, and with my daughter Emily, who picked "Mystery Train" as her favorite song at the age of two. My daughter Cecily is not as yet so discriminating, but I have hopes. As much as anything, rock 'n' roll has been the best means to friendship I know.<br />I have been writing about the music since 1966-professionally, for publication, since 1968. Before I got up the nerve to see my efforts in print I put together a book of pieces by myself and some friends; one of them, Sandy Darlington, taught me a lot about music and a lot more about writing. After the book was finished I took over Sandy's music-space in the San Francisco Express-Times , then edited and inspired by Marvin Garson. Until the events of Peoples' Park sent it reeling into mindlessness, the Express-Times was the best underground newspaper in America, and I've always been proud to have been part of it. When it changed I moved across town to Rolling Stone , where I wrote and edited for a year. In 1970 I left, and ultimately ended up with Creem , a magazine that seemed like a place of freedom and was. Creem gave me the chance to try out many of the ideas that eventually found their way into this book.<br />There would be little to those ideas without the study I did in American political thought and American literature with three Berkeley teachers: John Schaar, Michael Rogin, a
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