Dangerous Crossroads: Popular Music, Postmodernism, and the Poetics of PlaceIn cities around the globe, immigrant populations are finding their identity by making music which combines their own experiences with the forms of the mainstream culture they have come to inhabit. Dangerous Crossroads surveys an extraordinary range of these musical fusions: Puerto Rican Bugalu in New York; Algerian rai in Paris; Chicano punk in Los Angeles; Indigenous rock in Australia; chanson Quebecois in Montreal; swamp pop in Houston and New Orleans; reggae, bhangra, and juju in London; and zouk, rap, and jazz in Europe, Africa, and the Americas. Throughout, Lipsitz highlights the issues that unite inter-ethnic music fusions across geographic boundaries. He demonstrates that what might be interpreted as a postmodern process of meaningless juxtapositions of musical forms ripped from their original contexts may actually be a redeployment of traditional music to serve untraditional purposes. Lipsitz explores the ways in which ethnic difference in popular music enables musicians from aggrieved populations to enjoy the rewards of mainstream culture while boldly stating their divergence from it, and how it offers a utopian model of inter-cultural cooperation, at the same time making a spectacle out of ethnicity and reinforcing ethnic divisions. Some inter-ethnic music has become part of significant movements for social change; in other instances it has played a reactionary role. But in all the case studies in this book, inter-cultural fusion music displays the contours of ethnic anxiety in an age characterized by the rapid movement of people, capital, and images across national borders. |
Contents
History Hip Hop and the Postcolonial Politics of Sound | 23 |
Strategic Antiessentialism in Popular Music | 49 |
Thats My Blood Down There | 69 |
Copyright | |
6 other sections not shown
Other editions - View all
Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place George Lipsitz No preview available - 1997 |
Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place George Lipsitz No preview available - 1997 |
Common terms and phrases
African music African-American Afro-Caribbean Afro-Cuban aggrieved Albert King album Angeles Apache Indian artists audiences band bhangra Black music Boukman Eksperyans Britain capital Caribbean Cather Chicano colonial commercial culture Covarrubias created crossroads dance dangerous diasporic economic emerged ethnic Euro-American experiences explained express Fela Fela Kuti forms French fusion global globe Graceland Haiti Haitian Hebdige hip hop identity immigrants important indigenous Australians Interview Jamaican jazz Kalfou Danjere Kuti Latin Bugalu listeners Louis Manu Dibango Mardi Gras Indians means Mexican Musical Youth musicians nation Native American Neville Brothers numbers Orleans Pass the Dutchie Paul Philip Sweeney play popular culture popular music populations Puerto Rican punk Quebec Québécois racism rap music Rasta Rastafarian record reggae rhythm and blues rock rock'n'roll role salsa Simon singer singing song sound South African struggle styles traditional transnational Virgin Directory voudou West Indian World Music York