Audiotopia: Music, Race, and America (American Crossroads) by Josh Kun

By Josh Kun

Starting from l. a. to Havana to the Bronx to the U.S.-Mexico border and from klezmer to hip hop to Latin rock, this groundbreaking e-book injects renowned tune into modern debates over American identification. Josh Kun insists that the USA isn't really a unmarried refrain of many voices folded into one, yet quite a number of republics of sound that characterize a number of tales of racial and ethnic distinction. To this finish he covers quite a number track and listeners to rouse the ways in which well known sounds have elevated our inspiration of yank tradition and American identification. Artists as assorted because the Weavers, Caf? Tacuba, Mickey Katz, Rahsaan Roland Kirk, Bessie Smith, and Ozomatli demonstrate that the tune of the USA is ceaselessly hybrid, heterogeneous, and enriching--a resource of convenience and power for populations who've been taught that their lives don't topic. Kun melds reports of person musicians with experiences of painters resembling Jean-Michel Basquiat and of writers akin to Walt Whitman, James Baldwin, and Langston Hughes. there isn't any background of race within the Americas that isn't a heritage of renowned track, Kun claims. Inviting readers to pay attention heavily and seriously, Audiotopia forges a brand new realizing of sound that may stoke debates approximately track, race, identification, and tradition for a few years to return.

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Extra info for Audiotopia: Music, Race, and America (American Crossroads)

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Whitman now heard neither voices nor operas, but songs sung by working men and women, the songs of mechanics, carpenters, masons, shoemakers, mothers, wives. “I hear America singing, the varied carols I hear,” he wrote. ”3 The trajectory of Whitman’s poem—in which songs belong only to those who sing them where they sing them, “to him or her and to none else”—sets up a series of basic points that constitute his model of American listening. First, the nation is a sounded terrain and a musical construction.

Music creates spaces in which cultures get both contested and consolidated and both sounded and silenced—double acts of delinquency that question both the geopolitical boundaries of the modern nation-state and the disciplinary boundaries that govern its study in the academy. Such an emphasis on space disrupts the more exclusively temporal and historical epistemological biases that, as the urban theorist and geographer Edward Soja has gone to great lengths to demonstrate, have tended to characterize modern social theory.

18 So with “Mis dos patrias,” not unlike the black spiritual that begot the union song that begot “We Shall Overcome,” Los Tigres embrace political citizenship while trying to avert cultural conformity. S. nation imagined in relation to a bounded territory and yet continue to identify as free national agents whose identities and lives move in and out of this territory, but whose cultural production works necessarily sin fronteras, without borders, and is dedicated to Latino audiences like themselves who approach their citizenship with caution and ambivalence.

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