...Robert F. Durden Roll, Jordan, Roll: The World the Slaves Made. By Genovese Eugene D. . New York : Pantheon Books , 1974 . Pp. xxii , 823 . $17.50 . Copyright © 1975 by Duke University Press 1975 BO-OKS Roll, Jordan, Roll: The World the Slaves Made. By Eugene D. Genovese...

...Anthony DeCurtis Copyright © 1990 by Duke University Press 1990 Anthony DeCurtis The Product: Bucky Wunderlick, Rock n Roll, and Don DeLillo s Great Jones Street Perhaps the best-known passage in Don DeLillo s Great Jones Street, not one of his more highly regarded novels, occurs...

...Michael Jarrett Copyright © 1991 by Duke University Press 1991 Michael Jarrett Concerning the Progress of Rock & Roll Histories of popular music routinely em­ ploy a model derived from nineteenth-cen­ tury physical science in order to describe the process of popularization. What semioticians...

...Anthony DeCurtis Anthony DeCurtis Introduction: The Sanctioned Power of Rock & Roll Last year a younger colleague he s 24, I m 39 asked me what I perceived to be the big­ gest changes that had taken place in Ameri­ can culture since I was in college. I entered college in 1969 need more be said...

...David R. Shumway Copyright © 1991 by Duke University Press 1991 David R. Shumway Rock & Roll as a Cultural Practice When thinking about rock or pop music what is in question is not simply a well-established corpus of records, performances, groups or images. Un­ like television, film...

...Jeff Calder Jeff Calder Living by Night in the Land of Opportunity: Observations on Life in a Rock & Roll Band . . . what we need are good pictures . . . hand­ made with love and passion and care by individual picture-makers, not by banks, or committees, or accountants, or lawyers, or office boys...

... only two numbers when Brann decided to resign as editor of the Express, to go to Waco, and to re-issue his paper there. At the latter s request Porter surrendered the name, and happily re-christened his paper The Rolling Stone. In the summer of 1894, then, Brann moved to Waco, and in the following...

... of the art world and academia alike, the aesthetico-political work of Strike Debt has included the popularization of the red square as an emblem of debt resistance, the invention of the debt burn as an anticapitalist ritual, and the launching of the Rolling Jubilee, a direct action campaign initiated...

... regime shifts within this context, starting with their prehistory up to the point of no return and then tracing their rollback, roll forward, blowback, “Third Way,” moments of financial crisis, and crisis of crisis-management phases. It argues that neoliberal regime shifts were associated from...

... productions seemed such an appealing aesthetic, ideological, and political target. It is harder to argue that rock & roll records are the productions of a heroic creator; they can­ not support the myth of either the autonomous author or the autono­ mous auteur. The material conditions of pop culture...

... critique of regressive historians, comments, never under­ estimate the staying power of simple ideas, he would have done better to include Slavery and not Eugene D. Genovese s Roll, Jordan, Roll as one of his targets. Simple ideas like Elkins s Sambo derive staying power not by continuing...

...). He also performs with the group the Su­ preme Court. He has written for newspapers and small publications. The present piece is excerpted from his critical autobiography, I Posed with the Gods. anthony deCurtis is a Senior Editor at Rolling Stone, where he over­ sees the record review section. He...

... Jones was (a) the leader of the Beach Boys? (b) the Beatles s man­ ager? (c) one of the original Rolling Stones? (d) none of the above? Brian Jones?! The correct answer, by the way, is c. The next question on more than a few minds might be, Why is this being taught in a college class? (a) because...