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Jimi Hendrix and the cultural politi...

Hendrix, Jimi

Jimi Hendrix and the cultural politics of popular music

Record Type:	Electronic resources : Monograph/item
Title/Author:	Jimi Hendrix and the cultural politics of popular musicby Aaron Lefkovitz.
Author:	Lefkovitz, Aaron.
Published:	Cham :Springer International Publishing :2018.
Description:	v, 158 p. :ill., digital ;24 cm.
Contained By:	Springer eBooks
Subject:	Rock musicSocial aspects20th century.United States
Online resource:	http://dx.doi.org/10.1007/978-3-319-77013-0
ISBN:	9783319770130$q(electronic bk.)

Jimi Hendrix and the cultural politics of popular music
Lefkovitz, Aaron.

Jimi Hendrix and the cultural politics of popular music[electronic resource] /by Aaron Lefkovitz. - Cham :Springer International Publishing :2018. - v, 158 p. :ill., digital ;24 cm.

1. Jimi Hendrix-Gypsy Eyes, Voodoo Child, and Countercultural Symbol -- 2. "I Don't Want to Be a Clown Anymore": Jimi Hendrix as Racialized Freak and Black-Transnational Icon -- 3. Jimi Hendrix and Black-Transnational Popular Music's Global Gender and Sexualized Histories -- 4. Jimi Hendrix, the 1960s Counterculture, and Confirmations and Critiques of US Cultural Mythologies -- 5. Conclusion.

This book, on Jimi Hendrix's life, times, visual-cultural prominence, and popular music, with a particular emphasis on Hendrix's relationships to the cultural politics of race, gender, sexuality, ethnicity, class, and nation. Hendrix, an itinerant "Gypsy" and "Voodoo child" whose racialized "freak" visual image continues to internationally circulate, exploited the exoticism of his race, gender, and sexuality and Gypsy and Voodoo transnational political cultures and religion. Aaron E. Lefkovitz argues that Hendrix can be located in a legacy of black-transnational popular musicians, from Chuck Berry to the hip hop duo Outkast, confirming while subverting established white supremacist and hetero-normative codes and conventions. Focusing on Hendrix's transnational biography and centrality to US and international visual cultural and popular music histories, this book links Hendrix to traditions of blackface minstrelsy, international freak show spectacles, black popular music's global circulation, and visual-cultural racial, gender, and sexual stereotypes, while noting Hendrix's place in 1960s countercultural, US-exceptionalist, cultural Cold War, and rock histories.

ISBN: 9783319770130$q(electronic bk.)

Standard No.: 10.1007/978-3-319-77013-0doiSubjects--Personal Names:

809875
Hendrix, Jimi
--Criticism and interpretation.Subjects--Topical Terms:

809876
Rock music
--Social aspects--United States--20th century.

LC Class. No.: ML410.H476 / L445 2018

Dewey Class. No.: 787.87166092

Jimi Hendrix and the cultural politics of popular music
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505 0 $a 1. Jimi Hendrix-Gypsy Eyes, Voodoo Child, and Countercultural Symbol -- 2. "I Don't Want to Be a Clown Anymore": Jimi Hendrix as Racialized Freak and Black-Transnational Icon -- 3. Jimi Hendrix and Black-Transnational Popular Music's Global Gender and Sexualized Histories -- 4. Jimi Hendrix, the 1960s Counterculture, and Confirmations and Critiques of US Cultural Mythologies -- 5. Conclusion.
520 $a This book, on Jimi Hendrix's life, times, visual-cultural prominence, and popular music, with a particular emphasis on Hendrix's relationships to the cultural politics of race, gender, sexuality, ethnicity, class, and nation. Hendrix, an itinerant "Gypsy" and "Voodoo child" whose racialized "freak" visual image continues to internationally circulate, exploited the exoticism of his race, gender, and sexuality and Gypsy and Voodoo transnational political cultures and religion. Aaron E. Lefkovitz argues that Hendrix can be located in a legacy of black-transnational popular musicians, from Chuck Berry to the hip hop duo Outkast, confirming while subverting established white supremacist and hetero-normative codes and conventions. Focusing on Hendrix's transnational biography and centrality to US and international visual cultural and popular music histories, this book links Hendrix to traditions of blackface minstrelsy, international freak show spectacles, black popular music's global circulation, and visual-cultural racial, gender, and sexual stereotypes, while noting Hendrix's place in 1960s countercultural, US-exceptionalist, cultural Cold War, and rock histories.
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