In its heyday Motown Records was a household word, one of the most famous and successful black-owned businesses in American history, and, arguably, the most significant of all American independent record labels.
How it got to be that way and how it changed the face of American popular culture are the subjects of this concise study of Berry Gordy's phenomenal creation. Author Gerald Early tells the story of the cultural and historical conditions that made Motown Records possible, including the dramatic shifts in American popular music of the time, changes in race relations and racial attitudes, and the rise of a black urban population. Early concentrates in particular on the 1960s and 70s, when Motown had its biggest impact on American musical tastes and styles.
With this revised and expanded edition, the author provides an up-to-date bibliography of the major books that have been written about Motown Records specifically, and black American music generally. Plus, new appendices feature interviews with four of the major creators of the Motown Sound: Berry Gordy, Stevie Wonder, Diana Ross, and Marvin Gaye.
"Gerald Early and Motown . . . seem as inevitable and harmonious a coupling as Marvin Gaye and Tammi Terrell."
—-The Nation
Publishers Weekly
- Publisher's Weekly
In this elegant, far-ranging essay, African American studies professor Early (The Culture of Bruising) offers a portrait of the revolutionary as a decidedly bourgeois family man and businessman-Motown Records founder Berry Gordy Jr., stage manager of ``the most shining moment of the American black in popular culture.'' Borrowing crossover boxing hero Joe Louis's gloves and Booker T. Washington's bootstraps, Gordy combined black and American identities in a music ``that neither bleached nor blackened,'' even if it was created, produced and-most significantly-popularized entirely by blacks. Readers hoping for a complete history or a critical equivalent of The Big Chill soundtrack will be disappointed; Early is less interested in particular songs or artists than in the overarching, if never fully described, ``Motown sound'' authored by Gordy himself with the help of in-house songwriters and producers. (Artists were never permitted to write songs or produce, and even diva Diana Ross was never allowed to become more than just the most exalted member of the Motown ``family.'') This is a heady mix of cultural studies and nostalgia, only occasionally bogged down in a slight mist of academicism. (June)
Our reader reviews allow you to share your comments on titles you liked,
or didn't, with others. By submitting an online review, you are representing to
Barnes & Noble.com that all information contained in your review is original
and accurate in all respects, and that the submission of such content by you
and the posting of such content by Barnes & Noble.com does not and will not
violate the rights of any third party. Please follow the rules below to help
ensure that your review can be posted.
Reviews by Our Customers Under the Age of 13
We highly value and respect everyone's opinion concerning the titles we offer.
However, we cannot allow persons under the age of 13 to have accounts at BN.com or
to post customer reviews. Please see our Terms of Use for more details.
What to exclude from your review:
Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the
information on the product page, please send us an email.
Reviews should not contain any of the following:
- HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
- Time-sensitive information such as tour dates, signings, lectures, etc.
- Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
- Comments focusing on the author or that may ruin the ending for others
- Phone numbers, addresses, URLs
- Pricing and availability information or alternative ordering information
- Advertisements or commercial solicitation
Reminder:
- By submitting a review, you grant to Barnes & Noble.com and its
sublicensees the royalty-free, perpetual, irrevocable right and license to use the
review in accordance with the Barnes & Noble.com Terms of Use.
- Barnes & Noble.com reserves the right not to post any review -- particularly
those that do not follow the terms and conditions of these Rules. Barnes & Noble.com
also reserves the right to remove any review at any time without notice.
- See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend
Create a Pen Name
Welcome, penname
You have successfully created your Pen Name. Start enjoying the benefits of the BN.com Community today.
If you find inappropriate content, please report it to Barnes & Noble
More About This Textbook
Overview
In its heyday Motown Records was a household word, one of the most famous and successful black-owned businesses in American history, and, arguably, the most significant of all American independent record labels.
How it got to be that way and how it changed the face of American popular culture are the subjects of this concise study of Berry Gordy's phenomenal creation. Author Gerald Early tells the story of the cultural and historical conditions that made Motown Records possible, including the dramatic shifts in American popular music of the time, changes in race relations and racial attitudes, and the rise of a black urban population. Early concentrates in particular on the 1960s and 70s, when Motown had its biggest impact on American musical tastes and styles.
With this revised and expanded edition, the author provides an up-to-date bibliography of the major books that have been written about Motown Records specifically, and black American music generally. Plus, new appendices feature interviews with four of the major creators of the Motown Sound: Berry Gordy, Stevie Wonder, Diana Ross, and Marvin Gaye.
Editorial Reviews
From the Publisher
"Gerald Early and Motown . . . seem as inevitable and harmonious a coupling as Marvin Gaye and Tammi Terrell."—-The Nation
Publishers Weekly - Publisher's Weekly
In this elegant, far-ranging essay, African American studies professor Early (The Culture of Bruising) offers a portrait of the revolutionary as a decidedly bourgeois family man and businessman-Motown Records founder Berry Gordy Jr., stage manager of ``the most shining moment of the American black in popular culture.'' Borrowing crossover boxing hero Joe Louis's gloves and Booker T. Washington's bootstraps, Gordy combined black and American identities in a music ``that neither bleached nor blackened,'' even if it was created, produced and-most significantly-popularized entirely by blacks. Readers hoping for a complete history or a critical equivalent of The Big Chill soundtrack will be disappointed; Early is less interested in particular songs or artists than in the overarching, if never fully described, ``Motown sound'' authored by Gordy himself with the help of in-house songwriters and producers. (Artists were never permitted to write songs or produce, and even diva Diana Ross was never allowed to become more than just the most exalted member of the Motown ``family.'') This is a heady mix of cultural studies and nostalgia, only occasionally bogged down in a slight mist of academicism. (June)Product Details
Related Subjects
Table of Contents