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It changed the way I listen. Sex is the subject, but Good Booty is really a tour-de-force history of an entire century of pop, rich in feeling and fierce in insight.

Only Ann Powers could make this story so head-spinning—and often heartbreaking. I feel like I have been waiting my whole life for this book— Good Booty is glorious!

Powers reveals an extraordinary breadth of knowledge and insight and has produced an absolutely essential addition to any pop-culture collection.

Buy at Local Store Enter your zip code below to purchase from an indie close to you. Very broad overview of American popular music through the lens of diversity and desire.

Too much of a survey course for me, but good if you are a teenager just finding out about everything, I bet. Interesting and informative but a little too ambitious.

The most useful thing for me was learning about some s gospel groups. Oct 01, Philip Cherny rated it really liked it Shelves: nonfiction , american , history , feminism , cultural-study , black-or-african-american , eros , music.

She readily admits in the introduction that she excludes a lot of musical history, even entire genres, from of this already dense history.

However, she occasionally muddles the narrative even further by citing examples outside of their chronological order or geographical context.

This kind of obfuscating patch-working seemed most evident to me in her coverage of the early 20th century and in her section on the s.

I can get on board with this kind of reading since music necessarily remains a deeply bodily experience cerebral conceptual considerations aside.

It is a somewhat compelling way to view humanity, but I suspect nothing in life is ever so cut-and-dried to be viewed from only one lense.

She does do this occasionally, as when she discusses the introduction of auto-tuning vocalization from Atlanta strip club culture into hip-hop, but I wish she would have spoken more at length about how the formal qualities of musical trends intersect with its sociological aspects.

My desire to read more on this aspect of music might speak to my biases in musical taste that emphasize sounds, sonic textures, and rhythm over song-writing i.

Ann Powers may have ignored these important elements in part because they did not quite resonate with mainstream culture, and in part because they arguably seemed to have culminated more across the Atlantic in alternative scenes such as trip-hop, shoegaze, industrial, etc.

Sep 02, Steve rated it it was amazing. It's nothing less than taking a fresh look at American pop music history through the lenses mentioned in that subtitle, and is at least half remarkable and always intriguing.

The remarkable parts start for me with the second chapter, on the dances of the first 20 years of the 20th century, with great insights into the sexuality being expressed in ways we never thought were available to our grandparents or your great-grandparents - remember, I'm old generation.

Then Powers really blows me away It's nothing less than taking a fresh look at American pop music history through the lenses mentioned in that subtitle, and is at least half remarkable and always intriguing.

Then Powers really blows me away with a chapter on the Gospel developments of the 30s through the 50s, and the connections between divine and bodily sublimity.

She's very good as well on the 50s rock'n'roll history, and comes up with fresh insights into Hendrix, Joplin, and the Doors.

Her early chapter on the earliest interracial cross-cultural fertilization both consensual and raped of American music is really good as well.

Once she hits the 70s, Powers seems to be racing to the finish line, coming up with often fresh insights into the ways different musics reacted to the open sexuality of the 70s, the AIDS fears of the 80s, the fierce liberations of the 90s, and what she pins as a cyborg sexuality in the 00s.

I was alternately nodding my head in wonderment and shaking my head thinking that was too narrow a viewpoint in those chapters, which did, after all, cover times I actually paid attention to the music she was covering.

Powers never comes across as dogmatic - she wrestles with dichotomies within her opinions, and gives the music the thoughtful coverage it deserves.

And, she puts it all into much bigger contexts than most music writers have done - the book is a history of music's place in the culture, and while there are obviously plenty of other ways to view that place than through the prism of sex, I would argue that Powers makes a clear case for considering the complexity of historical and contemporary reaction to music itself through that prism.

And, yeah, she provides a good beat, and I want to dance to this book. Jun 11, Zachary Houle rated it liked it. If you want to take a careening view of American music and how sexuality infuses it, Ann Powers who works for NPR in the States has written a book about that subject in Good Booty.

This had less to do with the subject matter, perhaps, than If you want to take a careening view of American music and how sexuality infuses it, Ann Powers who works for NPR in the States has written a book about that subject in Good Booty.

This had less to do with the subject matter, perhaps, than the distancing, clinical choice of language in academia. Power locates her subjects by place and by date.

This book was ambitious - maybe too much so. I'm trying to console myself with the fact that it was probably written for a slightly broader audience than the pop-music obsessives I usually discuss this stuff with, but I can't shake the feeling that there were a lot of missed opportunities to explore some of its subjects in much greater depth.

The decision to focus each chapter which frequently span several decades on a specific "theme" that everything is organized around seriously harms the wh This book was ambitious - maybe too much so.

The decision to focus each chapter which frequently span several decades on a specific "theme" that everything is organized around seriously harms the whole project - the chapter on the 80ss and the following one on present feel particularly skewed towards their respective focal points.

I wouldn't be surprised if this is the reason why certain key movements and artists are completely or almost completely glossed over; how can you cover musical sexuality in the 80s while confining the dominance of hair metal bands to a single sentence in parentheses?

And much as I don't like him as an artist surely Drake, not mentioned once in the book, has had as much influence on recent hip-hop sexuality as Beyonce?

I won't deny that it could be a fun read at times and that I learned something from it, and hey, it does do some great work on specific parts of musical history - I just can't shake the feeling that this book could have been so much more.

Aug 11, Sophia Ordaz rated it really liked it. Ann Powers delivers an entertaining, ambitious, and well-researched survey of American pop music through the thought-provoking lens of sex and sexuality.

From the get-go, the exhaustive research required of the task is evident. Powers incorporates absorbing quotes lifted from interviews, music criticism, and sociology, the last of which proves to be especially illuminating because of its cross-disciplinary, cross-cultural implications.

At times, Powers diverges on tangents, but these passages fe Ann Powers delivers an entertaining, ambitious, and well-researched survey of American pop music through the thought-provoking lens of sex and sexuality.

At times, Powers diverges on tangents, but these passages feel like pleasant excursions that never stray too far from her thematic "trailhead": that music is an integral medium through which sexuality is presented, performed, and perceived.

I also wish Powers had examined what became of alternative rock in the s onward and the rising dominance of music streaming. But, nonetheless, this book exposed me to music scenes I was unfamiliar with and made me consider the music I love in new ways, which is exactly why I had wanted to read it.

An academic could have easily turned this book into a stuffy, stodgy read, but as one of today's most essential music critics, Powers captures the X-rated sex and the romantic sensuality living in American music.

Mar 29, Mysh rated it liked it. This is one of those big ideas that you know is a stretch to stitch together but, finally, there's just enough material to maybe make it happen, like sucking your stomach in and hoping that button doesn't pop off.

The overall concept being the way music has shaped sex? The way sex has shaped music? The threesome that is people, sex, music.

I can't decide if the button popped off or not, but I do know I learned some things? However, I wonder if Powers had any input from Black critics or historians This is one of those big ideas that you know is a stretch to stitch together but, finally, there's just enough material to maybe make it happen, like sucking your stomach in and hoping that button doesn't pop off.

However, I wonder if Powers had any input from Black critics or historians in her work. It felt like I was reading through an automatic filter with her being a white woman and then she'd talk about white artists trying to imitate black artists while being a white woman trying to talk about black artists and it was a bit like how much can I trust in these observations Especially, when talking about the past that no one remembers, whatever race you are.

I'm not sure how much research can make up for that. I enjoyed the last chapter the most because of my interest in how "irl" and internet respond to each other, plus Britney Spears deserves a whole academia series on her entire life and career.

I had so much fun reading this book. I collect music history books, I avidly read music history books, I cherish music history books.

Just the cover alone had me somewhat sold. That title American music There is so much great history there Powers absol I had so much fun reading this book.

Powers absolutely does that and does it well. Well researched information but FUN!! Most times we get non-fiction and it's bogged down with tons of facts In this book we get that in a way that makes it enjoyable to read I literally plugged my ipod into my laptop and created a playlist of great songs during and after this book.

Talk about music inspiration. Highly entertaining. I absolutely recommend. Thanks as always to the wonderful people of goodreads for my free copy of this book.

I received. I read. I reviewed this book voluntarily and honestly. I really wanted to love this one, but had very mixed reactions to it.

On the one hand, some of the material was really interesting and new to me definitely fun, for instance, reading about the rise and underlying significance of doo-wop, via songs that I know well.

But overall, Powers tried to cover too much historical ground for a single book. The result was that it often felt like a shallow listing of events, rather than the in-depth discussion I was expecting.

Given the sub-title, I had bee I really wanted to love this one, but had very mixed reactions to it. Given the sub-title, I had been eager to dive into this one for gender- and race-based perspectives on representation in popular music, dynamics of the music industry, etc.

There was some exploration of these themes, but on a fairly shallow level -- occasionally noting the presence of a problematic practice and then moving on the next topic without deeper discussion.

In the end, this one left me wanting more information, rather than feeling like I had learned much. Sep 30, Al rated it it was ok. A history of American popular music, strongly tilted toward black-influenced music.

I was drawn to the book by my interest in blues, rhythm and blues, and rock and roll. These subjects are of course included, but there is much more, particularly with respect to more recent styles and artists.

There's no doubting the author's credentials and knowledge of the subject matter, although a good deal of the material was of little interest to me.

It did seem like Ms. Powers, perhaps too deeply engrosse A history of American popular music, strongly tilted toward black-influenced music.

Powers, perhaps too deeply engrossed in her own field of study, ascribed sweeping social significance to music and artists who in fact may be virtually unknown to many pop music listeners.

But maybe I'm just displaying my own ignorance. I think this was too broad a topic to cover in one book. It felt uneven and scattered--especially toward the end--and I'm not sure exactly who the audience was supposed to be apart from somebody who is completely unfamiliar with American pop culture.

I just got exhausted of the explanations of every single artist and genre. I'm also pretty sure the reader for the audio had never heard many of the songs or artists discussed for all the flat delivery and mispronunciation That said, I did I think this was too broad a topic to cover in one book.

That said, I did enjoy it as an overview and my general fondness for type of approaches. It took me a little longer to get into this book, because I was expecting this to start in the 50s and go to today, but it starts all the way back at the start of the s.

Once I was able to dive in, though, that initial history is super relevant and circles all the way back around to more recent trends. This is a great overview of the changing way music has expressed love and, more importantly, sex through the changing social mores of the last century or so.

Lots to think about, and plenty of music to dig into. Sharply written with brilliant insights, Ann Powers has added a new classic to the music criticism canon and created a must-read for any music head.

Jun 11, Rick rated it really liked it. This is an excellent book. It serves as a cultural history of popular music from the 19th century until the present.

It illustrates the appropriation of black music and culture by the always dominant white majority and connects the appreciation of music sounds with human sexuality.

Powers covers a lot of ground but she does so in fine style. If you like thinking about music and listening to music this is a book to read.

Jan 27, Mel rated it liked it. Incredibly relevant book for the times. Reflects on both appropriation and even of the more negative aspects of sex in music, while still celebrating some of your favorite artists and the cultural and political climates that allowed them to blossom when they did.

But I found it a bit dry, which isn't uncommon for me with Powers. There are no discussion topics on this book yet. Readers also enjoyed.

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