Faking It: The Quest for Authenticity in Popular Music - Hardcover

Barker, Hugh; Taylor, Yuval

Hardcover

ISBN 10: 0393060780 ISBN 13: 9780393060782

Publisher: W. W. Norton & Company, 2007

Synopsis

Musicians strive to “keep it real”; listeners condemn “fakes”; ... but does great music really need to be authentic?

Did Elvis sing from the heart, or was he just acting? Were the Sex Pistols more real than disco? Why do so many musicians base their approach on being authentic, and why do music buffs fall for it every time? By investigating this obsession in the last century through the stories of John Lennon, Kurt Cobain, Jimmie Rodgers, Donna Summer, Leadbelly, Neil Young, Moby, and others, Faking It rethinks what makes popular music work. Along the way, the authors discuss the segregation of music in the South, investigate the predominance of self-absorption in modern pop, reassess the rebellious ridiculousness of rockabilly and disco, and delineate how the quest for authenticity has not only made some music great and some music terrible but also shaped in a fundamental way the development of popular music in our time.

About this title

About the Author:

Hugh Barker, formerly a musician and songwriter, works in publishing in London.

Yuval Taylor, senior editor at Chicago Review Press, is the author of Zora and Langston: A Story of Friendship and Betrayal and coauthor of Darkest America: Black Minstrelsy from Slavery to Hip-Hop and Faking It: The Quest for Authenticity in Popular Music. He has edited three volumes of African American slave narratives, and his writings have appeared in The Antioch Review, The Guardian, and other publications. He lives in Chicago.

From Publishers Weekly:

Barker and Taylor's exploration of the idea of authenticity in modern music takes them from the falsely labeled "pure" and "primitive" style of Leadbelly to the first truly "autobiographical song" (Jimmie Rodger's version of "TB Blues"), the disintegration of the Monkees and Neil Young's "Drugged-out, driven, and death soaked" album Tonight's the Night—what the authors believe to be the most "honest" rock record of all time. Strangely, the book does not include a discussion of hip-hop, a surprising omission given the attention paid to other aspects of black music and the genre's particular concern with the book's themes. By the end, Barker (a musician and songwriter) and Taylor (I Was Born a Slave) find the distinction between real and fake "[b]reaking down and becoming increasingly meaningless." It becomes clear that even seemingly obvious examples of authentic and inauthentic defy easy categorization when scrutinized. After all, is disco's well-intentioned alternate reality any less "real" than the violent, "mocking pretenses" of the Sex Pistols? Though the book's final conclusions are not revelatory, it offers an intriguing take on the development of popular music. (Mar.)
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About this edition

• Publisher: W. W. Norton & Company
• Publication date: 2007
• ISBN 10: 0393060780
• ISBN 13: 9780393060782
• Binding: Hardcover
• Number of pages: 400