It came from Memphis -

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*008970102b1995    xx     e          0deng d
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*035  $a(NO-LaBS)11103615(bibid)
*041  $aeng
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*090  $c781.64$dGOR
*1001#$aGordon, Robert$d1947-$_14546100
*24510$aIt came from Memphis$cRobert Gordon
*260 #$aLondon$bSecker & Warburg$c1995
*300 #$a303 s.$bill.
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*5058#$aLitt. henv. s. 267-275
*520 #$aVienna in the 1880s. Paris in the 1920s. Memphis in the 1950s. These are the paradigm shifts of modern culture. Memphis then was like Seattle with grunge or Brooklyn with hip-hop―except the change was more than musical: Underground Memphis embraced African American culture when dominant society abhorred it. The effect rocked the world. We’re all familiar with the stars’ stories, but It Came From Memphis runs with the the kids in that first rock and roll audience, where they befriended the older blues artists, the travails of blazing a rock and roll career path where one had not existed (nor did society welcome it), and the adventures―sometimes drug-fueled, often accidental, always pushing the envelope―that epitomize the rock and roll experience. Stars pass through―Elvis, Aretha, Jerry Lee―but the emphasis is on the singular achievements of Alex Chilton, Jim Dickinson, Furry Lewis and wrestler Sputnik Monroe. This is a book about the weirdos, winos and midget wrestlers who forged the rock and roll spirit, unwittingly changing the fabric of America. Music liberated that Memphis audience, and the world followed.
*599  $a0108
*60014$aChilton, Alex$d1950-$_17722300
*60014$aDickinson, Jim$_18055400
*61024$aBig Star$_17722100
*61024$aMar-Keys$_18055500
*61024$aMud Boy$_18055600
*61024$aThe Neutrons$_18055700
*650 4$aBiografier$_10033200
*650 4$aBlues$_10024500
*650 4$aCountrymusikk$_12156600
*650 4$aMemphis$_16586000
*650 4$aPopmusikk$_10025000
*650 4$aRock$_10025100
*650 4$aUSA$_10088200
^

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