"This music, so self-consciously English, sounded different in America, where its rather nerdy creators were greeted as exotic rock stars." - Hallo friend USA IN NEWS, In the article you read this time with the title "This music, so self-consciously English, sounded different in America, where its rather nerdy creators were greeted as exotic rock stars.", we have prepared well for this article you read and download the information therein. hopefully fill posts Article HOT, Article NEWS, we write this you can understand. Well, happy reading.

Title : "This music, so self-consciously English, sounded different in America, where its rather nerdy creators were greeted as exotic rock stars."
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"This music, so self-consciously English, sounded different in America, where its rather nerdy creators were greeted as exotic rock stars."

"That summer [1971], Yes played its first U.S. concert, at an arena in Seattle. A fan who approached Jon Anderson before the show remembered that Anderson was nervous. 'I don’t know what is going to happen,' the singer told him. 'I’ve never been in a place like this.' When Anderson sang, 'I’ll be the roundabout,' most American listeners surely had no idea that he was referring to the kind of intersection known less euphoniously, in the U.S., as a traffic circle... Why, then, did this music seduce so many Americans? In 1997, a musician and scholar named Edward Macan published 'Rocking the Classics,' in which he offered a provocative explanation. Noting that this artsy music seemed to attract 'a greater proportion of blue-collar listeners' in the U.S. than it had in Britain, he proposed that the genre’s Britishness 'provided a kind of surrogate ethnic identity to its young white audience': white music for white people, at a time of growing white anxiety. Bill Martin, the quasi-Marxist, found Macan’s argument 'troubling.' In his view, the kids in the bleachers were revolutionaries, drawn to the music because its sensibility, based on 'radical spiritual traditions,' offered an alternative to 'Western politics, economics, religion, and culture.'"

From "THE PERSISTENCE OF PROG ROCK/Critics think that the genre was an embarrassing dead end. So why do fans and musicians still love it?" by Kelefa Sanneh in The New Yorker.

I've never liked prog rock, but I've never thought about it in relation to white anxiety. The author of the New Yorker article appears not to be white (and used to edit a journal of race and culture). He's bouncing off a new book, "The Show That Never Ends/The Rise and Fall of Prog Rock," which is by David Weigel, who appears to be white. Based on my fiddling with the "look inside" function at Amazon, I don't think Weigel gets into the whiteness of prog rock or even says anything about race at all, but obviously others have.

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