By John Szwed
The definitive biography of Alan Lomax-from John Szwed,"the top track biographer within the business" (L.A. Weekly).
One of the main extraordinary figures of the 20 th century, Alan Lomax used to be top recognized for bringing mythical musicians like Woody Guthrie, Pete Seeger, Muddy Waters, Lead abdominal, and Burl Ives to the radio and introducing folks track to a mass viewers. Now John Szwed, the acclaimed biographer of Miles Davis and sunlight Ra, provides the 1st biography of Lomax, a guy who was once as influential as he was once controversial-trailed for years by means of the FBI, criticized for his folks- song-collecting practices, denounced by means of a few as a purist and via others as a popularizer. This authoritative paintings unearths how Lomax replaced no longer merely the way in which everybody within the kingdom heard tune but additionally the way in which they seen the US itself.
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Additional info for Alan Lomax: The Man Who Recorded the World
They were thin, and, when he was wearing his customary sober expression, usually closed. It was only when he was listening intently that they stood slightly open. But if Mahler was disgruntled, angry or out of sorts, he would pull his mouth out of shape, taking half his lower lip between his teeth, wrinkling his brow and tightening the folds of his nose. Pulled about like this, his face took on such a distorted grimace that he really did become the “nasty Mahler” … Gilman, Making the Body Beautiful, p.
Mahler’s head also receives attention from Roller, possibly because the size of the head was seen as another marker of Jewish difference. ” Like the illusion created by his glasses, Mahler’s “real” self is masked and he appears more “Jewish” than he actually is. And, in the case of the size of his head, it seems to be the result of Mahler merely trying to please his wife, something for which he can hardly be blamed even if he realizes that it contributes to his unaesthetic appearance. Overall, the impression of Mahler’s face is likened to an “antique mask of tragedy,” an image which immediately calls forth ideas of Greek physical perfection and beauty.
As translated in Norman Lebrecht, Mahler Remembered (New York and London, 1987), pp. 149–65, italics added; all translations from Lebrecht unless otherwise indicated. Pages will be cited first in the German, followed by the citation to Lebrecht’s translations: thus 9/149. On Roller himself, see Manfred Wagner, Alfred Roller in seiner Zeit (Salzburg, 1996). Jens Malte Fischer also discusses Roller’s essay in his book Gustav Mahler: Der fremde Vertraute, Biographie (Vienna, 2003), pp. 11–23, although he treats it as a one source among many in order to discuss how Mahler might have appeared physically.