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Loren Kajikawa. Only 3 left in stock more on the way. Alex Ross. Evelyn McDonnell. Only 4 left in stock more on the way.

Ann Powers. Only 1 left in stock - order soon. Register a free business account. Good Booty is an expansive, electrifying, and important book.

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.

Read more. Product details Item Weight : 1. Start reading on your Kindle in under a minute. Don't have a Kindle? Customer reviews. How are ratings calculated?

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Please try again later. Verified Purchase. One person found this helpful. I've long dreamed of writing a book much like this one.

Ann Powers has written my secret dream book, and done it so well I kind of hate her a little. If you care about the history of American pop music, rock and roll in particular, I recommend this book without reservation.

It's that simple. What a great book! I love reading every chapter. It's a history of rock and roll, told through the lens of sex. I learned a lot of interesting things I didn't know about various musicians.

Even those I knew a lot about, like Janis Joplin, I looked at her in a new way with the detailed info that Powers writes.

This is clearly a labor of love and if you love rock and roll, you should read it. I suggest having Spotify or some such service open and nearby; you are going to want to play all the songs mentioned on every page!

This is a fantastic book for anyone that loves music, is interested in American cultural history and who loves good writing.

Not just good writing, but writing that sparkles. Ann Powers is one of the most important music writers today. Ann Powers spent 11 years researching, listening, thinking and exploring the intersection between sex and music, considering beyond the obvious "clusters of who we are" age, race, orientation -- and somehow lands on the euphoria most academic writers miss from the facts, the data, the big ideas.

Instead, Powers -- NPR's lead music critic -- lands on the joy, churning and dancing to the music, even as she unpacks those big ideas that we often miss for the thrill of how music makes us feel.

This is not the spoonful of sugar approach. It IS smart, well-researched, engaging, but it never bogs down in showing us how smart -- or intellectual -- it is.

To me, GOOD BOOTY proves smart writing about music doesn't have to labor; it can exude the rhythms of a great song, capture the excitement of a song that catches you up inside itself.

Starting in New Orleans, bringing both church and pop culture into it, BOOTY teaches the origins and the overlaps between the sacred and profane.

Exhuming the little known, considering massive superstars frmo Madonna and Prince, this is a work that spans all of pop music's culture without being laborious.

If you love American contemporary music, this is a brilliant consideration of where the magic comes from. Great Book! This account of American Music is deep, dense with details and highly entertaining!

I would recommend this to everyone who enjoys music. Ann Powers has a flair for putting you there and keeping your attention.

You can hear the music, smell the room and feel the grit under your feet! The writing style is awkward and difficult to follow.

The author tries to associate sexuality with every musical experience. I bought the book based upon a Wall Street Journal article. She mentions the role of gender and race in appropriate sections as well.

I most appreciated when Powers linked the history of pop music to issues of gender, ra A good history of pop music, from its roots in nineteenth-century New Orleans to today's web-based superstars.

That said, I wish she had taken a stronger stance throughout the book by more explicitly labeling or commenting on problematic historical trends, such as the cultural appropriation of African-American music cough, Elvis and how female pop stars suffered under patriarchal expectations of their artistry and lives see this book for more.

I also feel that her overall thesis about sexuality and pop music could have used more oomph. Why does sexuality in pop matter? What does pop music say about American culture more broadly?

What do we take away from all of this? Powers begins to examine these questions, and I wanted even more argument as opposed to relaying facts.

Would recommend this to those enthusiastic about pop music history. As Ariana Grande and BlackPink's biggest fan on the planet, I look forward to seeing how pop can grow even bolder, fiercer, and more feminist.

Full disclosure: I won a free copy of this book in a Goodreads giveaway. The book's purpose is not to titillate, but to educate. Even if you ignore the mentions of sex, it's a fascinating look at the history of American popular music in general.

While I like to consider myself fairly knowledgeable about the history of rock and roll, I l Full disclosure: I won a free copy of this book in a Goodreads giveaway.

While I like to consider myself fairly knowledgeable about the history of rock and roll, I learned all sorts of details about its roots that were new to me.

Highly recommended! Aug 23, K rated it really liked it Shelves: musicology , american-studies , popular-music-studies. This review has been hidden because it contains spoilers.

To view it, click here. This is really great and will definitely form a crucial part of my teaching for years to come. I'm stingy with my 5-star reviews, and I explain the reasons for it not being a perfect book below.

I devoured this book in record time, and there is a good reason for this. Powers has produced a truly sweeping piece of criticism and — dare I say it — musicology of race, sex, and popular music.

Some of her insights show a truly remarkable synthesis of criticism and scholarship that demonstrates why the This is really great and will definitely form a crucial part of my teaching for years to come.

Some of her insights show a truly remarkable synthesis of criticism and scholarship that demonstrates why the humanities needs to embrace public cultural critics.

Powers has helped to make NPR a cutting edge forum for music programming and criticism for a few years now. For those of you who have enjoyed her essays on everything from Bruce Springsteen surprisingly missing from this book to Prince, this book shows off just how lucky we are to have her.

Something that I noticed as I made my way through the book was its relationship to binaries, nearly all of them invoked in the book's title. When it comes to love, gender, sex, and sexuality, Powers writes with incredible dexterity to trouble the boundaries and binaries that threaten to overpower everything else when talking about popular music history.

My one criticism comes from my perspective as a scholar. Her discussion of race, while mostly on point, left me wondering about the dangers of posing the story of popular music in the U.

Surely, there are other racial and ethnic groups who have exerted a strong influence in U. As I write this review, "Despacito" is about to break the record for most consecutive weeks at the top of the Billboard chart.

The song is clearly about sex, and yet, if a curious listener tried to find the roots of the song's success in this book, they would be missing decades of Latinx, Caribbean, and Latin American musical influences.

Other major immigrant groups are also missing south Asians, for example , but it seems to me that this is a larger problem of North American pop music criticism in general.

I care about it because I have seen the problem replicated in my own scholarly societies. That really is my only quibble with the book. My discomfort isn't about Powers but rather N.

American pop music criticism and scholarship in general. Overall, this book is a tour de force of criticism and new insights. Her fluid use of feminist and cyborg theory in the last chapter truly took my breath away.

It made me want to sit down and talk with her about Queen Bey, virality, and vocaloids for hours. This book is written with a startling amount of compassion for all of the figures she treats, even those whose unconventional attitudes about sex and bodies would otherwise receive the scorn by today's standards.

At this moment of racially charged divisiveness, that kind of sensitivity is more needed than ever, especially over a form of expressive culture that so many people think is either too important i.

So thank you, Ann Powers. I'll treasure both the audio and physical copies of this book in my possession.

This is another re-read, but a great and fun one because this was the first time I revisited it. Using the frame of different eras in popular music, journalist and critic Ann Powers paints a fantastic and arousing look at the ways in which music rebelled against what was "not allowed" in proper society, by forcing us to contemplate how to get down while getting down.

From the carefully orchestrated dances performed under the eyes of slave masters by those enslaved peoples in New Orleans pushing This is another re-read, but a great and fun one because this was the first time I revisited it.

From the carefully orchestrated dances performed under the eyes of slave masters by those enslaved peoples in New Orleans pushing back against the system that kept them in chains except when they took to the public dancing place to the transgressions of Mae West, Beyonce, Lady Gaga, and Madonna against polite society not to mention Little Richard, Jimi Hendrix, and Jim Morrison , Powers highlights the ways in which America was shaped by erotically charged music to think more about how different we all are and why that's okay unless of course you're a social conservative, then you're horrified by what's going on around you.

This is a fun read, and a very important one in light of current discussions regarding race, sex, gender, and so on.

I appreciate the amount of research that went into this book but the prose itself was so dry that I found it difficult to read for more than a few pages at a time.

I wanted for Powers to explore more of what music means to her and to society as it continues to evolve, but unfortunately, you are given mostly facts and some prose that is frustratingly deadpan.

View 1 comment. Oct 20, Phil Overeem rated it really liked it. Though she occasionally does not do the full research and lapses into mere rehash in patches, I love Powers' ideas, and the thrust so to speak behind the book.

I'd love to assign it to college freshmen. Nov 16, Jay Gabler rated it really liked it. Both a history and a series of arguments about American popular music, this book offers fans a lot to chew on.

I reviewed Good Booty for The Current.

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