If you enjoy post-moderism and meta-history you’ll appreciate this. Two of the founders of the original revival band write an article for their alma mater’s journal wherein they discuss a couple of recent scholarly publications (Happy Days and Wonder Years: The Fifties and Sixties in Contemporary Cultural Politics by Daniel Marcus and Retro: The Culture of Revival by Elizabeth E. Guffey) that both “contain extensive studies of Sha Na Na’s ‘Fabricated Fifties'” and claim that Sha Na Na played “an unusual role in 20th century American history. More precisely, in inventing it.”
Daphne A. Brooks, associate professor of English and African-American studies at Princeton University, socks it to Amy Winehouse in an article for the Nation, Amy Winehouse and the (Black) Art of Appropriation:
What makes this act slightly less than amusing is the fact that Winehouse has built her stardom on recycling the looks and sounds–the Wurlitzer, hand claps and upright bass–of Freedom Ride-era pop music to sell her tale of rapidly unfolding decline. It’s one thing in our celebreality culture of scandals and bad behavior to garner attention by singing a pop anthem about resisting rehab. It’s quite another to set these finely crafted tales from the “gritty” English ‘hood to doo-wop hopefulness and buoyant, “Dancing in the Streets” percussive melodies that recall the upbeat tenor of King-era activism. This summer, the dissonance grew deafening when Winehouse was caught on video singing slurs about blacks and Asians–not to mention gays and disabled folk–to the tune of “Head, Shoulders, Knees and Toes” while hanging out in what looked like a crack den.
Check out what Brooks has to say about the Dap-Kings after the jump…