Heroes and Villains is the first collection of essays by David Hajdu, author of Lush Life, Positively 4th Street, and The Ten-Cent Plague. Eclectic and controversial, Hajdu's essays take on topics as varied as pop music, jazz, the avant-garde, graphic novels, and our downloading culture.
Heroes and Villains: The Villain. In this series of essays, were going to be looking at how to make interesting heroes and villains. For this second essay.
The essays in Heroes and Villains are most often critical assessments mixed with biographical sketches, a rare form in this time of the short review and the widespread assumption that readers will be confused upon encountering an actual opinion in the midst of a profile. Hajdu is the rare first-rate critic who's also a first-rate interviewerâhe's rarely interested in putting his own opinions ahead of the stated intentions of the artist under discussion. If the critical appraisal is at odds with the good quote, he lets both stand, and a fresh tension is the result.
In his autobiography, Miles Davis called musicians Dizzy Gillespie, Buddy Anderson and Art Blakely by their names, but he referred to Billy Eckstine simply as B. (He described B's sound as the "greatest feeling I ever had in my lifeâwith my clothes on.") Profiling Eckstine in his new book Heroes and Villains, a collection of essays on music, movies, comics and culture, David Hajdu writes, "If Miles Davis represented the birth of the cool, Billy Eckstine was its conception."
Essay on heroes and villains - Magic Play
The title of Heroes and Villain's lead essay, "The Man Who Was Too Hot," is a double entendre for Eckstine's music; B rejected the orchestrated precision of big band music, and his sound was a forbearer of bebop ("jerky" and "over-stylized" said Variety in 1946). The title's second meaning is for the handsome Eckstine's status as an unapologetically romantic, black sex symbol whose appeal to white women ultimately ruined his career.
Heroes and villains essays on music
Each essay is under 10 pages and accordingly succinct. Yet the individual pieces, whether on Alan Lomax or Sting or Philip Glass, have a depth of research and information evocative of Eckstine's musical signature: speedy bebop that packs dozens of quality sounds into a bar the audience only expects four of five notes from. Heroes and Villains is dense, but it's hot. -
Essays on heroes and villains, Research paper Writing Servic
Perhaps I should have clarified my thinking on this point in my essay: I only meant that the hero is reactive in initially becoming a hero--their original involvement in the conflict is a reaction. Harry doesn't choose to become a hero. He doesn't come to Hogwarts at age 11 looking for an evil wizard to fight so that he can be a hero. And even if he did, he couldn't choose what type of villain he'd face. I think of it sort of like a game of pool. Harry has the cue, and he can choose how to act, how hard to shoot, what angle, etc. But Voldemort has arranged the balls on the table, so no matter what choice Harry makes initially, it will be a reaction to what Voldemort has done when he placed the balls. Does that make sense? After that first shot, Harry's actions set the stage as much as Voldemort's. He can make Voldemort react to him, once he is involved. But his first move is a reaction.