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By Johnny Otis

Mythical jazzman Johnny Otis has spent a life-time on the heart of L.A.'s black tune scene as a composer, performer, manufacturer, d.j., activist, and preacher. His full of life, anecdotal memoir, Upside Your Head! Rhythm and Blues on significant street, recollects the song, the good performers, and the colourful tradition of the district, in addition to the political and social forces -- together with virulent white racism -- that experience formed black lifestyles in l. a.. Resonating with anger, poignancy, pleasure, and defiance, Upside Your Head! is a different record of the African-American musical and cultural experience.

Upside Your Head! remembers a 50-year profession whilst it sort of feels Otis both encountered, stumbled on, or played with each major determine within the early days of rhythm & blues and rock 'n' roll, together with count number Basie, Esther Phillips, T-Bone Walker, massive Mama Thornton, and Lester younger. Drawing on dozens of vignettes, own photos, and hours of taped interviews from the preferred "Johnny Otis Show," Upside Your Head! deals a relocating tribute to the black neighborhood that gave beginning to L.A.'s rhythm and blues. His tales rejoice the genuine roots in black tradition of a particular American tune whereas lamenting its eventual appropriation through the dominant white society.

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Extra info for Upside Your Head!: Rhythm and Blues on Central Avenue

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He writes: ‘Now the idea that the real I lives in my body is connected with the peculiar grammar of the word ‘‘I,’’ and the misunderstandings this grammar is liable to give rise to’ (p. 66). At this stage of his development Wittgenstein draws a contrast (one to be made with much greater subtlety in Philosophical Investigations and his mature writings on the philosophy of psychology) between categories of cases where ‘I’ is used as an object and those where it is used as a subject. If I refer to my broken arm, the bump on my forehead, or the fact that I have grown six inches (p.

And the aim of the philosophical undertaking that utilizes therapeutic, argumentative, and self-monitoring modes of analysis (along with multi-voiced selfdirected dialogue) is, of course, conceptual clarity, perspicuity, and—in a philosophical sense—self-understanding. Conceptual perspicuity, as we see at the close of the final section, is the kind of thing one achieves in a case-by-case, piecemeal manner. The fact that we cannot characterize generally a system called ‘Wittgenstein’s method’ or generically define ‘perspicuousness’ itself (as we will see by returning to Cavell and to Cavell’s Emerson at this point), along with the fact that one cannot at the end of investigations of this kind elucidate a succinctly expressed theory of autobiographical or self-descriptive language that stands at the end of a single overarching argumentative line, is not a limitation.

And this shows something of the distinctively personal nature of this kind, or idiom, of philosophical work. The seeing of newly emergent connections of the kind examined in Chapter 6, and the layered and intricate analyses of linguistically induced conceptual disquietudes, take time and care—as does the kind of autobiographical work (whether it manifests itself in a formal autobiography, memoir, diary, or not) considered throughout this study. Some have argued that Wittgenstein’s ‘method’ is essentially (there is a gentle irony that appears Introduction: The Cartesian Legacy 13 on both sides of the debate here) therapeutic, while others have argued that it is essentially more conventionally argumentative in nature.

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