---
product_id: 33872658
title: "Just around Midnight: Rock and Roll and the Racial Imagination"
brand: "jack hamilton"
price: "₩92593"
currency: KRW
in_stock: true
reviews_count: 9
url: https://www.desertcart.kr/products/33872658-just-around-midnight-rock-and-roll-and-the-racial-imagination
store_origin: KR
region: South Korea
---

# Just around Midnight: Rock and Roll and the Racial Imagination

**Brand:** jack hamilton
**Price:** ₩92593
**Availability:** ✅ In Stock

## Quick Answers

- **What is this?** Just around Midnight: Rock and Roll and the Racial Imagination by jack hamilton
- **How much does it cost?** ₩92593 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.kr](https://www.desertcart.kr/products/33872658-just-around-midnight-rock-and-roll-and-the-racial-imagination)

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## Description

Just around Midnight: Rock and Roll and the Racial Imagination

## Images

![Just around Midnight: Rock and Roll and the Racial Imagination - Image 1](https://m.media-amazon.com/images/I/41gtmpsiQIL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐ 







  
  
    It's Complicated
  

*by D***D on Reviewed in the United States on February 22, 2022*

The subject matter of this book is complicated. It follows the development of rock and roll from black music to white ownership. Race and music are intertwined, this books attempts to unravel that intertwining.  It is well researched and has numerous footnotes from source material. Listening to the music used as examples in the book can help in understanding the points made by the author.

### ⭐⭐ 







  
  
    Tired Arguments, Stuffy Writing
  

*by D***E on Reviewed in the United States on December 26, 2016*

Given the potent thesis Jack Hamilton gives himself in “Just Around Midnight,” one wonders why he artificially limits his study of the racial imagination via popular music to the 1960s. There is far too much that Hamilton leaves out in his 10 year study, but if he is limited to a decade, I wonder why 1965 to 1975 wasn’t more appealing to him, given the extreme whiteness of prog rock, the extreme racism of southern rock, and the extreme innovations of funk, hip hop and R&B. To strictly cut himself off at 1970 denies the reader much of the fluidity of race and music that Hamilton spends his whole book trying to get us to see.Hamilton’s background is as a pop culture writer for Slate, so I was ready for the very redundant double-standard arguments that make most of the book, arguments that anyone smart enough to choose this book already knows plenty about. The book’s structure is composed of juxtapositions between popular black and white artists and their songs. This model feels rather prescriptive and works against the complex point he’s trying to make about these artists’ interracial and mutually inspiring backstories. For example, Hamilton justifies a chapter comparing Bob Dylan with Sam Cooke because of their “assaults on form and genre,” “defections from the musical communities they came from,” and their “artistic autonomy.” These seem to be hallmarks of any great musician of the 60s. One wonders if Hamilton could’ve just as easily compared Ray Charles with Frank Zappa, or Aretha Franklin with David Bowie.Third, and most important, is the last thing any progressive academic wants to hear: Hamilton is employing the same myopia and narrow-mindedness his work is seeking to address. Why does he isolate the genius of Dylan in a racial context, yet cherrypick the violence of Hendrix and race-centric Stones as more of an embodiment of race. I’d argue that Hendrix is fare more the more exceptional and groundbreaking genius than Dylan was. Or why does Hamilton have a whole chapter on ‘rock criticism’ and not devote a chapter to the African American intellectual culture at the time? Also, Hamilton is indeed cautious enough to not limit his book to the accusations of racial binary (i.e., only mentioning black and white contributions to rock music), so he tokenistically mentions Carlos Santana, but it’s more to cover his bases than to paint the rainbow of rock. Speaking of rainbows, if you’re looking for the deeper layers of white dominant culture pillaging other social groups, and the intersectional nature of such interactions, like with LGBT culture (Little Richard, Billy Preston, Bowie) and rural white culture (i.e. The Stones’ interest in country, The Allman Brothers band) look elsewhere. This book plays the same binary tune for 270 pages. While confined white/black study might be Hamilton’s interest, it unfortunately loses ours.In terms of the writing itself, it’s dressed in the stuffy thinkpiece jargon that you’ve come to dread when reading Slate (e.g. “differentness”, “indices,” “hegemonic white masculinism”). Some sentences are so overwritten, you lose track of whether he’s really proving what he’s trying to say. Also, Jack Hamilton-the-Musician shines through in dozens of pages throughout the book in which he discusses the chords and keys of songs, thus making large swaths of the book mean absolutely nothing to the non-musician.Nevertheless, there are some interesting gems for those looking for obscure facts for the next dinner party. You’ll surely impress with your new knowledge of Motown’s influential bassist, James Jamerson. Or the well-researched British subcultures leading up to the British Invasion in the book will fascinate. But if you’re looking for a book that really offers diamond after diamond in rock’s rough, you’ll have to look elsewhere. For such a powerful topic, this is a rather pretentious and milquetoast book conjuring up the same tired devices, and leaving the reader with “it was a lot more complex” without showing us how.

### ⭐⭐⭐⭐⭐ 







  
  
    So much of popular music in the US revolves around ...
  

*by B***N on Reviewed in the United States on October 17, 2016*

So much of popular music in the US revolves around how listeners and musicians make sense of a defining conflict in American society: race. Hamilton shows how this played out in the production of some of the most memorable music in the country's recorded history. Fantastically written, with astounding new facts and insights about artists and songs you thought you knew. Made me listen to Gaye, Cooke, Dylan, and The Beatles, amongst others, as if for the first time.

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*Product available on Desertcart South Korea*
*Store origin: KR*
*Last updated: 2026-03-01*