I went to his book signing last night in NYC and have now read the first 60 or so pages. The opening part of the book is about *his* trip on a Cruise to the Edge. His own, made for his own enjoyment, bexcause he is really into the music. He *wanted* to be there, and any derogatory comments were purely concerning the self-evident uncoolness of the endeavor. There was no prolonged disparagement of anything at all. Yes, there are a few comments about the whole 'Trek convention-ness' that pervades but, again, this is self-evident stuff to most normal people, not really a "trope." He made the observation that I've long held, which is that when bands that used to make a lot of money by selling albums and playing large venues (i.e. - taking a little bit of money from a large group of people) stop being as successful in this manner, there is another road somewhat less savory to travel, which is to extract much larger sums of money from a much smaller group of superfans who have proven willing to open their wallets for virtually anything; hence, stuff like the cruises, concert VIPs, meet & greets, signings, "camps," etc. (I'd add endless reissues of the same product, (remixed by Steven Wilson!) but that has not yet come up by page 60); the extent to which any of it is dignified will be in the eye of the beholder.
For anybody curious about the book, I will say that any fears about it putting down the genre or music should be allayed. The person who wrote the book is a white American mid/late-30s male who is a fan of the music. That's the context of the perspective. The book itself - so far - reads like a research project. It is not a thesis on the inherent greatness of progressive rock. It is not musicological. It is a history, and the organization is chronological. Apart from the opening section, it starts in mid-'60s and just goes forward in time from there. I have not yet encountered any new interviews; all of the quotes are from biographies, magazine articles and other secondary sources. So far, there is actually very little editorializing, which I personally would want *more* of, considering that the bulk of what I've read so far is information that I more or less already knew from other books about prog (the origin and early years of of Gong, Soft Machine, The Nice/ELP, King Crimson, Yes, VDGG (and others) and their predecessor bands). So far, the book this appears to most closely resemble is the Paul Stump book about prog that came out in the late 1990s, though without Stump's fascinating prose, or his personal editorializing (Weigel is a fine writer and fairly knowledgeable fan, but Stump is superlative IMO, and this book is the gold standard for this subject matter, IMO).
In short, tropes are not an issue or a problem. The worst that can be said about it is that a well-seasoned prog fan who has read other books might find this to be treading on familiar ground - up to page 60, anyway.
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