• Like a Box of Chocolates
• Bill Tremblay (bio)

I used to teach a class called Beat Lit. Once I gave an assignment on the idea that if the Beats wanted to take a reading of the soul of America they went to jazz. The assignment asked students to write about what music they go to take the pulse of the nation. They were encouraged to create a mixtape or CD and use any media they thought relevant as illustrations for their conclusions. RESPECT: The Poetry of Detroit Music doesn't draw conclusions. The editors (to quote Ezra Pound) "heap up the components of thought" and leave the connection-making implicit in the text for the reader to engage with. RESPECT would make a great anthology to teach from because it offers not just poetry and song lyrics but a paradigm of how to put together any anthology on any topic on any place and time.

RESPECT (or R-E-S-P-E-C-T as Aretha Franklin spelled it) is an astonishingly comprehensive presentation of poetry in response to Detroit music and its scene, organized chronologically in five sections, the first being "Detroit Jazz," and then, successively, "Detroit Blues," "Northern Soul," "Detroit Rocks," and finally "Hip Hop into Techno." Each section is organized alphabetically by the names of the poets; so, e.g. "Detroit Jazz" starts with Mark James Andrews (more about him later) and ends with Al Young. As readers continue through the sections, they will see Eminem and June Jordan, Rita Dove and Robbie Robertson, Philip Levine and Jack White, Nikki Giovanni and Paul Simon, i.e. if the reader wants to put them together that way, or according to whatever juxtapositions the reader wishes to create. The materials are under one roof, there for exploration and use. There aren't any bad chocolates.

The dimensions of this anthology open onto the infinite. The substance, the organization of it, the brief bios of the contributors, all invite readers to listen to the musicians, singers, composers, band leaders, band members, and lyrics that triggered the poets to write. RESPECT is like a surrealist game. If you (dear reader) type in a name on a search engine to find out more about a singer/composer, the information often suggests leads to other artists. I typed in Johnny O'Neal to get some background on George Kalamaras's "Every Note You Play Is A Blue Note" because I wanted to hear what made Kalamaras say "You move through clusters of stars // with your Milky Way hands" and found Johnny born in Detroit, starting in R & B but shifting to jazz, playing with various bands, notably Art Blakey's Jazz Messengers. And, as happens when vast herds of written pieces are put together, associations form. In other words, RESPECT is a vast resource, not only to follow leads driven initially by love of the music, by memories it evokes, by reflections on how the music struck the poet, but also the personal and public experience as delivered by the poet when the related arts of poetry and music are the occasion of social solidarity. Or social displacement, as Toi Derricott says in "Blackbottom," "We had lost our voice in the suburbs ... we had lost the right to sing in the street and damn creation." Or Rita Dove's recollection of herself and the music in "Golden Oldie" where she recalls being "a young girl dying to feel alive / to discover / A pain majestic enough / To live by."

Responses to the music can extend from one's first high school dance to meditations on the ineffability of "soul." What is Soul? (Didn't Louis Armstrong say, "If you got to ask, you'll never know"?) Never mind the Soul Train it rode in on. Soon you are wandering through this crowded anthology thinking "The Sociology of Music." The record is wide enough to get you thinking "The Anthropology of Music." Or Economics. What did Detroit do but put the means of production...

• 像一盒巧克力
• 比尔·特伦布莱（生物）

我曾经教过一个叫做Beat Lit的课。有一次我给了一个想法，那就是如果Beats想读一读美国的灵魂，他们就会去爵士乐。作业要求学生写些什么音乐来带动国家发展。鼓励他们制作混音带或CD，并使用他们认为相关的任何媒介作为结论的例证。尊重：底特律音乐诗歌没有得出结论。编辑们（引用埃兹拉·庞德）“堆砌了思想的各个组成部分”，并在文本中隐含了建立联系的方式，供读者使用。RESPECT将成为一本很好的选集，因为它不仅提供诗歌和歌曲歌词，而且还提供了如何在任何时间和地点将任何主题的任何选集放在一起的范例。

尊重（或RESPECT，如Aretha Franklin所写），是根据底特律音乐及其场景惊人地全面地呈现的诗歌，按时间顺序分为五个部分，第一个是“底特律爵士乐”，然后是“底特律布鲁斯”，“北部灵魂”，“底特律摇滚”，最后是“嘻哈入Techno”。每个部分都按诗人的名字按字母顺序组织；因此，例如“底特律爵士乐”以马克·詹姆斯·安德鲁斯（马克·詹姆斯·安德鲁斯）为起点（稍后会详细介绍他），以艾尔·杨为结尾。在读者继续阅读本节时，他们将看到Eminem和June Jordan，Rita Dove和Robbie Robertson，Philip Levine和Jack White，Nikki Giovanni和Paul Simon，也就是说，如果读者希望以这种方式将它们组合在一起，或根据读者希望创建的任何并置。这些材料位于一个屋顶下，可供勘探和使用。没有坏巧克力。

选集的范围是无限的。内容，内容的组织，贡献者的简要履历，均邀请读者聆听触发诗人写作的音乐家，歌手，作曲家，乐队负责人，乐队成员和歌词。尊重就像一个超现实主义的游戏。如果您（亲爱的读者）在搜索引擎上输入姓名以找到有关歌手/作曲家的更多信息，则该信息通常会提示其他艺术家的潜在客户。我输入约翰尼·奥尼尔（Johnny O'Neal），以了解乔治·卡拉马拉斯（George Kalamaras）的“演奏的每个音符都是蓝色音符”，因为我想听听卡拉马拉斯所说的话：“您用银河系的手穿过星团//”约翰尼（Johnny）出生于底特律（Detroit），最初从事节奏布鲁斯（R＆B），后来转为爵士乐，与各种乐队合作，尤其是阿特·布雷克（Art Blakey）的爵士使者。而且，当将成群的书面作品放在一起时，就会形成联想。换句话说，尊重它是一种巨大的资源，不仅可以追随最初对音乐的热爱，对音乐的回忆，对音乐如何冲击诗人的反思，还可以跟踪诗人在与音乐有关的艺术时所提供的个人和公共经验。诗歌和音乐是社会团结的机会。就像Toi Derricott在“ Blackbottom”中所说的那样，是社会上的流离失所，“我们在郊区失去了发言权……我们失去了在街头唱歌和该死的创作的权利。” 或是丽塔·多夫（Rita Dove）对自己的回忆和《金色老人》（Golden Oldie）中的音乐，她回忆说自己是“一个渴望活着/发现/痛苦至极/过世的年轻女孩”。

对音乐的反应可以从最初的高中舞蹈扩展到对“灵魂”无能为力的冥想。什么是灵魂？（路易斯·阿姆斯特朗不是说：“如果你要问，你永远不会知道吗？”。）很快，您会在这种拥挤的选集思想“音乐社会学”中徘徊。唱片的范围很广，足以让您思考“音乐人类学”。或经济学。底特律做了什么，但放了生产资料。