|
Showing 1 - 16 of
16 matches in All Departments
How has the history of rock 'n' roll been told? Has it become
formulaic? Or remained, like the music itself, open to outside
influences? Who have been the genre's primary historians? What
common frameworks or sets of assumptions have music history
narratives shared? And, most importantly, what is the cost of
failing to question such assumptions? "Stories We Could
Tell:Putting Words to American Popular Music" identifies eight
typical strategies used when critics and historians write about
American popular music, and subjects each to forensic analysis.
This posthumous book is a unique work of cultural historiography
that analyses, catalogues, and contextualizes music writing in
order to afford the reader new perspectives on the field of
cultural production, and offer new ways of thinking about, and
writing about, popular music.
This book explores popular music fandom from a cultural studies
perspective that incorporates popular music studies, audience
research, and media fandom. The essays draw together recent work on
fandom in popular music studies and begin a dialogue with the wider
field of media fan research, raising questions about how popular
music fandom can be understood as a cultural phenomenon and how
much it has changed in light of recent developments. Exploring the
topic in this way broaches questions on how to define, theorize,
and empirically research popular music fan culture, and how music
fandom relates to other roles, practices, and forms of social
identity. Fandom itself has been brought center stage by the rise
of the internet and an industrial structure aiming to incorporate,
systematize, and legitimate dimensions of it as an
emotionally-engaged form of consumerism. Once perceived as the
pariah practice of an overly attached audience, media fandom has
become a standardized industrial subject-position called upon to
sell box sets, concert tickets, new television series, and special
editions. Meanwhile, recent scholarship has escaped the legacy of
interpretations that framed fans as passive, pathological, or
defiantly empowered, taking its object seriously as a complex
formation of identities, roles, and practices. While popular music
studies has examined some forms of identity and audience practice,
such as the way that people use music in daily life and listener
participation in subcultures, scenes and, tribes, this volume is
the first to examine music fans as a specific object of study.
How has the history of rock 'n' roll been told? Has it become
formulaic? Or remained, like the music itself, open to outside
influences? Who have been the genre's primary historians? What
common frameworks or sets of assumptions have music history
narratives shared? And, most importantly, what is the cost of
failing to question such assumptions? "Stories We Could
Tell:Putting Words to American Popular Music" identifies eight
typical strategies used when critics and historians write about
American popular music, and subjects each to forensic analysis.
This posthumous book is a unique work of cultural historiography
that analyses, catalogues, and contextualizes music writing in
order to afford the reader new perspectives on the field of
cultural production, and offer new ways of thinking about, and
writing about, popular music.
Popular music is not simply a series of musicians, moments, genres
or recordings. Audiences matter; and the most ardent audience
members are the fans. To be a fan is to feel a connection with
music. The study of fandom has begun to emerge as a vital strand of
academic research, one that offers a fresh perspective on the
nature of music culture. Fan Identities and Practices in Context
investigates fan identities and practices in different contexts and
in relation to different bands and artists. Through a series of
empirical case studies the book reflects a diverse array of objects
and perspectives associated with this vibrant new field of study.
Contributors examine how fans negotiate their identities and
actively pursue their particular interests, touching on a range of
issues including cultural capital, generational memory, gender, fan
fiction and the use of new media. This book was originally
published as two special issues of Popular Music and Society.
Elvis Presley remains the single most important figure in twentieth
century popular music. To many commentators, however, he has simply
embodied the benefits and problems of uncritically embracing
capitalism. By 2005 the 'Memphis Flash' sold over a billion records
worldwide, yet his cultural significance cannot be measured by
these extraordinary sales figures alone. He cannot quite be reduced
to a placeholder for the contradictions of commerce. As the most
prominent performer of the rock'n'roll era, then as a charismatic
global superstar, Elvis fundamentally challenged the established
relationship between White and Black culture, drew attention to the
social needs of women and young people, and promoted the value of
Southern creativity. He functioned as a bridge figure between folk
roots and high modernity, and in the process became a controversial
symbol of American unity. Elvis interprets the image and music of
Elvis Presley to reveal how they have evolved to construct a
particularly appealing and powerful myth. Following broad contours
of Presley's rollercoaster career, the book uses a range of
analytical frames to challenge established perspectives on an icon.
Its shows that the controversy around Elvis has effectively tested
how far a concern for social equality could be articulated through
the marketplace, and ultimately challenged how popular music itself
should be assessed.
Popular music is not simply a series of musicians, moments, genres
or recordings. Audiences matter; and the most ardent audience
members are the fans. To be a fan is to feel a connection with
music. The study of fandom has begun to emerge as a vital strand of
academic research, one that offers a fresh perspective on the
nature of music culture. Fan Identities and Practices in Context
investigates fan identities and practices in different contexts and
in relation to different bands and artists. Through a series of
empirical case studies the book reflects a diverse array of objects
and perspectives associated with this vibrant new field of study.
Contributors examine how fans negotiate their identities and
actively pursue their particular interests, touching on a range of
issues including cultural capital, generational memory, gender, fan
fiction and the use of new media. This book was originally
published as two special issues of Popular Music and Society.
This book explores popular music fandom from a cultural studies
perspective that incorporates popular music studies, audience
research, and media fandom. The essays draw together recent work on
fandom in popular music studies and begin a dialogue with the wider
field of media fan research, raising questions about how popular
music fandom can be understood as a cultural phenomenon and how
much it has changed in light of recent developments. Exploring the
topic in this way broaches questions on how to define, theorize,
and empirically research popular music fan culture, and how music
fandom relates to other roles, practices, and forms of social
identity. Fandom itself has been brought center stage by the rise
of the internet and an industrial structure aiming to incorporate,
systematize, and legitimate dimensions of it as an
emotionally-engaged form of consumerism. Once perceived as the
pariah practice of an overly attached audience, media fandom has
become a standardized industrial subject-position called upon to
sell box sets, concert tickets, new television series, and special
editions. Meanwhile, recent scholarship has escaped the legacy of
interpretations that framed fans as passive, pathological, or
defiantly empowered, taking its object seriously as a complex
formation of identities, roles, and practices. While popular music
studies has examined some forms of identity and audience practice,
such as the way that people use music in daily life and listener
participation in subcultures, scenes and, tribes, this volume is
the first to examine music fans as a specific object of study.
Particularly since the 1950s, cars and popular music have been
constantly associated. As complementary goods and intertwined
technologies, their relationship has become part of a widely shared
experience-one that connects individuals and society, private
worlds and public spheres. Popular Music and Automobiles aims to
unpack that relationship in more detail. It explores the ways in
which cars and car journeys have shaped society, as well as how we
have shaped them. Including both broad synergies and specific case
studies, Popular Music and Automobiles explores how attention to an
ongoing relationship can reveal insights about the assertion and
negotiation of identity. Using methods of enquiry that are as
diverse as the topics they tackle, its contributors closely
consider specific genders, genres, places and texts.
Popular music and masculinity have rarely been examined through the
lens of research into monstrosity. The discourses associated with
rock and pop, however, actually include more 'monsters' than might
at first be imagined. Attention to such individuals and cultures
can say things about the operation of genre and gender, myth and
meaning. Indeed, monstrosity has recently become a growing focus of
cultural theory. This is in part because monsters raise shared
concerns about transgression, subjectivity, agency, and community.
Attention to monstrosity evokes both the spectre of projection
(which invokes familial trauma and psychoanalysis) and shared
anxieties (that in turn reflect ideologies and beliefs). By
pursuing a series of insightful case studies, Scary Monsters
considers different aspects of the connection between music, gender
and monstrosity. Its argument is that attention to monstrosity
provides a unique perspective on the study of masculinity in
popular music culture.
Particularly since the 1950s, cars and popular music have been
constantly associated. As complementary goods and intertwined
technologies, their relationship has become part of a widely shared
experience-one that connects individuals and society, private
worlds and public spheres. Popular Music and Automobiles aims to
unpack that relationship in more detail. It explores the ways in
which cars and car journeys have shaped society, as well as how we
have shaped them. Including both broad synergies and specific case
studies, Popular Music and Automobiles explores how attention to an
ongoing relationship can reveal insights about the assertion and
negotiation of identity. Using methods of enquiry that are as
diverse as the topics they tackle, its contributors closely
consider specific genders, genres, places and texts.
Popular music and masculinity have rarely been examined through the
lens of research into monstrosity. The discourses associated with
rock and pop, however, actually include more ‘monsters’ than
might at first be imagined. Attention to such individuals and
cultures can say things about the operation of genre and gender,
myth and meaning. Indeed, monstrosity has recently become a growing
focus of cultural theory. This is in part because monsters raise
shared concerns about transgression, subjectivity, agency, and
community. Attention to monstrosity evokes both the spectre of
projection (which invokes familial trauma and psychoanalysis) and
shared anxieties (that in turn reflect ideologies and beliefs). By
pursuing a series of insightful case studies, Scary Monsters
considers different aspects of the connection between music, gender
and monstrosity. Its argument is that attention to monstrosity
provides a unique perspective on the study of masculinity in
popular music culture.
Fans used to be seen as an overly obsessed fraction of the
audience. In the last few decades, shifts in media technology and
production have instead made fandom a central mode of consumption.
A range of ideas has emerged to explore different facets of this
growing phenomenon. With a foreword by Matt Hills, Understanding
Fandom introduces the whole field of fan research by looking at the
history of debate, key paradigms and methodological issues. The
book discusses insights from scholars working with fans of
different texts, genres and media forms, including television and
popular music. Mark Duffett shows that fan research is an emergent
interdisciplinary field with its own key thinkers: a tradition that
is distinct from both textual analysis and reception studies.
Drawing on a range of debates from media studies, cultural studies
and psychology, Duffett argues that fandom is a particular kind of
engagement with the power relations of media culture.
Fans used to be seen as an overly obsessed fraction of the
audience. In the last few decades, shifts in media technology and
production have instead made fandom a central mode of consumption.
A range of ideas has emerged to explore different facets of this
growing phenomenon. With a foreword by Matt Hills, " Understanding
Fandom" introduces the whole field of fan research by looking at
the history of debate, key paradigms and methodological issues. The
book discusses insights from scholars working with fans of
different texts, genres and media forms, including television and
popular music. Mark Duffett shows that fan research is an emergent
interdisciplinary field with its own key thinkers: a tradition that
is distinct from both textual analysis and reception studies.
Drawing on a range of debates from media studies, cultural studies
and psychology, Duffett argues that fandom is a particular kind of
engagement with the power relations of media culture.
Bryan Adams is a one man rock'n'roll success story: he went from
washing dishes for $2.50 per hour to becoming a multi-millionaire
by making music that people liked. Adams' 'Reckless' album sold
over 10 million units globally whilst his ballad 'Everything I Do
(I Do It For You)' cleared an impressive 7 million copies. He
remains one of the world's most popular rockers and a Canadian
national hero. This detailed but accessible biography is a lightly
updated edition of the version which appeared in 1994. Mark Duffett
explores Adams' meteoric recording career, 'ordinary guy' persona,
and unfolding political commitment. The supporting activities of
his manager and record company are included to complete the
picture. As a well-informed story of maximum rock'n'roll it
constitutes essential reading material for true fans. More details
can be found on the Bennion Kearny website.
Over the course of the last six decades, Elvis Presley has sold
more than a billion records; his music has touched nearly every
modern listener. Despite an avalanche of books on his life, there
are, surprisingly, few about his musical creativity. In Counting
Down Elvis: His 100 Finest Songs, Mark Duffett urges readers to put
aside the misleading stereotypes and rumor-filled debates about
Elvis and listen once again to the legend who emerged from Memphis.
Elvis had a unique approach to music-one that was both powerful and
versatile. In a career stretching across more than twenty years,
Presley changed the face of popular music, drawing together
genres-from country and blues to contemporary folk-and placing a
unique stamp on all of them. Counting Down Elvis: His 100 Finest
Songs explores the full range of Presley recordings, from his
earliest numbers to posthumous hits, combing through gold records
and unpolished gems to distill the best that Presley has to offer.
|
You may like...
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|