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British Rock Modernism, 1967-1977 explains how the definitive
British rock performers of this epoch aimed, not at the youthful
rebellion for which they are legendary, but at a highly
self-conscious project of commenting on the business in which they
were engaged. They did so by ironically appropriating the
traditional forms of Victorian music hall. Faulk focuses on the mid
to late 1960s, when British rock bands who had already achieved
commercial prominence began to aspire to aesthetic distinction. The
book discusses recordings such as the Beatles' Magical Mystery Tour
album, the Kinks' The Village Green Preservation Society, and the
Sex Pistols' Never Mind the Bollocks, Here's the Sex Pistols, and
television films such as the Beatles' Magical Mystery Tour and the
Rolling Stones' Rock and Roll Circus that defined rock's early high
art moment. Faulk argues that these 'texts' disclose the primary
strategies by which British rock groups, mostly comprised of young
working and lower middle-class men, made their bid for aesthetic
merit by sampling music hall sounds. The result was a symbolically
charged form whose main purpose was to unsettle the hierarchy that
set traditional popular culture above the new medium. Rock groups
engaged with the music of the past in order both to demonstrate the
comparative vitality of the new form and signify rock's new art
status, compared to earlier British pop music. The book
historicizes punk rock as a later development of earlier British
rock, rather than a rupture. Unlike earlier groups, the Sex Pistols
did not appropriate music hall form in an ironic way, but the band
and their manager Malcolm McLaren were obsessed with the meaning of
the past for the present in a distinctly modernist fashion.
Punk Rock Warlord explores the relevance of Joe Strummer within the
continuing legacies of both punk rock and progressive politics. It
is aimed at scholars and general readers interested in The Clash,
punk culture, and the intersections between pop music and politics,
on both sides of the Atlantic. Contributors to the collection
represent a wide range of disciplines, including history,
sociology, musicology, and literature; their work examines all
phases of Strummer's career, from his early days as 'Woody' the
busker to the whirlwind years as front man for The Clash, to the
'wilderness years' and Strummer's final days with the Mescaleros.
Punk Rock Warlord offers an engaging survey of its subject, while
at the same time challenging some of the historical narratives that
have been constructed around Strummer the Punk Icon. The essays in
Punk Rock Warlord address issues including John Graham Mellor's
self-fashioning as 'Joe Strummer, rock revolutionary'; critical and
media constructions of punk; and the singer's complicated and
changing relationship to feminism and anti-racist politics. These
diverse essays nevertheless cohere around the claim that Strummer's
look, style, and musical repertoire are so rooted in both English
and American cultures that he cannot finally be extricated from
either.
Punk Rock Warlord explores the relevance of Joe Strummer within the
continuing legacies of both punk rock and progressive politics. It
is aimed at scholars and general readers interested in The Clash,
punk culture, and the intersections between pop music and politics,
on both sides of the Atlantic. Contributors to the collection
represent a wide range of disciplines, including history,
sociology, musicology, and literature; their work examines all
phases of Strummer's career, from his early days as 'Woody' the
busker to the whirlwind years as front man for The Clash, to the
'wilderness years' and Strummer's final days with the Mescaleros.
Punk Rock Warlord offers an engaging survey of its subject, while
at the same time challenging some of the historical narratives that
have been constructed around Strummer the Punk Icon. The essays in
Punk Rock Warlord address issues including John Graham Mellor's
self-fashioning as 'Joe Strummer, rock revolutionary'; critical and
media constructions of punk; and the singer's complicated and
changing relationship to feminism and anti-racist politics. These
diverse essays nevertheless cohere around the claim that Strummer's
look, style, and musical repertoire are so rooted in both English
and American cultures that he cannot finally be extricated from
either.
British Rock Modernism, 1967-1977 explains how the definitive
British rock performers of this epoch aimed, not at the youthful
rebellion for which they are legendary, but at a highly
self-conscious project of commenting on the business in which they
were engaged. They did so by ironically appropriating the
traditional forms of Victorian music hall. Faulk focuses on the mid
to late 1960s, when British rock bands who had already achieved
commercial prominence began to aspire to aesthetic distinction. The
book discusses recordings such as the Beatles' Magical Mystery Tour
album, the Kinks' The Village Green Preservation Society, and the
Sex Pistols' Never Mind the Bollocks, Here's the Sex Pistols, and
television films such as the Beatles' Magical Mystery Tour and the
Rolling Stones' Rock and Roll Circus that defined rock's early high
art moment. Faulk argues that these 'texts' disclose the primary
strategies by which British rock groups, mostly comprised of young
working and lower middle-class men, made their bid for aesthetic
merit by sampling music hall sounds. The result was a symbolically
charged form whose main purpose was to unsettle the hierarchy that
set traditional popular culture above the new medium. Rock groups
engaged with the music of the past in order both to demonstrate the
comparative vitality of the new form and signify rock's new art
status, compared to earlier British pop music. The book
historicizes punk rock as a later development of earlier British
rock, rather than a rupture. Unlike earlier groups, the Sex Pistols
did not appropriate music hall form in an ironic way, but the band
and their manager Malcolm McLaren were obsessed with the meaning of
the past for the present in a distinctly modernist fashion.
The late-Victorian discovery of the music hall by English
intellectuals marks a crucial moment in the history of popular
culture. Music Hall and Modernity demonstrates how such pioneering
cultural critics as Arthur Symons and Elizabeth Robins Pennell used
the music hall to secure and promote their professional identity as
guardians of taste and national welfare. These social arbiters
were, at the same time, devotees of the spontaneous culture of
\u201cthe people.\u201d In examining fiction from Walter Besant,
Hall Caine, and Henry Nevinson, performance criticism from William
Archer and Max Beerbohm, and late-Victorian controversies over
philanthropy and moral reform, scholar Barry Faulk argues that
discourse on music-hall entertainment helped consolidate the
identity and tastes of an emergent professional class. Critics and
writers legitimized and cleaned up the music hall, at the same time
allowing issues of class, respect, and empowerment to be
negotiated. Music Hall and Modernity offers a complex view of the
new middle-class, middle-brow, mass culture of late-Victorian
London and contributes to a body of scholarship on
nineteenth-century urbanism. The book will also interest scholars
concerned with the emergence of a professional managerial class and
the genealogy of cultural studies.
The year 2018 marked the fiftieth anniversary of May '68, a
startling, by now almost mythic event which combined seriousness,
courage, humor and theatrics. The contributions of this
volume-based on papers presented the conference Does "la lutte
continue"? The Global Afterlife of May '68 at Florida State
University in March 2019-explore the ramifications of that
springtime protest in the contemporary world. What has widely
become known as the movement of '68 consisted, in fact, of many
synchronous movements in different nations that promoted a great
variety of political, social, and cultural agendas. While it is
impossible to write a global history of '68, this volume presents a
kaleidoscope of different perceptions, reflections, and receptions
of protest in France, Italy, and other nations that share in common
a global utopian imaginary as expressed, for example, in the
slogan: "All power to the imagination!" The contributions of this
collection show that, while all social struggles are political,
many lasting changes in individual mentalities and social
structures originated from utopian ideas that were realized first
in artistic productions and their aesthetic reception. In this
respect the various protests of May '68 continue.
The Rolling Stones: Sociological Perspectives, edited by Helmut
Staubmann, draws from a broad spectrum of sociological perspectives
to contribute both to the understanding of the phenomenon of the
Rolling Stones and to an in-depth analysis of contemporary society
and culture that takes The Stones a starting point. Contributors
approach The Rolling Stones from a range of social science
perspectives including cultural studies, communication and film
studies, gender studies, and the sociology of popular music. The
essays in this volume focus on the question of how the worldwide
success of The Rolling Stones over the course of more than half a
century reflects society and the transformation of popular culture.
The Rolling Stones: Sociological Perspectives, edited by Helmut
Staubmann, draws from a broad spectrum of sociological perspectives
to contribute both to the understanding of the phenomenon Rolling
Stones and to an in-depth analysis of contemporary society and
culture that takes The Stones a starting point. Contributors
approach The Rolling Stones from a range of social science
perspectives including cultural studies, communication and film
studies, gender studies, and the sociology of popular music. The
essays in this volume focus on the question of how the worldwide
success of The Rolling Stones over the course of more than half a
century reflects society and the transformation of popular culture.
The late-Victorian discovery of the music hall by English
intellectuals marks a crucial moment in the history of popular
culture. Music Hall and Modernity demonstrates how such pioneering
cultural critics as Arthur Symons and Elizabeth Robins Pennell used
the music hall to secure and promote their professional identity as
guardians of taste and national welfare. These social arbiters
were, at the same time, devotees of the spontaneous culture of
\u201cthe people.\u201d In examining fiction from Walter Besant,
Hall Caine, and Henry Nevinson, performance criticism from William
Archer and Max Beerbohm, and late-Victorian controversies over
philanthropy and moral reform, scholar Barry Faulk argues that
discourse on music-hall entertainment helped consolidate the
identity and tastes of an emergent professional class. Critics and
writers legitimized and cleaned up the music hall, at the same time
allowing issues of class, respect, and empowerment to be
negotiated. Music Hall and Modernity offers a complex view of the
new middle-class, middle-brow, mass culture of late-Victorian
London and contributes to a body of scholarship on
nineteenth-century urbanism. The book will also interest scholars
concerned with the emergence of a professional managerial class and
the genealogy of cultural studies.
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