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Nietzsche and Critical Social Theory: Affirmation, Animosity and
Ambiguity brings together scholars from a variety of disciplinary
background to assess the salience of Nietzsche for critical social
theory today. In the context of global economic crises and the rise
of authoritarian regimes across the U.S. and Europe, the question
asked by these scholars is: why Nietzsche now? Containing several
innovative interventions in the areas of queer theory, political
economy, critical race theory, labour history, hip-hop aesthetics,
sociology, the Frankfurt School, social movements studies, science
and technology studies, pedagogy, and ludic studies, this volume
pushes Nietzsche studies in new directions, seeking to broaden the
appeal of Nietzsche beyond philosophy and political theory.
For two decades after rock music emerged in the 1940s, the American
Federation of Musicians (AFM), the oldest and largest labor union
representing professional musicians in the United States and
Canada, refused to recognize rock 'n' roll as legitimate music or
its performers as skilled musicians. The AFM never actively
organized rock 'n' roll musicians, although recruiting them would
have been in the union's economic interest. In Tell Tchaikovsky the
News, Michael James Roberts argues that the reasons that the union
failed to act in its own interest lay in its culture, in the
opinions of its leadership and elite rank-and-file members.
Explaining the bias of union members—most of whom were classical
or jazz music performers—against rock music and musicians,
Roberts addresses issues of race and class, questions of what
qualified someone as a skilled or professional musician, and the
threat that records, central to rock 'n' roll, posed to AFM
members, who had long privileged live performances. Roberts
contends that by rejecting rock 'n' rollers for two decades, the
once formidable American Federation of Musicians lost their clout
within the music industry.
For two decades after rock music emerged in the 1940s, the American
Federation of Musicians (AFM), the oldest and largest labor union
representing professional musicians in the United States and
Canada, refused to recognize rock 'n' roll as legitimate music or
its performers as skilled musicians. The AFM never actively
organized rock 'n' roll musicians, although recruiting them would
have been in the union's economic interest. In Tell Tchaikovsky the
News, Michael James Roberts argues that the reasons that the union
failed to act in its own interest lay in its culture, in the
opinions of its leadership and elite rank-and-file members.
Explaining the bias of union members-most of whom were classical or
jazz music performers-against rock music and musicians, Roberts
addresses issues of race and class, questions of what qualified
someone as a skilled or professional musician, and the threat that
records, central to rock 'n' roll, posed to AFM members, who had
long privileged live performances. Roberts contends that by
rejecting rock 'n' rollers for two decades, the once formidable
American Federation of Musicians lost their clout within the music
industry.
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