BeschreibungBrowse the course listings for most universities or colleges and chances are good that you will find a "History of Rock" class listed somewhere in their catalog. The study of rock music has become entrenched in higher learning. Yet as instructors encounter younger and younger students for whom rock's history is either a shadowy, distant phenomenon or, conversely, an entity that seems too familiar, the need for a book that illuminates rock's historical formation has become increasingly urgent. To be sure, there are numerous textbooks that supply a narrative of rock's general stylistic development. Still there exists no anthology of historically based readings that sufficiently brings to life the often contentious issues, arguments, conflicts and creative tensions that have defined rock's momentous rise and spread." The Rock History" "Reader "seeks to fill that gap.
"The Rock History Reader "is modeled after the types of annotated "source reading" collections that should be well familiar to any college classroom teacher in the Humanities. The Rock History Reader introduces students to rock as it has been received and explained as a social and musical practice during different historical eras. Arranged chronologically, this reader is perfect for the Introduction to Rock course, which usually proceeds from the roots of rock in the late '40s through today's latest trends. The editor has selected a variety of material--ranging from Chuck Berry's comments on the injustices of the music, Lester Bangs' influential style of rock criticism, Spiro Agnew's political speech on the dangers of drugs and rock music, Dick Hebdige's scholarly analysis of punk rock, or songwriter/performer JanisIan's nuanced consideration of the ramifications of online music sharing--which are designed to encourage reflection and discussion in the classroom.
Either as a primary textbook or as a supplement to a narrative history, "The Rock History Reader "promises to set a new standar
InhaltsverzeichnisPreface Acknowledgments The 1950s Chuck Berry: In His Own Words R&B: A Danger to the Music Business? Abel Green Elvis Presley and "The Craze" John Crosby "Elvis Defends Low-Down Style" Kays Gary "Experts Propose Study of 'Craze'" Milton Bracker The Rock 'n' Roll Audience: "But Papa, It's My Music, I Like It" Jeff Greenfield Leiber & Stoller Ted Fox The History of Chicano Rock Ruben Guevara The 1960s Phil Spector and The Wall of Sound Ronnie Spector The Beatles, Press Conference, 1964 "Beatlemania Frightens Child Expert" Dr. Bernard Saibel George Martin: On the Beatles "Understanding Dylan" Paul Williams Motown and the Sound of Crossover Jon Landau "An Interview with Wilson Pickett" Jim Delehant James Brown: Soul Brother No. 1 Fred Wesley, Jr. "Goodbye Surfing Hello God!-The Religious Conversion of Brian Wilson" Jules Siegel Rock and the Counterculture Chester Anderson "The Electric Kool-Aid Acid Test" Tom Wolfe "The Country Boom" Barret Hansen Woodstock Nation Joan and Robert K. Morrison The 1970s James Taylor, Singer-Songwriter Burt Korall "Cock Rock: Men Always Seem to End Up On Top" The Art of the Hard Rock Lifestyle David Lee Roth "How to Be a Rock Critic" Lester Bangs "Reggae: The Steady Rock of Black Jamaica" Andrew Kopkind "Roots and Rock: The Marley Enigma" Linton Kwesi Johnson Dub and the Sound of Surprise Richard Williams Art Rock John Rockwell "Why Don't We Call It Punk?" Legs McNeil and Gillian McCain The Subculture of British Punk Dick Hebdige Disco: Four Critics Address the Musical Question "The Confessions of a Gay Rocker" Adam Block The 1980s Punk Goes Hardcore Jack Rabid College Rock: "Left of the Dial" Gina Arnold "Roll Over Guitar Heroes; Synthesizers Are Here" Jon Young "The MTV Aesthetic" Richard Gehr Post-Punk's "Radical Dance Fictions" Simon Reynolds "Molly Hatchet: Celebrity Rate A Record" "The Cult of Violence" Tipper Gore Heavy Metal and The Highbrow/Lowbrow Divide Robert Walser "The Real Thing - Bruce Springsteen" Simon Frith Hip Hop Nation Greg Tate "Madonna - Finally, A Real Feminist" Camille Paglia "Can Madonna Justify Madonna?" Barbara Grizzuti Harrison The 1990s Is As Nasty As They Wanna Be Obscene? Judge Jose Gonzalez and Kathleen Sullivan "Public Enemy's Bomb Squad" Tom Moon "The Death of Sampling?" Mark Kemp "Kurt Cobain and the Politics of Damage" Sarah Ferguson "The Problem with Music" Steve Albini "Feminism Amplified" Kim France "Rock Aesthetics and Musics of the World" Motti Regev Fat Boy Slim Explains Electronic Dance Music Michael Gelfand Nu Metal and Woodstock '99 Barry Walters Indie Pop Goes Twee Joey Sweeney The 2000s "My Week on the Avril Lavigne E-Team" Chris Dahlen "Punk's Earnest New Mission" Michael Azerrad "Rip. Burn. Die."-The Music Industry Sings The Blues David Sheff and Rob Tannenbaum "The Rap Against Rockism" Kelefa Sanneh
PortraitTheo Cateforis is an assistant professor of music history and culture in the Department of Fine Arts at Syracuse University, where he specializes in popular music, American music and Twentieth-century art music. His articles have appeared in American Music and The Journal of Popular Music Studies.
Untertitel: Sprache: Englisch.
Verlag: ROUTLEDGE CHAPMAN HALL
Erscheinungsdatum: Dezember 2006
Seitenanzahl: 360 Seiten