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A stimulating and penetrating study of rock music, from rock 'n' roll to the present day.
Illustrated throughout with color images of the period, Psychedelic Celluloid covers over 300 British and European films and TV shows from the Beatles via Bond spin offs to crazy personal follies de grandeur, Blow Up and its imitators, concert movies, documentaries, stylish horror films and many more. Carefully researched and drawing on interviews with some of the survivors of the era, this guide provides a witty and detailed account of each major production listing its stars, directors, producers and music and showing how they were linked to the fashion and trends of the period.
Andrew Caine details the reaction to British and American pop films during the 1950s and 1960s to provide a valuable insight into British film criticism, teenage culture during the 1950s and 1960s and the generic status of rock films/teen movies and cultural hierarchies.
This is a comprehensive guide to popular music literature, first published in 1986. Its main focus is on American and British works, but it includes significant works from other countries, making it truly international in scope.
It's now over twenty years since punk pogo-ed its way into our consciousness. Punk Rock So What?brings together a new generation of academics, writers and journalists to provide the first comprehensive assessment of punk and its place in popular music history, culture and myth. The contributors, who include Suzanne Moore, Lucy OBrien, Andy Medhurst, Mark Sinker and Paul Cobley, challenge standard views of punk prevalent since the 1970s. They: * re-situate punk in its historical context, analysing the possible origins of punk in the New York art scene and Manchester clubs as well as in Malcolm McClarens brain * question whether punk deserves its reputation as an anti-fascist, anti-sexist movement which opened up opportunities for women musicians and fans alike. * trace punks long-lasting influence on comics, literature, art and cinema as well as music and fashion, from films such as Sid and Nancy and The Great Rock n Roll Swindle to work by contemporary artists such as Gavin Turk and Sarah Lucas. * discuss the role played by such key figures as Johnny Rotten, Richard Hell, Malcolm McClaren, Mark E. Smith and Viv Albertine. Punk Rock Revisited kicks over the statues of many established beliefs about the meaning of punk, concluding that, if anything, punk was more culturally significant than anybody has yet suggested, but perhaps for different reasons.
Elvis Presley and Bill Haley. Sam Cooke and the Shirelles. The Crows and the Chords. American Bandstand and Motown. From its first rumblings in the outland alphabet soup of R&B and C&W, rock & roll music promised to change the world--and did it. Combining social history with a treasure trove of trivia, Richard Aquila unleashes the excitement of rock's first decade and shows how the music reflected American life from the mid-1950s through the dawn of Beatlemania. His year-by-year timelines and a photo essay place the music in historical perspective by linking artists and their hits to the news stories, movies, TV shows, fads, and lifestyles. In addition, he provides a concise biographical dictionary of the performers who made the charts between 1954 and 1963, along with the label and chart position of each of their hit songs.
From “Who Put the Bomp (in the Bomp, Bomp, Bomp)?” to a list of all song titles containing the word “werewolf,” Rock Music in American Popular Culture II: More Rock ’n’Roll Resources continues where 1995’s Volume I left off. Using references and illustrations drawn from contemporary lyrics and supported by historical and sociological research on popular cultural subjects, this collection of insightful essays and reviews assesses the involvement of musical imagery in personal issues, in social and political matters, and in key socialization activities. From marriage and sex to public schools and youth culture, readers discover how popular culture can be used to explore American values. As Authors B. Lee Cooper and Wayne S. Haney prove that integrated popular culture is the product of commercial interaction with public interest and values rather than a random phenomena, they entertainingly and knowledgeably cover such topics as: answer songs--interchanges involving social events and lyrical commentaries as explored in response recordings horror films--translations and transformations of literary images and motion picture figures into popular song characters and tales public schools--images of formal educational practices and informal learning processes in popular song lyrics sex--suggestive tales and censorship challenges within the popular music realm war--examinations of persistent military and home front themes featured in wartime recordings Rock Music in American Popular Culture II: More Rock ‘n’Roll Resources is nontechnical, written in a clear and concise fashion, and explores each topic thoroughly, with ample discographic and bibliographic resources provided for additional research. Arranged alphabetically for quick and easy reference to specific topics, the book is equally enjoyable to read straight through. Rock music fans, teachers, popular culture professors, music instructors, public librarians, sound recording archivists, sociologists, social critics, and journalists can all learn something, as the book shows them the cross-pollination of music and social life in the United States.
The approach of this book, first published in 1982, is multi-disciplinary. Popular music, it is argued, is not only a musical but also a social phenomenon; the criteria needed to assess it are different from those used in the appreciation of ‘classical’ music. The first section of this guide is devoted to setting out just what those criteria should be. A second section puts forward bases for course construction that are detailed and flexible. A final section provides a list of further resources.