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Rock music today is universal and its popular history is well known. Yet few know how and why it really came about. Taking a fresh look at events long overlooked or misunderstood, this book tells how some of the most disenfranchised people in a free and prosperous nation strove to make themselves heard--and changed the world. Describing the genesis of rock and roll, the author covers everything from its deep roots in the Mississippi Delta, key early figures, like deejay "Daddy-O" Dewey Phillips and gospel star Sister Rosetta Tharpe, and the influence of so-called "holy rollers" of the Pentecostal church who became crucial performers--Elvis Presley, Jerry Lee Lewis and Little Richard.
Rock music today is universal and its popular history is well known. Yet few know how and why it really came about. Taking a fresh look at events long overlooked or misunderstood, this book tells how some of the most disenfranchised people in a free and prosperous nation strove to make themselves heard--and changed the world. Describing the genesis of rock and roll, the author covers everything from its deep roots in the Mississippi Delta, key early figures, like deejay "Daddy-O" Dewey Phillips and gospel star Sister Rosetta Tharpe, and the influence of so-called "holy rollers" of the Pentecostal church who became crucial performers--Elvis Presley, Jerry Lee Lewis and Little Richard.
The history of rock and roll music can be seen in a long arc of Western civilization's struggle for both greater individual expression and societal stability. In the 1960s, the West's relationship with authority ruptured, in part due to the rock revolution. The lessons and implications of this era have yet to be fully grasped. This book examines the key artists, music, and events of the classic rock era--defined here as 1964 to 1980--through a virtual psychoanalysis of the West. Over these years, important truths unfold in the stories of British Invaders, hippies, proto-punks, and more, as well as topics to include drugs, primal scream therapy, the occult, spirituality, and disco and its detractors, to name just a few. Through a narrative that is equal parts entertaining, scholarly, and even spiritual, readers will gain a greater appreciation for rock music, better understand the confusing world we live in today, and see how greater individuality and social stability may be better reconciled moving forward.
Jazz and Death: Reception, Rituals, and Representations critically examines the myriad and complex interactions between jazz and death, from the New Orleans "jazz funeral" to jazz in heaven or hell, final recordings, jazz monuments, and the music’s own presumed death. It looks at how fans, critics, journalists, historians, writers, the media, and musicians have narrated, mythologized, and relayed those stories. What causes the fascination of the jazz world with its deaths? What does it say about how our culture views jazz and its practitioners? Is jazz somehow a fatal culture? The narratives surrounding jazz and death cast a light on how the music and its creators are perceived. Stories of jazz musicians typically bring up different tropes, ranging from the tragic, misunderstood genius to the notion that virtuosity somehow comes at a price. Many of these narratives tend to perpetuate the gendered and racialized stereotypes that have been part of jazz’s history. In the end, the ideas that encompass jazz and death help audiences find meaning in a complex musical practice and come to grips with the passing of their revered musical heroes -- and possibly with their own mortality.
The birth of rock 'n roll ignited a firestorm of controversy--one critic called it "musical riots put to a switchblade beat"--but if it generated much sound and fury, what, if anything, did it signify? As Glenn Altschuler reveals in All Shook Up, the rise of rock 'n roll--and the outraged reception to it--in fact can tell us a lot about the values of the United States in the 1950s, a decade that saw a great struggle for the control of popular culture. Altschuler shows, in particular, how rock's "switchblade beat" opened up wide fissures in American society along the fault-lines of family, sexuality, and race. For instance, the birth of rock coincided with the Civil Rights movement and brought "race music" into many white homes for the first time. Elvis freely credited blacks with originating the music he sang and some of the great early rockers were African American, most notably, Little Richard and Chuck Berry. In addition, rock celebrated romance and sex, rattled the reticent by pushing sexuality into the public arena, and mocked deferred gratification and the obsession with work of men in gray flannel suits. And it delighted in the separate world of the teenager and deepened the divide between the generations, helping teenagers differentiate themselves from others. Altschuler includes vivid biographical sketches of the great rock 'n rollers, including Elvis Presley, Fats Domino, Chuck Berry, Little Richard, Jerry Lee Lewis, and Buddy Holly--plus their white-bread doppelgangers such as Pat Boone. Rock 'n roll seemed to be everywhere during the decade, exhilarating, influential, and an outrage to those Americans intent on wishing away all forms of dissent and conflict. As vibrant as the music itself, All Shook Up reveals how rock 'n roll challenged and changed American culture and laid the foundation for the social upheaval of the sixties.
Away from the spotlight of the pop charts and the demands of mainstream audiences, original music is still being played and audiences continue to engage with innovative artists. This collection of fresh essays gathers together critical writing on such genres as Power Electronics, Black Metal, Neo-Folk, Martial Industrial, Hard-Core Punk and Horrorcore. The contributors report from the periphery of the music world, seeking to understand these new genres, how fans connect with artists and how artists engage with their audiences. Diverse music scenes are covered, from small-town New Zealand to Washington, D.C., and Ljubljana, Slovenia. Artists discussed include Coil, Laibach, Whitehouse, Insane Clown Posse, Wolves in the Throne Room, Turisas, Tyr, GG Allin and many others.
From the Pulitzer Prize–winning author of American Pastoral comes a funny, chilling novel set in a small town in the 1940s Midwest, featuring a young woman whose moral goodness may destroy her. "High, careful tragedy, nasty as life, and Roth emerges ... as a Dreiser who can write!" —Stanley Elkin When she was still a child, Lucy Nelson had her alcoholic failure of a father thrown in jail. Ever since then she has been trying to reform the men around her, even if that ultimately means destroying herself in the process. With his unerring portraits of Lucy and her hapless, childlike husband, Roy, Roth has created an uncompromising work of fictional realism, a vision of provincial American piety, yearning, and discontent that is at once pitiless and compassionate.
"Top 40" was the preeminent American radio format of the 1950s and 1960s. Although several radio station group owners offered their own versions of the format, the AM stations owned by Todd Storz and his father were acknowledged as the principal developers of Top 40 radio, and the prime movers in making it a nationwide ratings and revenue success. The Storz Stations in St. Louis, Omaha, New Orleans, Minneapolis-St. Paul, Kansas City, Oklahoma City and Miami are profiled in this book, as are various Storz air personalities and executives. A detailed chapter examines the unique "Storz Station sound," revealing the complexity of what detractors portrayed as a simplistic format. Another covers Storz advertising in radio trade magazines, which cemented the company's image as the format's most successful station group and Top 40 as the dominant programming of the day. There are extensive quotations from the memoirs of several of the founders of the format.
Since its release in 1971, Don McLean's song "American Pie" has become an indelible part of U.S. culture. It has sparked countless debates about the references within the lyrics; been celebrated as a chronicle of American life from the late 1950s through the early 1970s; and has become iconic itself as it has been remade, parodied, and referenced within numerous texts and forums. This volume offers a set of new essays that focus on the cultural and historical significance of the song. Representing a variety of perspectives and fields of study, the essays address such topics as historical and literary interpretations of the song's lyrics, its musical qualities, the commentary the song offers on rock and roll history, the continuing significance of the song, and the ways in which the song has been used by various writers and artists. Instructors considering this book for use in a course may request an examination copy here.
The convergence of rock music, counterculture politics and avant-garde aesthetics in the late 1960s underscored the careers of the Beatles, Frank Zappa and the Mothers of Invention, and the Velvet Underground. This book examines these artists' relationships to the historical avant-garde (Artaud, Brecht, Dada) and neo-avant-garde (Warhol, Pop Art, minimalism), considering their work in light of debates about modernism versus postmodernism. The author analyzes the performers' use of dissonance and noise within popular music, the role of social commentary and controversial topics in songs, and the experiments with concert and studio performance. Albums discussed include Sgt. Pepper's Lonely Hearts Club Band, The White Album, Freak Out!, We're Only in It for the Money, The Velvet Underground and Nico and White Light/White Heat, as well as John Lennon's collaborations with Yoko Ono, the Zappa-produced Trout Mask Replica by Captain Beefheart and the Magic Band, and Nico's The Marble Index.