Before Jack Had a Groove
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I Wanna Be Me”
Introduction The Sex Pistols’ “I Wanna Be Me” It gave us an identity. —Tom Petty on Beatlemania Wherever the relevance of speech is at stake, matters become political by definition, for speech is what makes man a political being. —Hannah Arendt, The Human Condition here fortune tellers sometimes read tea leaves as omens of things to come, there are now professionals who scrutinize songs, films, advertisements, and other artifacts of popular culture for what they reveal about the politics and the feel W of daily life at the time of their production. Instead of being consumed, they are historical artifacts to be studied and “read.” Or at least that is a common approach within cultural studies. But dated pop artifacts have another, living function. Throughout much of 1973 and early 1974, several working- class teens from west London’s Shepherd’s Bush district struggled to become a rock band. Like tens of thousands of such groups over the years, they learned to play together by copying older songs that they all liked. For guitarist Steve Jones and drummer Paul Cook, that meant the short, sharp rock songs of London bands like the Small Faces, the Kinks, and the Who. Most of the songs had been hits seven to ten 1 2 Introduction years earlier. They also learned some more current material, much of it associated with the band that succeeded the Small Faces, the brash “lad’s” rock of Rod Stewart’s version of the Faces. Ironically, the Rod Stewart songs they struggled to learn weren’t Rod Stewart songs at all. -
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
The Sex Pistols: Punk Rock As Protest Rhetoric
UNLV Retrospective Theses & Dissertations 1-1-2002 The Sex Pistols: Punk rock as protest rhetoric Cari Elaine Byers University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Byers, Cari Elaine, "The Sex Pistols: Punk rock as protest rhetoric" (2002). UNLV Retrospective Theses & Dissertations. 1423. http://dx.doi.org/10.25669/yfq8-0mgs This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. -
Beatles Cover Albums During the Beatle Period
Beatles Cover Albums during the Beatle Period As a companion to the Hollyridge Strings page, this page proposes to be a listing of (and commentary on) certain albums that were released in the United States between 1964 and April 1970. Every album in this listing has a title that indicates Beatles-related content and/or a cover that is a parody of a Beatles cover. In addition, the content of every album listed here is at least 50% Beatles-related (or, in the case of albums from 1964, "British"). Albums that are not included here include, for example, records named after a single Beatles song but which contain only a few Beatles songs: for example, Hey Jude, Hey Bing!, by Bing Crosby. 1964: Nineteen-sixty-four saw the first wave of Beatles cover albums. The earliest of these were released before the release of "Can't Buy Me Love." They tended to be quickly-recorded records designed to capitalize rapidly on the group's expanding success. Therefore, most of these albums are on small record labels, and the records themselves tended to be loaded with "filler." Possibly, the companies were not aware of the majority of Beatle product. Beattle Mash The Liverpool Kids Palace M-777 Side One Side Two 1. She Loves You 1. Thrill Me Baby 2. Why Don't You Set Me Free 2. I'm Lost Without You 3. Let Me Tell You 3. You Are the One 4. Take a Chance 4. Pea Jacket Hop 5. Swinging Papa 5. Japanese Beatles 6. Lookout for Charlie The label not only spells "Beatle" correctly but also lists the artist as "The Schoolboys." The liner notes show that this album was released before the Beatles' trip to America in February, 1964. -
The Beatles on Film
Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964 -
“Jungle Rhythm and Juvenile Delinquency”: London Times Coverage of Youth Subcultures and Rock and Roll , 1955-1960 Patrick
“Jungle Rhythm and Juvenile Delinquency”: London Times Coverage of Youth Subcultures and Rock and Roll , 1955-1960 Patrick Vonesh ___________________________________________________________ During the mid 1950s, post-war England went from rationing to a new, more material lifestyle. From the laboring poor to the aristocracy, the British became conspicuous consumers. Included were the young people of England, who after schooling, went into the work force and began to create a new class of Englishmen, known as teenagers. Teenagers consumed fashion, music, and cinema, at times passively, but more often shaping these cultural influences to create their own subculture(s) within Britain. These subcultures have been analyzed by cultural critics such as Dick Hebdige, Stuart Hall, and Colin MacInnes, but the definition of these subcultures was not only created by the young people but also by the public, or at least the media. Young people shocked their elders, at least according to the newspapers, radio, and television. Before the sixties, youth were revolting: rioting, racism, and raucous music seemed to excite them. A view has developed that young people had previously been quiescent, much like the golden age of the fifties is often contrasted with the wild, violent sixties. This paper seeks to discover, first, how did British media view young people, focusing on the London Times, 1955- 60. Particularly, how did journalists and editors frame discussion of violence, disturbances, and riots in which teenagers took part? Who or what was the villain? Second, how is the consumer culture of the fifties—music, cinema, fashion, clothing styles—related to this youth revolt? Finally, this paper looks tentatively at the relationship between the media and the young people themselves. -
Is Rock Music in Decline? a Business Perspective
Jose Dailos Cabrera Laasanen Is Rock Music in Decline? A Business Perspective Helsinki Metropolia University of Applied Sciences Bachelor of Business Administration International Business and Logistics 1405484 22nd March 2018 Abstract Author(s) Jose Dailos Cabrera Laasanen Title Is Rock Music in Decline? A Business Perspective Number of Pages 45 Date 22.03.2018 Degree Bachelor of Business Administration Degree Programme International Business and Logistics Instructor(s) Michael Keaney, Senior Lecturer Rock music has great importance in the recent history of human kind, and it is interesting to understand the reasons of its de- cline, if it actually exists. Its legacy will never disappear, and it will always be a great influence for new artists but is important to find out the reasons why it has become what it is in now, and what is the expected future for the genre. This project is going to be focused on the analysis of some im- portant business aspects related with rock music and its de- cline, if exists. The collapse of Gibson guitars will be analyzed, because if rock music is in decline, then the collapse of Gibson is a good evidence of this. Also, the performance of independ- ent and major record labels through history will be analyzed to understand better the health state of the genre. The same with music festivals that today seem to be increasing their popularity at the expense of smaller types of live-music events. Keywords Rock, music, legacy, influence, artists, reasons, expected, fu- ture, genre, analysis, business, collapse, -
Glam Rock by Barney Hoskyns 1
Glam Rock By Barney Hoskyns There's a new sensation A fabulous creation, A danceable solution To teenage revolution Roxy Music, 1973 1: All the Young Dudes: Dawn of the Teenage Rampage Glamour – a word first used in the 18th Century as a Scottish term connoting "magic" or "enchantment" – has always been a part of pop music. With his mascara and gold suits, Elvis Presley was pure glam. So was Little Richard, with his pencil moustache and towering pompadour hairstyle. The Rolling Stones of the mid-to- late Sixties, swathed in scarves and furs, were unquestionably glam; the group even dressed in drag to push their 1966 single "Have You Seen Your Mother, Baby, Standing in the Shadow?" But it wasn't until 1971 that "glam" as a term became the buzzword for a new teenage subculture that was reacting to the messianic, we-can-change-the-world rhetoric of late Sixties rock. When T. Rex's Marc Bolan sprinkled glitter under his eyes for a TV taping of the group’s "Hot Love," it signaled a revolt into provocative style, an implicit rejection of the music to which stoned older siblings had swayed during the previous decade. "My brother’s back at home with his Beatles and his Stones," Mott the Hoople's Ian Hunter drawled on the anthemic David Bowie song "All the Young Dudes," "we never got it off on that revolution stuff..." As such, glam was a manifestation of pop's cyclical nature, its hedonism and surface show-business fizz offering a pointed contrast to the sometimes po-faced earnestness of the Woodstock era. -
All Power to the Imagination! 1968 and Its Legacies
ALL POWER TO THE IMA GINATION! 1968 AND It’s leGA A Season in London CIES. Programme 11 April – 10 June 2008 v1: 25 March 2008: page © Joseph Koudelka/ Magnum Photos: CZECHOSLO © Joseph W arsaw Pact troops invade Prague. In front of the R Prague. troops invade arsaw Pact VAKIA. Prague. August 1968. August 1968. Prague. VAKIA. adio Headquarters. ALL POWER TO THE IMAGINATION! 1968 AND ITS LEGACIES supported by marks the creative resistance of a remarkable year, while placing its lessons in the context of our own times. From April to June and across London, and in media partnership with this major season explores 1968 culture, politics and thought and their legacy manifestations in cinema, visual art, literature, music and activism. www.968.org.uk ALL POWER TO THE IMAGINATION! 1968 AND It’s leGACIES. Programme v1: 25 March 2008: page CINEMA ’68 More dynamically than perhaps any other medium, cinema caught the groundswell, moment and aftermath of 1968 across the world. The numerous strands here display the remarkable 18 APRIL Friday 21 APRIL Monday imagination and commitment of global film-makers, 6.10, BFI Southbank: Les Idoles 6.10, BFI Southbank: Under the whether it’s Censorship as a Creative Force in Central Europe Marc’O, France, 1968, 105 mins. This Skin of the City Rakhshan Bani- (Barbican), Cult, Radical and Underground Americana satire of the yé-yé scene mixed real- Etemad, Iran, 2000, 92 mins. Set during (Barbican, Curzon Cinemas, Horse Hospital), the definitive life French pop stars with actors on the 1998 elections, and weaving the fringe of the situationists and the complex contemporary issues into French experiences (BFI Southbank, Ciné Lumière, Tate political events of ‘68. -
The Teddy Boy Subculture in Britain Kristýna Slepičková
Západočeská univerzita v Plzni Fakulta filozofická Bakalářská práce The Teddy Boy Subculture in Britain Kristýna Slepičková Plzeň 2020 Západočeská univerzita v Plzni Fakulta filozofická Katedra anglického jazyka a literatury Studijní program Filologie Studijní obor Cizí jazyky pro komerční praxi Kombinace angličtina – němčina Bakalářská práce The Teddy Boy Subculture in Britain Kristýna Slepičková Vedoucí práce: PhDr. Alice Tihelková, Ph.D. Katedra anglického jazyka a literatury Fakulta filozofická Západočeské univerzity v Plzni Plzeň 2020 Prohlašuji, že jsem práci zpracovala samostatně a použila jen uvedených pramenů a literatury. Plzeň, květen 2020 ……………………… I would like to thank PhDr. Alice Tihelková, PhD. for her invaluable advice on the content and style of the thesis, in particular on the selection of adequate literature and resources. I would also like to express my gratitude to my family for their immense support. Table of Contents Introduction ...................................................................................................... 1 1. Great Britain in the 1950s ......................................................................... 3 1.1. Introduction ......................................................................................... 3 1.2. The Remains of the Second World War ............................................ 3 1.3. Military Operations.............................................................................. 4 1.3.1. The Suez Crisis ...................................................................................... -
The Punk and Post-Punk Worlds of Manchester, London, Liverpool and Sheffield, 1975–80
Book Review: Networks of Sound, Style and Subversion: The punk and post-punk worlds of Manchester, London, Liverpool and Sheffield, 1975–80 blogs.lse.ac.uk/lsereviewofbooks/2015/04/22/book-review-networks-of-sound-style-and-subversion-the-punk- and-post-punk-worlds-of-manchester-london-liverpool-and-sheffield-1975-80/ 22/04/2015 This book examines the birth of punk in the UK and its transformation, within a short period of time, into post-punk. Deploying innovative concepts of ‘critical mass’, ‘social networks’ and ‘music worlds’, and using sophisticated techniques of ‘social network analysis’, it teases out the events and mechanisms involved in punk’s ‘micro-mobilisation’, its diffusion across the UK and its transformation in certain city-based strongholds into a variety of interlocking post-punk forms. Alex Hensby thinks this is a fine piece of work; a book that is driven by the author’s palpable knowledge and enthusiasm for the subject. Networks of Sound, Style and Subversion: The punk and post-punk worlds of Manchester, London, Liverpool and Sheffield, 1975–80. Nick Crossley. Manchester University Press. February 2015. It might be bad form to begin a book review with praise for another, but one of my favourite reads from last year was Clothes, Music, Boys by Viv Albertine. As a member of the London art college/squatter scene in the mid-1970s which spawned groups such as the Sex Pistols, the Clash and her band the Slits, Albertine’s memoir offers a particularly vivid personal account of how the punk movement assembled itself. On reading, one line in particular stood out: having been being invited to rehearse with Johnny Thunders’s seminal band the Heartbreakers, Albertine wrote “I was scared. -
Punk and New Wave MUSC-21600: the Art of Rock Music Prof
Punk and New Wave MUSC-21600: The Art of Rock Music Prof. Freeze 9 November 2016 The Origins of Punk • Mid-to-late 1970s: rise of corporate rock • AOR Radio; the “big” album (e.g., Frampton Comes Alive!) • RIAA’s “Platinum” Record and stylistic conservatism • Punk’s precursors • Garage bands (1960s) • Underground bands • Stooges (performance confrontation), Velvet Underground (aesthetic confrontation) • New York Dolls • Hard-driving rock + disaffected lyrics + Glam rock • “Personality Crisis” (New York Dolls, 1973) prefigures punk basics: • Simple forms with rebellious lyrics • Fast tempos, driving eighth notes, rock backbeat • Dominance of the riff • Harmonic simplicity (I – IV – V; apparent in 3-note bass) • Talent is optional; passion is essential • Rejection of overt moves to court commercial popularity The New York Scene Begins • Patti Smith • Poetry recitations to simple musical accompaniment • Rejection of traditional femininity • “Gloria (In Excelsis Deo)” (Patti Smith, 1975) • Equates sexual (lesbian?) and religious ecstasy (cf. Van Morrison, “Gloria”) • Latin for Glory to God in the Highest • The title of the Greater Doxology in the Catholic Mass • Begins w/recitation over bluesy accompaniment • Builds intensity: gradual increase in tempo (obvious symbolic import) • Climaxes in an energetic chorus • CBGB & OMFUG • Ramones • Retro rebels: t-shirts, leather jackets, jeans, teenage-oriented lyrics • “I Wanna Be Sedated” (Ramones, 1978) • Punk meets catchy pop melodies (“sick bubblegum music”) • Lyrics about drug-induced insanity