Rock Over the Edge: Transformations in Popular Music Culture, Roger Beebe, Denise Fulbrook, Ben Saunders, Duke University Press, 2002, 0822383373, 9780822383376, 392 pages. DIVThis collection brings new voices and new perspectives to the study of popularвЂ―and particularly rockвЂ―music. Focusing on a variety of artists and music forms, Rock Over the Edge asks what happens to rock criticism when rock is no longer a coherent concept. To work toward an answer, contributors investigate previously neglected genres and styles, such as “lo fi,” alternative country, and “rock en espaГ±ol,” while offering a fresh look at such familiar figures as Elvis Presley, the Beatles, and Kurt Cobain.Bridging the disciplines of musicology and cultural studies, the collection has two primary goals: to seek out a language for talking about music culture and to look at the relationship of music to culture in general. The editors’ introduction provides a backward glance at recent rock criticism and also looks to the future of the rapidly expanding discipline of popular music studies. Taking seriously the implications of critical theory for the study of non-literary aesthetic endeavors, the volume also addresses such issues as the affective power of popular music and the psychic construction of fandom.Rock Over the Edge will appeal to scholars and students in popular music studies and American Studies as well as general readers interested in popular music.Contributors. Ian Balfour, Roger Beebe, Michael Coyle, Robert Fink, Denise Fulbrook, Tony Grajeda, Lawrence Grossberg, Trent Hill, Josh Kun, Jason Middleton, Lisa Ann Parks, Ben Saunders, John J. Sheinbaum, Gayle Wald, Warren Zanes/div.
DOWNLOAD HERE
Present Tense Rock & Roll and Culture, Anthony DeCurtis, Sep 18, 1992, Music, 317 pages. DIVThe most compelling art form to emerge from the United States in the second half of the twentieth century, rock & roll stands in an edgy relationship with its own mythology ....
Rocking My Life Away Writing about Music and Other Matters, Anthony DeCurtis, 1999, Biography & Autobiography, 368 pages. A selection of the author's writings on popular music in the eighties and nineties, mostly from Rolling Stone..
Elvis Melody Line, Chords and Lyrics for Keyboard, Guitar, Vocal, Elvis Presley, Hal Leonard Publishing Corporation, 1997, , 255 pages. (Paperback Songs). Melody line/lyric/chord arrangements of more than 100 of the King's biggest hits, including: All Shook Up * Any Day Now * Big Hunk O' Love * Blue Christmas ....
Reading Rock and Roll Authenticity, Appropriation, Aesthetics, Kevin J. H. Dettmar, William Richey, 1999, Literary Criticism, 347 pages. -- William Echard, American Studies.
Acoustic Singer Songwriter Collection , Alfred Publishing Company, Incorporated, Frank Moon, 2006, , 86 pages. .
Rock and Roll A Social History, Paul Friedlander, 1996, Music, 356 pages. A history of the first thirty-five years of rock music explores how it has both reflected society and influenced it.
Is Rock Dead? , Kevin J.H. Dettmar, Jan 11, 2013, Music, 208 pages. Rock and roll's death has been forecast nearly since its birth; the country song "The Death of Rock and Roll" appeared in September 1956, showing that the music had already ....
Popular music. Vol. 1: Music and society , Simon Frith, 2004, Music, 411 pages. This set brings together essential scholarship on pop music, from its music-hall origins, through to the present-day proliferation of musical styles resulting from the break ....
Talking Jazz An Oral History, Ben Sidran, 1995, Music, 508 pages. Miles Davis, Gil Evans, Dizzy Gillespie, Jon Hendricks, Max Roach, Betty Carter, Jackie McLean, Don Cherry, Sonny Rollins, McCoy Tyner, Archie Shepp, Herbie Hancock, Tony ....
Sound and Vision The Music Video Reader, Simon Frith, Andrew Goodwin, Lawrence Grossberg, Jun 17, 1993, Social Science, 228 pages. Sound and Vision is the first significant collection of new and classic texts on video and brings together some of the leading international cultural and music critics writing ....
The Classic Rock and Roll Reader Rock Music from Its Beginnings to the Mid-1970s, William Emmett Studwell, David F. Lonergan, 1999, Music, 278 pages. The Classic Rock and Roll Reader: Rock Music from Its Beginnings to the Mid-1970s is chock full of entertaining essays to inform and delight you about an era that shaped our ....
Natural Selection Gary Giddins on Comedy, Film, Music, and Books, Gary Giddins, 2006, Performing Arts, 410 pages. Giddens brings together the best of his previously uncollected essays, including a few written expressly for this volume. Writing with insight, humor, and a famously deft touch ....
Tupac Amaru Shakur , Jean-Pierre Hombach, , , . .
The Greenwood Encyclopedia of Rock History: The video generation, 1981-1990 , MaryAnn Janosik, 2006, Music, 258 pages. .
Sound effects youth, leisure, and the politics of rock'n'roll, Simon Frith, Nov 12, 1981, Music, 294 pages. An academic study of the sociology of rock looks at the roots of the musical form, the social importance and power of rock as reflected in the music industry itself, and the ....
Rolling stone the decades of rock & roll, Michael Ochs Archives, Oct 15, 2001, Music, 287 pages. Chronicles the history of rock and roll, profiling artists from the 1950s through the 1990s including Little Richard, Bob Dylan, Led Zeppelin, Madonna, and Tupac Shakur..
The Rock History Reader , Theo Cateforis, 2007, Music, 360 pages. The Rock History Readeris a collection of primary source material that brings to life the often contentious issues, arguments, conflicts and creative tensions that have defined ....
This collection brings new voices and new perspectives to the study of popular—and particularly rock—music. Focusing on a variety of artists and music forms, Rock Over the Edge asks what happens to rock criticism when rock is no longer a coherent concept. To work toward an answer, contributors investigate previously neglected genres and styles, such as “lo fi,” alternative country, and “rock en español,” while offering a fresh look at such familiar figures as Elvis Presley, the Beatles, and Kurt Cobain.
Bridging the disciplines of musicology and cultural studies, the collection has two primary goals: to seek out a language for talking about music culture and to look at the relationship of music to culture in general. The editors’ introduction provides a backward glance at recent rock criticism and also looks to the future of the rapidly expanding discipline of popular music studies. Taking seriously the implications of critical theory for the study of non-literary aesthetic endeavors, the volume also addresses such issues as the affective power of popular music and the psychic construction of fandom.
“Smart, provocative, contradictory, suggestive, irritating, inspiring, exhaustive, exhausting and over the top—Rock Over the Edge takes the imperative of its title seriously, though often with a welcome sense of humor. Anyone who cares about popular music will find much in here to react to—either by shouting out in affirmation, or hurling the damn thing against the wall.”—Anthony DeCurtis, author of Rocking My Life Away: Writing About Music and Other Matters
“Well written and engaging, these essays combine high levels of scholarship with a much more intimate familiarity with popular musical culture than is common within popular music studies. The range of styles makes for a lively and even endearing collection.”—Will Straw, McGill University "[T]he book’s appeal is its subject matter: recent popular music. Simply put, this book gives exposure to music that rarely receives attention from academics. . . . Rock Over the Edge is a welcome collection that should stir debate and intellectual dialogue among its readers. It succeeds by confronting the confusion surrounding the state of rock music, by delving into the unfamiliar terrain of newer popular music styles, and by revisiting and questioning many of popular music studies long held critical traditions."
Many images/art used in material copyrighted by Duke University Press are controlled, not by the Press, but by the owner of the image. Please check the credit line adjacent to the illustration, as well as the front and back matter of the book for a list of credits. You must obtain permission directly from the owner of the image. Occasionally, Duke University Press controls the rights to maps or other drawings. Please direct permission requests for these images to [email protected]. aesthetic album alternative American analysis apparatus argue artists audience authenticity band Beatles canon classical music Cobain's contemporary context Country Music cover critical critique cultural studies D.C. punk discourse dominant effect Eleanor Rigby Elvis essay example experience female feminine formation Frith gender girl girlhood global Grossberg hijacking hip hop identification identity ideological Kurt Cobain lo-fi mass culture Mexican music videos musicians musicology performance Pet Shop Boys play political pop music popular culture popular music popular music culture popular music studies postmodern practices Presley production punk rock queen question racial record relation rhythm Riot Grrrl rock and roll rock culture rock en espanol rock music rock's Routledge scene sexual Shakur Shonen Knife significant social song sound space specific structures style subcultural suggests television theory tion tradition transnational University Press women York youth culture
Introduction / Roger Beebe, Denise Fulbrook, Ben Saunders -- Reflections of a disappointed popular music scholar / Lawrence Grossberg -- Elvis everywhere : musicology and popular music studies at the twilight of the canon / Robert Fink -- "Think about what you're trying to do to me" : rock historiography and the construction of a raced-based dialectic / John J. Sheinbaum -- Hijacked hits and antic authenticity : cover songs, race, and postwar marketing / Michael Coyle -- Why isn't country music "youth" culture? / Trent Hill -- Just a girl? rock music, feminism, and the cultural construction of female youth / Gayle Wald -- Satellite rhythms : channel V, Asian music videos, and transnational gender / Lisa Parks -- The "feminization" of rock / Tony Grajeda -- Rock's reconquista / Josh Kun -- A fan's notes: identification, desire, and the haunted sound barrier / R.J. Warren Zanes -- Mourning becomes ...? Kurt Cobain, Tupac Shakur, and the "waning of affect" / Roger Beebe -- D.C. punk and the production of authenticity / Jason Middleton -- Queen theory : notes on the Pet Shop Boys / Ian Balfour
"Rock isn't what it used to be" (p. 1). This simple observation provides the driving force behind Rock over the Edge, a collection of essays that addresses the changing nature of rock music and rock criticism in recent years. With once venerable rock publications such as Rolling Stone caught in an economic tailspin as they measure themselves for style makeovers, and with rock videos now a scarce commodity on MTV, rock has become less of a dominant cultural force than it was previously. As the editors point out, where critics once invoked the label of "rock" as a marker of authenticity, an "automatic honorific" (p. 2), these days they are more likely to castigate rock as a regressive entity. Rather than valorizing rock music, many of today's writers wince at rock's often embarrassing history of sexist, homophobic, and racist tendencies. This has been reflected in the academy, where scholarly interest has gravitated away from rock's central domain towards other styles such as pop, hip-hop, electronic, alternative, and indie.
Given such developments, what does it mean to practice rock criticism today? While Rock over the Edge poses this question, the editors do not offer concrete answers. Instead, they view the current climate of confusion as an exciting opportunity to assess the changing tide and to take stock of the diverse styles, crossovers, musical markets, and new audiences that have emerged in the face of rock's splintering and apparent decline. This, in turn, provides the impetus to step back and retheorize many of popular music studies' most entrenched critical approaches. Like two other recent popular music studies collections, Mapping the Beat: Popular Music and Contemporary Theory (Thomas Swiss, John Sloop, and Andrew Herman, eds. [Malden, Mass.: Blackwell, 1998]) and Reading Rock and Roll: Authenticity, Appropriation, Aesthetics (Kevin J. H. Dettmar and William Richey, eds. [New York: Columbia University Press, 1999]), Rock over the Edge features the work of North American scholars primarily from the areas of English, cultural studies, communication studies, and film studies. Of the book's thirteen essays, only two are by musicologists; this ratio honestly reflects the distribution of academic scholarship within such interdisciplinary organizations as the International Association for the Study of Popular Music (IASPM), where musicology traditionally has been poorly represented.
Given the book's slant toward cultural studies, it comes as little surprise that the acknowledged cornerstone essay is from one of America's premiere cultural studies scholars, Lawrence Grossberg. His polemical "Reflections of a Disappointed Popular Music Scholar" is a lengthy indictment of popular music studies and its perceived methodological shortcomings. While Grossberg's complaints are numerous, one problem in particular feeds his displeasure. When he surveys the field of popular music studies, he finds it a messy, aimless enterprise stuffed with intellectual dilettantes and devoid of a common critical vocabulary. In simple terms, Grossberg believes that popular music studies have no unifying theoretical grounding. This diagnosis, however, betrays Grossberg's own particular investment in cultural studies. For whatever reason, he refuses to acknowledge the existence of music theory and its obvious contributions to popular music studies. Like Grossberg, the majority of contributors to Rock over the Edge leave the vast well of music theory and analysis untapped. So for all of the book's many perceptive critical insights, one is often left wishing for some more nuanced discussion of musical style that might clarify, amplify, or even complicate the authors' arguments and viewpoints.
That caveat aside, many of the book's authors do share with Grossberg a healthy sense of skepticism. Trent Hill, writing about country music; Jason Middleton, writing about the Washington D.C. punk scene; and R. J. Zanes, writing about the meanings of fandom, all question the ways in which the field of cultural studies has analyzed rock and youth cultures. Previous studies have typically portrayed youths as a "canny, creative audience... http://edufb.net/661.pdf http://edufb.net/1481.pdf http://edufb.net/1226.pdf http://edufb.net/1709.pdf http://edufb.net/1166.pdf http://edufb.net/1419.pdf http://edufb.net/1647.pdf http://edufb.net/1213.pdf http://edufb.net/1795.pdf http://edufb.net/686.pdf http://edufb.net/1423.pdf