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Pop when the world falls apart : music in the shadow of doubt /
Hearing Elvis Presley, Bob Dylan once said, was "like busting out of jail." But what happens when popular music isn't as simple as rock-and-roll rebellion? How does pop respond to such events as a decade-long war in Iraq and Hurricane Katrina? In Pop When the World Falls Apart, a dive...
| Clasificación: | Libro Electrónico |
|---|---|
| Otros Autores: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Durham ; London :
Duke University Press,
2012
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| Colección: | e-Duke books scholarly collection.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 245 | 0 | 0 | |a Pop when the world falls apart : |b music in the shadow of doubt / |c edited by Eric Weisbard |
| 264 | 1 | |a Durham ; |a London : |b Duke University Press, |c 2012 | |
| 264 | 4 | |c ©2012 | |
| 300 | |a 1 online resource (xi, 292 pages) : |b illustrations | ||
| 336 | |a text |b txt |2 rdacontent | ||
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| 520 | |a Hearing Elvis Presley, Bob Dylan once said, was "like busting out of jail." But what happens when popular music isn't as simple as rock-and-roll rebellion? How does pop respond to such events as a decade-long war in Iraq and Hurricane Katrina? In Pop When the World Falls Apart, a diverse array of music writers, scholars, and enthusiasts reflect on popular music's role--as commentary, as refuge, and as rallying cry--in times of military conflict, social upheaval, and cultural crisis. Drawn from presentations at the annual Experience Music Project Pop Conference--hailed by Robert Christgau as "the best thing that's ever happened to serious consideration of pop music"--The essays in this book include inquiries into the sonic dimension of war in Iraq; the cultural life of jazz in post-Katrina New Orleans; Isaac Hayes's reappropriation of a country song, "By the Time I Get to Phoenix," as a symbol of black nationalism; and punk rock pranks played on record execs looking for the next big thing in central Virginia. Offering a diverse range of voices, perspectives, and approaches, this volume mirrors the eclecticism of pop itself | ||
| 504 | |a Includes bibliographical references and index | ||
| 505 | 0 | |a Introduction / Eric Weisbard -- Collapsing distance: the love-song of the wanna-be, or the fannish auteur / Jonathan Lethem -- Black rockers vs. blackies who rock, or the difference between race and music / Greg Tate -- Toward an ethics of knowing nothing / Alexandra T. Vazquez -- Divided byline: how a student of Leslie Fiedler and a colleague of Charles Keil became the ghostwriter for everybody from Ray Charles to Cornel West / David Ritz -- Boring and horrifying whiteness: the rise and fall of reaganism as prefigured by the career arcs of Carpenters, Lawrence Welk, and the Beach Boys in 1973-74 / Tom smucker -- Perfect is dead: Theodor Adorno, Karen Carpenter, and the radio, or if hooks could kill / Eric Lott -- Agents of orange: Studio K and Cloud 9 / Karen Tongson -- Belliphonic sounds and indoctrinated ears: the dynamics of military listening in wartime Iraq / J. Martin Daughtry -- Since the flood: scenes from the fight for New Orleans jazz culture / Larry Blumenfeld -- (Over the) Rainbow warrior: Israel Kamakawiwole and another kind of somewhere / Nate Chinen -- Travel with me: country music, race, and remembrance / Diane Pecknold -- The comfort zone: shaping the retro-soul audience / Oliver Wang -- Within limits: on the greatness of magic slim / Carlo Rotella -- Urban music in the teenage heartland / Brian Boedde, Austin Bunn, and Elena Passarello -- Death to racism and punk revisionism?: Alice Bag's vexing voice and the unspeakable influence of canción ranchera on Hollywood punk / Michelle Gabell-Pallán -- Of wolves and vibrancy: a brief exploration of the marriage made in hell between folk music, dead cultures, myth, and highly technical modern extreme metal / Scott Seward -- The new market affair: media pranks, the music industrys last big gold rush, and the hunt for hits in the Shenandoah valley / Kembrew Mcleod -- All that is solid melts into schmaltz: poptimism vs. the guilty displeasure / Carl Wilson | |
| 546 | |a English. | ||
| 588 | 0 | |a Print version record | |
| 506 | |3 Use copy |f Restrictions unspecified |2 star |5 MiAaHDL | ||
| 533 | |a Electronic reproduction. |b [Place of publication not identified]: |c HathiTrust Digital Library. |d 2022. |5 MiAaHDL | ||
| 538 | |a Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002. |u http://purl.oclc.org/DLF/benchrepro0212 |5 MiAaHDL | ||
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| 650 | 0 | |a Music |x Social aspects |x History |y 20th century. | |
| 650 | 0 | |a Music |x Social aspects |x History |y 21st century. | |
| 650 | 0 | |a Popular music |x History and criticism. | |
| 650 | 6 | |a Musique |x Aspect social |x Histoire |y 20e siècle. | |
| 650 | 6 | |a Musique |x Aspect social |x Histoire |y 21e siècle. | |
| 650 | 6 | |a Musique populaire |x Histoire et critique. | |
| 650 | 7 | |a MUSIC |x Genres & Styles |x Pop Vocal. |2 bisacsh | |
| 650 | 7 | |a MUSIC |x History & Criticism. |2 bisacsh | |
| 650 | 7 | |a Music. |2 eflch | |
| 650 | 7 | |a Music |x Social aspects. |2 fast |0 (OCoLC)fst01030444 | |
| 650 | 7 | |a Popular music. |2 fast |0 (OCoLC)fst01071422 | |
| 648 | 7 | |a 1900-2099 |2 fast | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast |0 (OCoLC)fst01411635 | |
| 655 | 7 | |a History. |2 fast |0 (OCoLC)fst01411628 | |
| 700 | 1 | |a Weisbard, Eric. | |
| 776 | 0 | 8 | |i Print version: |t Pop when the world falls apart. |d Durham ; London : Duke University Press, 2012 |z 9780822350996 |z 0822350998 |w (DLC) 2011048245 |w (OCoLC)748336615 |
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