Cargando…
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...
| Otros Autores: | |
|---|---|
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
London :
Duke University Press,
2012
|
| Colección: | Book collections on Project MUSE.
|
| Temas: | |
| Acceso en línea: | Texto completo |
MARC
| LEADER | 00000cam a22000004a 4500 | ||
|---|---|---|---|
| 001 | musev2_69884 | ||
| 003 | MdBmJHUP | ||
| 005 | 20230905051219.0 | ||
| 006 | m o d | ||
| 007 | cr||||||||nn|n | ||
| 008 | 120316t20122012ncu o 00 0 eng d | ||
| 020 | |a 9780822394693 | ||
| 020 | |z 9780822351085 | ||
| 020 | |z 9780822350996 | ||
| 035 | |a (OCoLC)1144939357 | ||
| 040 | |a MdBmJHUP |c MdBmJHUP | ||
| 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 London : |b Duke University Press, |c 2012 | |
| 264 | 3 | |a Baltimore, Md. : |b Project MUSE, |c 2020 | |
| 264 | 4 | |c ©2012 | |
| 300 | |a 1 online resource (340 pages): |b illustrations | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 500 | |a "An EMP Museum publication." | ||
| 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 | |
| 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 | ||
| 546 | |a English. | ||
| 588 | |a Description based on print version record. | ||
| 650 | 7 | |a Popular music. |2 fast |0 (OCoLC)fst01071422 | |
| 650 | 7 | |a Music |x Social aspects. |2 fast |0 (OCoLC)fst01030444 | |
| 650 | 7 | |a Music. |2 eflch | |
| 650 | 7 | |a MUSIC |x History & Criticism. |2 bisacsh | |
| 650 | 7 | |a MUSIC |x Genres & Styles |x Pop Vocal. |2 bisacsh | |
| 650 | 6 | |a Musique populaire |x Histoire et critique. | |
| 650 | 6 | |a Musique |x Aspect social |x Histoire |y 21e siecle. | |
| 650 | 6 | |a Musique |x Aspect social |x Histoire |y 20e siecle. | |
| 650 | 0 | |a Popular music |x History and criticism. | |
| 650 | 0 | |a Music |x Social aspects |x History |y 21st century. | |
| 650 | 0 | |a Music |x Social aspects |x History |y 20th century. | |
| 655 | 7 | |a History. |2 fast |0 (OCoLC)fst01411628 | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast |0 (OCoLC)fst01411635 | |
| 655 | 7 | |a Electronic books. |2 local | |
| 700 | 1 | |a Weisbard, Eric. | |
| 710 | 2 | |a Project Muse. |e distributor | |
| 830 | 0 | |a Book collections on Project MUSE. | |
| 856 | 4 | 0 | |z Texto completo |u https://projectmuse.uam.elogim.com/book/69884/ |
| 945 | |a Project MUSE - Custom Collection | ||