On Record: Rock, Pop and the Written Word
Classic sociological analyses of 'deviance' and rebellion; studies of technology; subcultural and feminist readings, semiotic and musicological essays and close readings of stars, bands and the fans themselves by Adorno, Barthes and other well-known contributors
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Contents
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PART ONE Groundworks
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1 |
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David Riesman LISTENING TO POPULAR MUSIC
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4 |
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Donald Horton THE DIALOGUE OF COURTSHIP IN POPULAR SONG
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11 |
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Stuart Hall and Paddy Whannel THE YOUNG AUDIENCE
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22 |
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PART TWO From Subcultural to Cultural Studies
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32 |
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Paul Willis THE GOLDEN AGE
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35 |
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Dick Hebdige STYLE AS HOMOLOGY AND SIGNIFYING PRACTICE
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46 |
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Angela McRobbie SETTLING ACCOUNTS WITH SUBCULTURES
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55 |
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Roland Barthes THE GRAIN OF THE VOICE
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250 |
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Theodor WAdorno with the assistance of George Simpson ON POPULAR MUSIC
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256 |
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Andrew Chester SECOND THOUGHTS ON A ROCK AESTHETIC
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268 |
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Mark WBooth JINGLE
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272 |
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Dave Laing LISTEN TO ME
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277 |
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Barbara Bradby DOTALK AND DONTTALK
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290 |
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PART SIX Music and Sexuality
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315 |
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Simon Frith and Angela McRobbie ROCK AND SEXUALITY
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317 |
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Gary Clarke DEFENDING SKIJUMPERS
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68 |
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Will Straw CHARACTERIZING ROCK MUSIC CULTURE
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81 |
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Lawrence Grossberg IS THERE ROCK AFTER PUNK?
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92 |
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PART THREE The Organization of the Music Business
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103 |
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Paul MHirsch PROCESSING FADS AND FASHIONS
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105 |
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Richard APeterson and David GBerger CYCLES IN SYMBOL PRODUCTION
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117 |
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Roger Wallis and Krister Malm PATTERNS OF CHANGE
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134 |
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PART FOUR The Creative Process
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151 |
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Antoine Hennion THE PRODUCTION OF SUCCESS
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154 |
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Edward RKealy FROM CRAFT TO ART
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172 |
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HStith Bennett THE REALITIES OF PRACTICE
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185 |
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Mavis Bayton HOW WOMEN BECOME MUSICIANS
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201 |
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Andrew Goodwin SAMPLE AND HOLD
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220 |
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PART FIVE Musicology and Semiotics
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235 |
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Susan McClary and Robert Walser START MAKING SENSE
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237 |
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Sue Wise SEXING ELVIS
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333 |
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Sheryl Garratt TEENAGE DREAMS
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341 |
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Richard Dyer IN DEFENSE OF DISCO
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351 |
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Simon Frith AFTERTHOUGHTS
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359 |
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PART SEVEN Reading the Stars
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364 |
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David Buxton ROCK MUSIC THE STAR SYSTEM AND THE RISE OF CONSUMERISM
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366 |
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Tom Carson ROCKET TO RUSSIA
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378 |
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Holly Kruse IN PRAISE OF KATE BUSH
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385 |
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Simon Reynolds NEW POP AND ITS AFTERMATH
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398 |
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Greil Marcus CORRUPTING THE ABSOLUTE
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403 |
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The Fans Speak
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408 |
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Fred Vermorel and Judy Vermorel STARLUST
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410 |
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Acknowledgments
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419 |
Common terms and phrases
aesthetic album analysis artists audience band beat Beatles become blues boys Buddy Buddy Holly Bush’s chorus classical commercial consumer critical dance disco dominant effect Elvis Elvis Presley emotional example experience expression fans fantasy feel female feminist genre gigs girl-group girls guitar heavy metal Hebdige Hebdige’s Holly Holly’s Hounds of Love ideology important instruments jazz Kate Bush language listening live male masculinity mass media meaning melody music industry musicians musicologists one’s organization performance play political pop music popular music practice problem production progressive rock punk radio record companies relationship rhythm rhythm and blues rock and roll rock music rock’s Rocket to Russia role sequence sexual significant singer singing social song sound mixers stars structure style subcultures success symbolic teenage teenybop there’s thing traditional verse vocal voice women words working-class young youth culture