British Rock Modernism, 1967-1977

The Story of Music Hall in Rock

Nonfiction, Entertainment, Music, Pop & Rock, Popular, Rock, Music Styles
Cover of the book British Rock Modernism, 1967-1977 by Barry J. Faulk, Taylor and Francis
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Barry J. Faulk ISBN: 9781317171515
Publisher: Taylor and Francis Publication: May 23, 2016
Imprint: Routledge Language: English
Author: Barry J. Faulk
ISBN: 9781317171515
Publisher: Taylor and Francis
Publication: May 23, 2016
Imprint: Routledge
Language: English

British Rock Modernism, 1967-1977 explains how the definitive British rock performers of this epoch aimed, not at the youthful rebellion for which they are legendary, but at a highly self-conscious project of commenting on the business in which they were engaged. They did so by ironically appropriating the traditional forms of Victorian music hall. Faulk focuses on the mid to late 1960s, when British rock bands who had already achieved commercial prominence began to aspire to aesthetic distinction. The book discusses recordings such as the Beatles' Magical Mystery Tour album, the Kinks' The Village Green Preservation Society, and the Sex Pistols' Never Mind the Bollocks, Here's the Sex Pistols, and television films such as the Beatles' Magical Mystery Tour and the Rolling Stones' Rock and Roll Circus that defined rock's early high art moment. Faulk argues that these 'texts' disclose the primary strategies by which British rock groups, mostly comprised of young working and lower middle-class men, made their bid for aesthetic merit by sampling music hall sounds. The result was a symbolically charged form whose main purpose was to unsettle the hierarchy that set traditional popular culture above the new medium. Rock groups engaged with the music of the past in order both to demonstrate the comparative vitality of the new form and signify rock's new art status, compared to earlier British pop music. The book historicizes punk rock as a later development of earlier British rock, rather than a rupture. Unlike earlier groups, the Sex Pistols did not appropriate music hall form in an ironic way, but the band and their manager Malcolm McLaren were obsessed with the meaning of the past for the present in a distinctly modernist fashion.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

British Rock Modernism, 1967-1977 explains how the definitive British rock performers of this epoch aimed, not at the youthful rebellion for which they are legendary, but at a highly self-conscious project of commenting on the business in which they were engaged. They did so by ironically appropriating the traditional forms of Victorian music hall. Faulk focuses on the mid to late 1960s, when British rock bands who had already achieved commercial prominence began to aspire to aesthetic distinction. The book discusses recordings such as the Beatles' Magical Mystery Tour album, the Kinks' The Village Green Preservation Society, and the Sex Pistols' Never Mind the Bollocks, Here's the Sex Pistols, and television films such as the Beatles' Magical Mystery Tour and the Rolling Stones' Rock and Roll Circus that defined rock's early high art moment. Faulk argues that these 'texts' disclose the primary strategies by which British rock groups, mostly comprised of young working and lower middle-class men, made their bid for aesthetic merit by sampling music hall sounds. The result was a symbolically charged form whose main purpose was to unsettle the hierarchy that set traditional popular culture above the new medium. Rock groups engaged with the music of the past in order both to demonstrate the comparative vitality of the new form and signify rock's new art status, compared to earlier British pop music. The book historicizes punk rock as a later development of earlier British rock, rather than a rupture. Unlike earlier groups, the Sex Pistols did not appropriate music hall form in an ironic way, but the band and their manager Malcolm McLaren were obsessed with the meaning of the past for the present in a distinctly modernist fashion.

More books from Taylor and Francis

Cover of the book Transmedia Television by Barry J. Faulk
Cover of the book Low-Income Students and the Perpetuation of Inequality by Barry J. Faulk
Cover of the book Refugee Protection and the Role of Law by Barry J. Faulk
Cover of the book Queer Temporalities in Gay Male Representation by Barry J. Faulk
Cover of the book Anti-Political Establishment Parties by Barry J. Faulk
Cover of the book Teaching Languages Creatively by Barry J. Faulk
Cover of the book The Foundation of Japanese Power: Continuities, Changes, Challenges by Barry J. Faulk
Cover of the book Interdisciplinary and Intercultural Programmes in Higher Education by Barry J. Faulk
Cover of the book The Diary of A.J. Mounteney Jephson by Barry J. Faulk
Cover of the book International Perspectives of Festivals and Events by Barry J. Faulk
Cover of the book The Analyst's Experience of the Depressive Position by Barry J. Faulk
Cover of the book Women in Magazines by Barry J. Faulk
Cover of the book Economic Development and Global Crisis by Barry J. Faulk
Cover of the book Styles of Discourse by Barry J. Faulk
Cover of the book Handbook of Foster Youth by Barry J. Faulk
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy