Countercultures and Popular Music PDF
Preview Countercultures and Popular Music
CounterCultures and PoPular MusiC a translated and edited edition of a special issue of Volume! The French Journal of Popular Music Studies (Éditions Mélanie seteun). additional articles published in both ‘countercultures’ issues of Volume! can be found at: http://www.cairn.info/revue-volume.htm and http://volume.revues.org. Volume! is the only French peer-reviewed popular music studies journal. Created in 2002 by Marie-Pierre Bonniol, samuel Étienne and Gérôme Guibert, it is published independently by the Éditions Mélanie seteun, a publishing association specialising since 1998 in the cultural sociology of popular music. Biannual special issues deal with various topics in popular music studies, in a multidisciplinary perspective. it is also included on the online international academic portals Cairn.info and revues.org. Volume! is classified by the French AERES and abstracted/indexed on the international index to Music Periodicals, the répertoire international de littérature Musicale and the Music index. This page has been left blank intentionally Countercultures and Popular Music edited by sheila Whiteley University of Salford, UK Jedediah skloWer Université Sorbonne Nouvelle, Paris 3, France © sheila Whiteley and Jedediah sklower and the contributors 2014 all rights reserved. no part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. sheila Whiteley and Jedediah sklower have asserted their rights under the Copyright, Designs and Patents Act, 1988, to be identified as the editors of this work. Published by ashgate Publishing limited ashgate Publishing Company Wey Court east 110 Cherry street union road suite 3-1 Farnham Burlington, Vt 05401-3818 surrey, Gu9 7Pt usa england www.ashgate.com British Library Cataloguing in Publication Data a catalogue record for this book is available from the British library. The Library of Congress has cataloged the printed edition as follows: Countercultures and popular music / edited by sheila Whiteley and Jedediah sklower. pages cm. – (ashgate Popular and folk music series) includes bibliographical references and index. isBn 978-1-4724-2106-7 (hardcover : alk. paper) – isBn 978-1-4724-2107-4 (ebook) – isBn 978-1-4724-2108-1 (epub) 1. Popular music – social aspects. 2. Counterculture. i. Whiteley, sheila, 1941– ii. sklower, Jedediah. Ml3918.P67C73 2014 306.4’8424–dc23 2013047641 isBn 9781472421067 (hbk) isBn 9781472421074 (ebk – PdF) isBn 9781472421081 (ebk – ePuB) Bach musicological font developed by © yo tomita IV Printed in the united kingdom by henry ling limited, at the dorset Press, dorchester, dt1 1hd Contents List of Figures vii General Editors’ Preface ix Notes on Contributors xi Preface: Dissent within Dissent xv Jedediah Sklower IntroductIon Countercultures and Popular Music 3 Sheila Whiteley Reappraising ‘Counterculture’ 17 Andy Bennett Part I theorIsIng countercultures 1 Break on Through: The Counterculture and the Climax of American Modernism 29 Ryan Moore 2 The Banality of Degradation: Andy Warhol, the Velvet Underground and the Trash Aesthetic 45 Simon Warner 3 Were British Subcultures the Beginning of Multitude? 65 Charles Mueller Part II utoPIas, dystoPIas and the aPocalyPtIc 4 The Rock Counterculture from Modernist Utopianism to the Development of an Alternative Music Scene 81 Christophe Den Tandt 5 ‘Helter Skelter’ and Sixties Revisionism 95 Gerald Carlin and Mark Jones 6 Apocalyptic Music: Reflections on Countercultural Christian Influence 109 Shawn David Young vi CouNTERCuLTuRES AND PoPuLAR MuSiC 7 Nobody’s Army: Contradictory Cultural Rhetoric in Woodstock and Gimme Shelter 123 Gina Arnold Part III sonIc anarchy and Freaks 8 The Long Freak Out: Unfinished Music and Countercultural Madness in Avant-Garde Rock of the 1960s and 1970s 141 Jay Keister 9 The Grateful Dead and Friedrich Nietzsche: Transformation in Music and Consciousness 157 Stanley J. Spector 10 Scream from the Heart: Yoko Ono’s Rock and Roll Revolution 171 Shelina Brown 11 From Countercultures to Suburban Cultures: Frank Zappa after 1968 187 Benjamin Halligan Part IV countercultural scenes – MusIc and Place 12 Countercultural Space Does Not Persist: Christiania and the Role of Music 205 Thorbjörg Daphne Hall 13 A Border-Crossing Soundscape of Pop: The Auditory Traces of Subcultural Practices in 1960s Berlin 223 Heiner Stahl 14 Music and Countercultures in Italy: The Neapolitan Scene 237 Giovanni Vacca Bibliography 251 Discography 275 Filmography 281 index 283 List of Figures 12.1 The entrance into Christiania. Photo: Thorbjörg Daphne Hall 210 12.2 The stage by Nemoland. Photo: Thorbjörg Daphne Hall 211 12.3 Outside Loppen. Photo: Thorbjörg Daphne Hall 214 12.4 The tourist information hut where guided tours are offered. Photo: Thorbjörg Daphne Hall 215 This page has been left blank intentionally General Editors’ Preface Popular musicology embraces the field of musicological study that engages with popular forms of music, especially music associated with commerce, entertainment and leisure activities. The Ashgate Popular and Folk Music series aims to present the best research in this field. Authors are concerned with criticism and analysis of the music itself, as well as locating musical practices, values and meanings in cultural context. The focus of the series is on popular music of the twentieth and twenty-first centuries, with a remit to encompass the entirety of the world’s popular music. Critical and analytical tools employed in the study of popular music are being continually developed and refined in the twenty-first century. Perspectives on the transcultural and intercultural uses of popular music have enriched understanding of social context, reception and subject position. Popular genres as distinct as reggae, township, bhangra, and flamenco are features of a shrinking, transnational world. The series recognises and addresses the emergence of mixed genres and new global fusions, and utilises a wide range of theoretical models drawn from anthropology, sociology, psychoanalysis, media studies, semiotics, postcolonial studies, feminism, gender studies and queer studies. Stan Hawkins, Professor of Popular Musicology, University of Oslo & Derek B. Scott, Professor of Critical Musicology, University of Leeds
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