For a Kentucky rifleman who spent his tour trudging through Vietnam's Central Highlands, it was Nancy Sinatra's "These Boots Are Made for Walkin'." For a "tunnel rat" who blew smoke into the Viet ...Cong's underground tunnels, it was Jimi Hendrix's "Purple Haze." For a black marine distraught over the assassination of Martin Luther King Jr., it was Aretha Franklin's "Chain of Fools." And for countless other Vietnam vets, it was "I Feel Like I'm Fixin' to Die," "Who'll Stop the Rain," or the song that gives this book its title.
In We Gotta Get Out of This Place, Doug Bradley and Craig Werner place popular music at the heart of the American experience in Vietnam. They explore how and why U.S. troops turned to music as a way of connecting to each other and the World back home and of coping with the complexities of the war they had been sent to fight. They also demonstrate that music was important for every group of Vietnam veterans -- black and white, Latino and Native American, men and women, officers and "grunts" -- whose personal reflections drive the book's narrative. Many of the voices are those of ordinary soldiers, airmen, seamen, and marines. But there are also "solo" pieces by veterans whose writings have shaped our understanding of the war -- Karl Marlantes, Alfredo Vea, Yusef Komunyakaa, Bill Ehrhart, Arthur Flowers -- as well as songwriters and performers whose music influenced soldiers' lives, including Eric Burdon, James Brown, Bruce Springsteen, Country Joe McDonald, and John Fogerty. Together their testimony taps into memories -- individual and cultural -- that capture a central if often overlooked component of the American war in Vietnam.
This book analyses the relationships between contemporary media and popular music, both via the mediation of music, and music as mediator. It does so through a series of original interviews with key ...practitioners: musicians, writers, magazine editors, radio presenters and major and independent label bosses. Those interviewed include Mark Ellen, editor of Smash Hits, Q, Mojo and currently Word magazines; Mark Cooper, producer of Later…with Jools Holland and CEO of Music Entertainment at the BBC; Ben Watt, half of Everything But The Girl and owner of independent label Buzzin' Fly; and Fiona Talkington, original and current presenter of the Sony Award winning Late Junction on BBC Radio 3. Through these interviews, theory and practice are measured against each other and the book considers their experiences and observations in order to explore the ways popular music is produced, marketed and mediated. Examining visual, print, radio and new media, Media and Popular Music draws together disparate elements of music and media which formerly have not been considered together, and provides a fresh and innovative contribution to the swiftly growing field of popular music studies.
In this cultural history of evangelical Christianity and popular music, David Stowe demonstrates how mainstream rock of the 1960s and 1970s has influenced conservative evangelical Christianity ...through the development of Christian pop music. For an earlier generation, the idea of combining conservative Christianity with rock--and its connotations of nonreligious, if not antireligious, attitudes--may have seemed impossible. Today, however, Christian rock and pop comprises the music of worship for millions of Christians in the United States, with recordings outselling classical, jazz, and New Age music combined.Shining a light on many of the artists and businesspeople key to the development of Christian rock, Stowe shows how evangelicals adapted rock and pop in ways that have significantly affected their religion's identity and practices. The chart-topping, spiritually inflected music created a space in popular culture for talk of Jesus, God, and Christianity, thus lessening for baby boomers and their children the stigma associated with religion while helping to fill churches and create new modes of worship. Stowe argues that, in the four decades since the Rolling Stones first unleashed their hit song "Sympathy for the Devil," the increasing acceptance of Christian pop music by evangelicals ultimately has reinforced a variety of conservative cultural, economic, theological, and political messages.
Popular music in Japan has been under the overwhelming influence of American, Latin American and European popular music remarkably since 1945, when Japan was defeated in World War II. Beginning with ...gunka and enka at the turn of the century, tracing the birth of hit songs in the record industry in the years preceding the War, and ranging to the adoption of Western genres after the War--the rise of Japanese folk and rock, domestic exoticism as a new trend and J-Pop--Popular Music in Japan is a comprehensive discussion of the evolution of popular music in Japan. In eight revised and updated essays written in English by renowned Japanese scholar Toru Mitsui, this book tells the story of popular music in Japan since the late 19th century when Japan began positively embracing the West.
Breaking rocks Trapido, Joe
2016., 2016, 2016-12-30, Volume:
19
eBook
Based on fieldwork in Kinshasa and Paris, Breaking Rocks examines patronage payments within Congolese popular music. This book offers insights into both the ideologies of power and value in central ...Africa's troubled post-colonial political economy, and the economic flows that make up the hidden side of the globalization.
Museums have been central to the institutionalisation of popular music as heritage; yet, there has been little scholarly focus on the curatorial strategies behind the exhibition of popular music’s ...past. This article outlines an emerging typological framework of structuring concepts in curatorial practice in popular music museums. The typology brings into conversation concepts previously identified by a number of popular music museum scholars. These concepts are critically assessed and built upon substantively by drawing on the subjective experiences of curators involved in the exhibition of popular music in museums in a range of geographical locations. Eight concepts are discussed: dominant (and hidden) histories, projected visitor numbers, place, art and material culture, narrative, curator subjectivity, nostalgia and sound. We argue that such a framework acts as a useful tool for comparing institutional practices internationally and to more fully understand the ways in which popular music history is presented to museum visitors.
What happens to “local” sound when globalization exposes musicians and audiences to cultural influences from around the world? Jeremy Wallach explores this question as it plays out in the ...eclectic, evolving world of Indonesian music after the fall of the repressive Soeharto regime. Against the backdrop of Indonesia’s chaotic and momentous transition to democracy, Wallach takes us to recording studios, music stores, concert venues, university campuses, video shoots, and urban neighborhoods. Integrating ground-level ethnographic research with insights drawn from contemporary cultural theory, he shows that access to globally circulating music and technologies has neither extinguished nor homogenized local music-making in Indonesia. Instead, it has provided young Indonesians with creative possibilities for exploring their identity in a diverse nation undergoing dramatic changes in an increasingly interconnected world. Ultimately, he finds, the unofficial, multicultural nationalism of Indonesian popular music provides a viable alternative to the religious, ethnic, regional, and class-based extremism that continues to threaten unity and democracy in that country.
Brian Wilson and The Beach Boys, Bob Dylan, Bruce Springsteen, and Paul Simon—these familiar figures have written road music for half a century and continue to remain highly-regarded artists. But ...there is so much more to say about road music. This book fills a glaring hole in scholarship about the road and music. In a collection of 13 essays, Music and the Road explores the origins of road music in the blues, country-western, and rock ’n’ roll; the themes of adventure, freedom, mobility, camaraderie, and love, and much more in this music; the mystique and reality of touring as an important part of getting away from home, creating community among performers, and building audiences across the country from the 1930s to the present; and the contribution of music to popular road films such as Bonnie and Clyde, Easy Rider, Thelma and Louise, and On the Road.
As dinâmicas da cultura possibilitam a identificação de processos comunicacionais que tendem à diversidade, às semioses e aos encontros dialógicos. A música pop e a música popular são exemplos dessa ...processualidade. Pela Semiótica da Cultura de Iuri Lotman, o presente trabalho busca compreender como as linguagens da música pop e da música popular atualizam a cultura midiática e a sua memória, enquanto elementos diferenciais. Em outra etapa, o olhar empírico sobre os artistas BCUC, BaianaSystem e Tom Zé e os movimentos tropicalismo e manguebeat estabelece diálogo com as teorias da diferença na elaboração de uma cartografia. Ao final, o percurso teórico e conceitual construído visa oferecer um método para compreender as diferenciações na cultura midiática contemporânea.
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