Stomp and Shout: R&B and the Origins of Northwest Rock and Roll, Peter Blecha
Автор: Jasen, David A. Название: Black Bottom Stomp ISBN: 0415936411 ISBN-13(EAN): 9780415936415 Издательство: Taylor&Francis Рейтинг: Цена: 51030.00 T Наличие на складе: Есть у поставщика Поставка под заказ.
Автор: Micco Caporale Название: Motley Crue`s Shout at the Devil ISBN: 1501388967 ISBN-13(EAN): 9781501388965 Издательство: Bloomsbury Academic Рейтинг: Цена: 10550.00 T Наличие на складе: Нет в наличии. Описание: While Southern California punk bands were saying, “Our band could be your life,” Los Angeles’s hair metal acts were insisting, “Our band could be your fantasy.” They weren’t out to change the world as much as conquer it, and no one embodied that more than its breakout stars, Motley Crue. On their sophomore record Shout at the Devil, they invited listeners to let their ids run wild, propping the door open for gender play, sexual abandon, and a healthy distrust of authority. As more women entered the workforce — not only because upper-middle class white women had made this a central demand of their feminism but also because industrial job opportunities for men were declining. This book demonstrates how Shout at the Devil showed men rejecting manual labor in favor of being beautiful, entertaining, and sexually available. What followed were era-defining culture wars about gender roles, sexual expression, and freedom of speech.
Автор: Campion James Название: Shout It Out Loud!: The Story of Kiss`s Destroyer and the Making of an American Icon ISBN: 1617136182 ISBN-13(EAN): 9781617136184 Издательство: Mare Nostrum (Eurospan) Рейтинг: Цена: 20890.00 T Наличие на складе: Нет в наличии. Описание: A serious examination of the creation of the band`s seminal work, Destroyer, the tour and the hit singles that sprang from it.
In this ambitious project, historian Katrina Thompson examines the conceptualization and staging of race through the performance, sometimes coerced, of black dance from the slave ship to the minstrel stage. Drawing on a rich variety of sources, Thompson explicates how black musical performance was used by white Europeans and Americans to justify enslavement, perpetuate the existing racial hierarchy, and mask the brutality of the domestic slave trade. Whether on slave ships, at the auction block, or on plantations, whites often used coerced performances to oppress and demean the enslaved.
As Thompson shows, however, blacks' "backstage" use of musical performance often served quite a different purpose. Through creolization and other means, enslaved people preserved some native musical and dance traditions and invented or adopted new traditions that built community and even aided rebellion.
Thompson shows how these traditions evolved into nineteenth-century minstrelsy and, ultimately, raises the question of whether today's mass media performances and depictions of African Americans are so very far removed from their troublesome roots.
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