Masculinity and skill acquisition in the adolescent rock band

Popular Music ◽  
1999 ◽  
Vol 18 (1) ◽  
pp. 99-114 ◽  
Author(s):  
Mary Ann Clawson
Keyword(s):  
Skill Acquisition ◽  
Rock Music ◽  
Special Issue ◽  
Music Journalism ◽  
Rock Band ◽  
Women's Participation ◽  
Rolling Stone

In the autumn of 1994, a Rolling Stone special issue on ‘Women in Rock’ proclaimed that ‘A change has come to rock & roll’. This pronouncement – which acknowledged women's traditional under-representation in rock music while consigning it to history – was hardly a new one. The ‘discovery’ that ‘an unprecedented number of female performers were now carving out a substantial place for themselves in the rock world’ has been a recurring staple of music journalism for at least two decades (Garr 1992, p. xi). Yet women's participation in the rock music world continues to be noteworthy, defined by their status as numerical minority and symbolic anomaly. ‘In rock as in life, what is male continues to be perceived as known, normal and natural, whereas what is female is taken to be a mystery in need of explication’ (Udovich 1994, p. 50).

scholarly journals Call for Papers. Special Issue of Rock Music Studies. The Beach Boys

2018 ◽  
Vol 41 (2) ◽  
pp. 229-230
Author(s):  
Erica K. Argyropoulos
Keyword(s):  
Rock Music ◽  
Special Issue ◽  
Beach Boys

scholarly journals Heavy metal justice? Calibrating the economic and aesthetic accreditation of the heavy metal genre in the pages of Rolling Stone 1980–91: Part one 1980–851

2021 ◽  
Vol 7 (1) ◽  
pp. 61-84 ◽  
Author(s):  
Andy R. Brown
Keyword(s):  
Heavy Metal ◽  
North American ◽  
Rock Music ◽  
Critical Reception ◽  
Economic Success ◽  
Aesthetic Development ◽  
Negative Adjective ◽  
Rolling Stone ◽  
The Status ◽  
Comprehensive Survey

Given the genre name heavy metal can be traced to a negative adjective that emerges out of 70s rock journalism and which reflects a widespread dissensus among rock critics about its value and impact on North American rock music, how are we to explain the gradual or cumulative shift away from this majority aesthetic disapprobation, in the 1980–85 period, towards a widespread economic accreditation, particularly in the pages of leading rock magazine, Rolling Stone? Is it simply a belated recognition of the longevity of the genre and its resurgent popularity with majority audiences? If so, how are we to explain the subsequent shift, clearly evident in the Rolling Stone coverage in the 1986–91 period, from economic to aesthetic approbation of selective bands, particularly those identified with a thrash metal underground, which is nevertheless seen to emerge from within the genre or to be an aesthetic development of some of its key musical features, while rejecting others? Drawing on a comprehensive survey, composed of album reviews, lead or feature articles and interviews, drawn from the Rolling Stone archive, my research reports, in Part One of this article, a definite shift in the critical reception of heavy metal to economic accreditation in the 1980–85 period, based not only on the genre’s persistence and sustained economic success but also its ability to appeal beyond its core metal audience and therefore challenge the dominant rock and pop aesthetic. For some critics this means that a selective set of popular bands, such as AC/DC, the Scorpions and Def Leppard, can be afforded a degree of aesthetic approbation, even the status of ‘artists’. But this praise also leads to the Great Metal Question: can they now seek to move beyond the musical and lyrical conventions of heavy metal in order to appeal to a wider audience beyond their core fanbase?

Fragments of a Queer Feminist Rock and Pop History in Vienna

2021 ◽  
Author(s):  
Magdalena Fürnkranz
Keyword(s):  
Popular Culture ◽  
Popular Music ◽  
Electronic Music ◽  
Historical Development ◽  
Rock Music ◽  
Pop Music ◽  
Rock Band ◽  
Music Scenes ◽  
Music Scene ◽  
Rock N Roll

The historical development of Viennese rock and pop music started with rock ’n’ roll in the 1950s, continued with beat music and the “dialect wave” in the late 1960s, punk in the 1980s, the popular Viennese electronic music scene in the 1990s, and is currently enjoying a renaissance of the “dialect wave.” Artists like the Rosée Sisters, Austria’s first all-female rock band founded in 1962, Topsy Girl, A-Gen 53, or SV Damenkraft were active in local music scenes. In retrospect, they are considered as exceptions in the historiography of Austrian popular music. This chapter discusses several feminist and queer artists and collectives in Austria, their position in popular culture, and in historical and geographical contexts. The author concentrates primarily on all-female bands, LGBTIQ+ artists, and queerpop projects to illustrate diverse approaches to music, feminism, and their position within the pop and rock music scenes in Vienna.

John Lennon's Plastic Ono Band as ‘first-person music’: notes on the politics of self-expression in rock music since 1970

Popular Music ◽  
2020 ◽  
Vol 39 (3-4) ◽  
pp. 504-522
Author(s):  
Nicholas Tochka
Keyword(s):  
Popular Music ◽  
Rock Music ◽  
Critical Value ◽  
First Person ◽  
Political Values ◽  
Political Consequences ◽  
Rolling Stone ◽  
John Lennon ◽  
Aesthetic Practice ◽  
Rock Musicians

AbstractIn late 1970, John Lennon began promoting his first post-Beatles solo album, Plastic Ono Band, which he described as ‘first-person music’ to Rolling Stone editor Jann Wenner. This essay situates the album and two of Lennon's promotional interviews within an emergent politics of individualism in order to explore how self-expression became an aesthetic practice and critical value in rock music. The album's reception and promotion help reveal how key political values – on individualism, rebellion and self-expression – began to be newly articulated to certain kinds of rock musicians after 1970. By understanding that process of articulation, popular music scholars may consider the contradictory political consequences of the broader valorisation of ‘first-person music’ since the 1970s.

scholarly journals Special Issue of Rock Music Studies Steely Dan at 50

2020 ◽  
Vol 43 (3) ◽  
pp. 365-366
Author(s):  
Michael Borshuk
Keyword(s):  
Rock Music ◽  
Special Issue

All rock and roll is homosocial: the representation of women in the British rock music press

Popular Music ◽  
2001 ◽  
Vol 20 (3) ◽  
pp. 301-319 ◽  
Author(s):  
Helen Davies
Keyword(s):  
Rock Music ◽  
Rock And Roll ◽  
Pop Music ◽  
Vital Importance ◽  
Representation Of Women ◽  
Music Journalism ◽  
Musical Expertise ◽  
British Music ◽  
Similar Content

The British rock music press prides itself on its liberalism and radicalism, yet the discourses employed in music journalism exclude women from serious discussion both as musicians and as fans. In particular, the notion of credibility, which is of vital importance to the ‘serious’ rock music press, is constructed in such a way that it is almost completely unattainable for women.The most important and influential part of the British music press was until recently its two weekly music papers, Melody Maker (MM) and the New Musical Express (NME), both published by IPC magazines. The NME, launched in 1949, contains reviews, concert information and interviews with performers and describes itself as ‘a unique blend of irreverent journalism and musical expertise’ (www.ipc.co.uk). MM, which started life in 1926 as a paper for jazz musicians, had similar content but a greater emphasis on rock, as opposed to pop, music. It was relaunched in 1999 as a glossy magazine, before ceasing publication or, as IPC put it, merging with the NME, in December 2000.

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