scholarly journals Generic Norms, Irony, and Authenticity in the AABA Songs of the Rolling Stones, 1963–1971

2021 ◽  
Vol 27 (4) ◽  
Author(s):  
David S. Carter
Keyword(s):  
Popular Music ◽  
Crucial Point ◽  
Time Period ◽  
Rolling Stones ◽  
The 1960S ◽  
The Relationship

AABA form was in decline in popular music in the 1960s, yet the Rolling Stones made extensive use of it at a crucial point in their career. In this article I examine the relationship between Jagger-Richards AABA songs released between 1963 and 1971 and established AABA norms. I use a corpus of 138 AABA songs (112 by other artists and 26 by Jagger-Richards) to compare the Stones’ approach to elements such as starting and ending bridge harmonies and verse melodic form with existing defaults. The analysis shows that the band’s approach to AABA in this time period bifurcates into two strategies, each associated with a tempo extreme: either (1) using the form ironically to critique wealth and privilege, or (2) employing it in a sincere way that invokes soul and gospel artists and thereby claims authenticity for the band.

scholarly journals Nothing Is Erased: Hubert Damisch and Jean Dubuffet

October ◽  
2015 ◽  
Vol 154 ◽  
pp. 3-7
Author(s):  
Sophie Berrebi
Keyword(s):  
Turning Point ◽  
The United States ◽  
Italian Renaissance ◽  
Crucial Point ◽  
Cloud Architecture ◽  
Prolonged Contact ◽  
The Subject ◽  
Contemporary Artist ◽  
The 1960S ◽  
The Relationship

Alongside his writings on the cloud, architecture, the Italian Renaissance, and cinema that established him as one of the most important art historians and philosophers working in France since the 1960s, Hubert Damisch (1928–) edited the four volumes of the writings of artist Jean Dubuffet (1901–1985) and dedicated no less than eighteen articles to his work from 1961 to 2001. Dubuffet is, in other words, the contemporary artist with whom Damisch had the most extensive and prolonged contact during the years 1961–1985. Until now these writings have been overlooked, even though they are contemporary to Damisch's writing on other subjects and demonstrate the major role played by Dubuffet in his thinking. This essay introduces the correspondence between Dubuffet and Damisch, shedding light on Damisch's writings on Dubuffet that are also published in this issue of October. I examine the context of their first meeting in 1961 and seek to understand the dynamics of the relationship between an artist then at a turning point of his career—he was the subject of major retrospective exhibitions in France and the United States and at a crucial point of rupture within his work—and a young philosopher and art historian who had recently moved away from phenomenology to study and write about art. At this critical moment, Dubuffet's oeuvre provided material through which Damisch could investigate art through philosophy and philosophy through art.

Music and Revolution in the Long 1960s

2017 ◽  
Vol 14 (3) ◽  
pp. 463-471
Author(s):  
ODED HEILBRONNER
Keyword(s):  
Popular Music ◽  
Rock Music ◽  
Recent Book ◽  
Musical Style ◽  
Protest Music ◽  
History Of ◽  
1960S And 1970S ◽  
The 1960S ◽  
The One ◽  
The Relationship

When discussing the relationship between popular music and social-political change in the long 1960s, historians and critics have tended to fluctuate between two opposing poles. On the one hand, there is Arthur Marwick's approach, echoed in Jon Savage's recent book 1966: The Year the Decade Exploded. In Marwick's cross-national survey, he examines social change in the West during the ‘Long Sixties’ (1958–72), when a ‘cultural revolution’ occurred in which protest music played a major role. On the other hand, there are Peter Doggett's and Dominic Sandbrook's observations that the top-selling albums of the 1960s and 1970s did not include some masterpiece by the Beatles, the Rolling Stones, Bob Dylan, David Bowie, Queen, or other leading figures in rock music, but rather the soundtrack of The Sound of Music. Sandbrook writes that it ‘projected a familiar, even conservative vision of the world, based on romantic love and family life. In a period of change it offered a sense of reassurance and stability, not only in its plot but also in its musical style . . . [T]hese were the values of millions . . . in the Swinging Sixties’. Doggett similarly points to the popularity of Julie Andrews and the soundtracks of Mary Poppins and The Sound of Music. These soundtracks ‘made no attempt to alter the culture or educate the listener’ he suggests, and that is why they have been relegated ‘to a footnote in the history of popular music’ even while being the top-selling records of 1965 and 1966.

Early Music and Popular Music

2020 ◽  
pp. 508-529
Author(s):  
Elizabeth Randell Upton
Keyword(s):  
United States ◽  
New York ◽  
Los Angeles ◽  
Popular Music ◽  
The United States ◽  
Early Music ◽  
The Past ◽  
Beach Boys ◽  
Rolling Stones ◽  
The 1960S

In the 1960s, recordings and performances of preclassical music brought new sounds to musical performers, creators, and audiences. Through play with new sounds and with ideas about the past, medievalist popular music helped to shape the range of meanings associated with “the medieval” for scholars as well as audiences. At first, early music sounds, especially that of the harpsichord, were used for their novelty, becoming fashionable and hip by the mid-1960s, first in London (as seen in recordings by the Beatles, the Rolling Stones, the Zombies, and Procol Harum; this trend fed into 1970s prog rock) and then, following the British Invasion, in the United States (particularly the Left Banke in New York and the Beach Boys and the Doors in Los Angeles). Some folk-rock performers used early music sounds to signal the past, drawing on tropes of nostalgia and medievalist fantasy (e.g., Simon and Garfunkel’s “Scarborough Fair/Canticle” [1966] and the Beatles’ “Penny Lane” [1967]).

Really the ‘Walking Blues’: Son House, Muddy Waters, Robert Johnson and the development of a traditional blues

Popular Music ◽  
1981 ◽  
Vol 1 ◽  
pp. 57-72 ◽  
Author(s):  
John Cowley
Keyword(s):  
Popular Music ◽  
Folk Music ◽  
Rhythm And Blues ◽  
Folk Music Revival ◽  
Rolling Stones ◽  
The 1960S

On the surface, a study of the evolution of a particular regional Afro-American folk-music style does not appear to be directly connected with the development of popular music. Yet, in one way or another since the 1930s, Son House, Robert Johnson and Muddy Waters, aspects of whose music I discuss here, have all influenced both the development of black blues and, in a much wider context, American and European popular music in general. Johnson and then House became cult figures of the 1960s American folk-music ‘revival’; Waters's Chicago rhythm and blues, which he developed in the late 1940s, have sustained him with black and, subsequently, white audiences since that time, his early commercial recordings being absorbed and sometimes emulated by groups such as the Rolling Stones.

Un Naw Chwech Wyth

2018 ◽  
Vol 42 (3) ◽  
pp. 300-305
Author(s):  
Sarah Hill
Keyword(s):  
Social Change ◽  
Popular Music ◽  
Political Activism ◽  
Global Motion ◽  
Anglo American ◽  
American Popular Music ◽  
The 1960S ◽  
The Relationship

The politically-oriented Anglo-American popular music of the 1960s was notable for its ability to inspire activism in cultures around the globe. In this paper I focus on the relationship between popular music and political activism in Wales, and suggest that 1968 was but one brief point on a much longer timeline: an arbitrary marker in local political terms, but part of a larger global motion toward radical social change.

scholarly journals Absence and Presence: Top of the Pops and the Demand for Music Videos in the 1960s

2019 ◽  
Vol 16 (4) ◽  
pp. 492-544
Author(s):  
Justin Smith
Keyword(s):  
Popular Music ◽  
Music Videos ◽  
Music Video ◽  
Popular Song ◽  
British Music ◽  
American Artists ◽  
The 1960S ◽  
The Uk ◽  
International Success ◽  
The Relationship

While there is a surprising critical consensus underpinning the myth that British music video began in the mid-1970s with Queen's video for ‘Bohemian Rhapsody’, few scholars have pursued John Mundy's (1999) lead in locating its origins a decade earlier. Although the relationship between film and the popular song has a much longer history, this article seeks to establish that the international success of British beat groups in the first half of the 1960s encouraged television broadcasters to target the youth audience with new shows that presented their idols performing their latest hits (which normally meant miming to recorded playback). In the UK, from 1964, the BBC's Top of the Pops created an enduring format specifically harnessed to popular music chart rankings. This format created a demand for the top British artists' regular studio presence which their busy touring schedules could seldom accommodate; American artists achieving British pop chart success rarely appeared on the show in person. These frequent absences, then, coupled with the desire by broadcasters elsewhere in Europe and America to present popular British acts, created a demand for pre-recorded or filmed inserts to be produced and shown in lieu of the artists themselves appearing. Drawing on records held at the BBC's Written Archives and elsewhere, and interviews with a number of 1960s music video directors, this article evidences TV's demand-driver and illustrates how the ‘pop promo’, in the hands of some, became a creative enterprise which exceeded television's requirement to cover for an artist's studio absence.

Klein with Lacan: A Study on the Reception of Lacanian Ideas in Uruguay and Its Effects on Clinical Practices (1955–82)

2020 ◽  
Vol 22 (3) ◽  
pp. 341-361
Author(s):  
Gonzalo Grau-Pérez ◽  
J. Guillermo Milán
Keyword(s):  
Clinical Practice ◽  
Clinical Material ◽  
Clinical Practices ◽  
Before And After ◽  
The Difference ◽  
The 1960S ◽  
The Relationship ◽  
Discursive Approach ◽  
The Way ◽  
Clinical Cases

In Uruguay, Lacanian ideas arrived in the 1960s, into a context of Kleinian hegemony. Adopting a discursive approach, this study researched the initial reception of these ideas and its effects on clinical practices. We gathered a corpus of discursive data from clinical cases and theoretical-doctrinal articles (from the 1960s, 1970s and 1980s). In order to examine the effects of Lacanian ideas, we analysed the difference in the way of interpreting the clinical material before and after Lacan's reception. The results of this research illuminate some epistemological problems of psychoanalysis, especially the relationship between theory and clinical practice.

The Fragmentation of the Palestinian Political Field

2018 ◽  
Vol 11 (1-2) ◽  
pp. 189-216
Author(s):  
Jamil Hilal
Keyword(s):  
Women Workers ◽  
Political Leadership ◽  
The Political ◽  
Political Field ◽  
Cultural Field ◽  
National Representation ◽  
1960S And 1970S ◽  
The 1960S ◽  
Palestinian National Movement ◽  
The Relationship

The mid-1960s saw the beginnings of the construction of a Palestinian political field after it collapsed in 1948, when, with the British government’s support of the Zionist movement, which succeeded in establishing the state of Israel, the Palestinian national movement was crushed. This article focuses mainly on the Palestinian political field as it developed in the 1960s and 1970s, the beginnings of its fragmentation in the 1990s, and its almost complete collapse in the first decade of this century. It was developed on a structure characterized by the dominance of a center where the political leadership functioned. The center, however, was established outside historic Palestine. This paper examines the components and dynamics of the relationship between the center and the peripheries, and the causes of the decline of this center and its eventual disappearance, leaving the constituents of the Palestinian people under local political leadership following the collapse of the national representation institutions, that is, the political, organizational, military, cultural institutions and sectorial organizations (women, workers, students, etc.) that made up the PLO and its frameworks. The paper suggests that the decline of the political field as a national field does not mean the disintegration of the cultural field. There are, in fact, indications that the cultural field has a new vitality that deserves much more attention than it is currently assigned.

Burn-In Acceleration Considerations in 130nm and 90nm Products

2005 ◽  
Author(s):  
Nobuyuki Wakai ◽  
Yuji Kobira ◽  
Takashi Setoya ◽  
Tamotsu Oishi ◽  
Shinichi Yamasaki
Keyword(s):  
Failure Analysis ◽  
Shape Parameter ◽  
Defect Density ◽  
Failure Mechanisms ◽  
Effective Procedure ◽  
Time Period ◽  
Related Defect ◽  
The Relationship

Abstract An effective procedure to determine the Burn-In acceleration factors for 130nm and 90 nm processes are discussed in this paper. The relationship among yield, defect density, and reliability, is well known and well documented for defect mechanisms. In particular, it is important to determine the suitable acceleration factors for temperature and voltage to estimate the exact Burn- In conditions needed to screen these defects. The approach in this paper is found to be useful for recent Cu-processes which are difficult to control from a defectivity standpoint. Performing an evaluation with test vehicles of 130nm and 90nm technology, the following acceleration factors were obtained, Ea>0.9ev and β (Beta)>-5.85. In addition, it was determined that a lower defect density gave a lower Weibull shape parameter. As a result of failure analysis, it is found that the main failures in these technologies were caused by particles, and their Weibull shape parameter “m” was changed depending of the related defect density. These factors can be applied for an immature time period where the process and products have failure mechanisms dominated by defects. Thus, an effective Burn-In is possible with classification from the standpoint of defect density, even from a period of technology immaturity.

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