British Rock Modernism, 1967-1977

The Story of Music Hall in Rock

Nonfiction, Entertainment, Music, Pop & Rock, Popular, Rock, Music Styles
Cover of the book British Rock Modernism, 1967-1977 by Barry J. Faulk, Taylor and Francis
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Barry J. Faulk ISBN: 9781317171515
Publisher: Taylor and Francis Publication: May 23, 2016
Imprint: Routledge Language: English
Author: Barry J. Faulk
ISBN: 9781317171515
Publisher: Taylor and Francis
Publication: May 23, 2016
Imprint: Routledge
Language: English

British Rock Modernism, 1967-1977 explains how the definitive British rock performers of this epoch aimed, not at the youthful rebellion for which they are legendary, but at a highly self-conscious project of commenting on the business in which they were engaged. They did so by ironically appropriating the traditional forms of Victorian music hall. Faulk focuses on the mid to late 1960s, when British rock bands who had already achieved commercial prominence began to aspire to aesthetic distinction. The book discusses recordings such as the Beatles' Magical Mystery Tour album, the Kinks' The Village Green Preservation Society, and the Sex Pistols' Never Mind the Bollocks, Here's the Sex Pistols, and television films such as the Beatles' Magical Mystery Tour and the Rolling Stones' Rock and Roll Circus that defined rock's early high art moment. Faulk argues that these 'texts' disclose the primary strategies by which British rock groups, mostly comprised of young working and lower middle-class men, made their bid for aesthetic merit by sampling music hall sounds. The result was a symbolically charged form whose main purpose was to unsettle the hierarchy that set traditional popular culture above the new medium. Rock groups engaged with the music of the past in order both to demonstrate the comparative vitality of the new form and signify rock's new art status, compared to earlier British pop music. The book historicizes punk rock as a later development of earlier British rock, rather than a rupture. Unlike earlier groups, the Sex Pistols did not appropriate music hall form in an ironic way, but the band and their manager Malcolm McLaren were obsessed with the meaning of the past for the present in a distinctly modernist fashion.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

British Rock Modernism, 1967-1977 explains how the definitive British rock performers of this epoch aimed, not at the youthful rebellion for which they are legendary, but at a highly self-conscious project of commenting on the business in which they were engaged. They did so by ironically appropriating the traditional forms of Victorian music hall. Faulk focuses on the mid to late 1960s, when British rock bands who had already achieved commercial prominence began to aspire to aesthetic distinction. The book discusses recordings such as the Beatles' Magical Mystery Tour album, the Kinks' The Village Green Preservation Society, and the Sex Pistols' Never Mind the Bollocks, Here's the Sex Pistols, and television films such as the Beatles' Magical Mystery Tour and the Rolling Stones' Rock and Roll Circus that defined rock's early high art moment. Faulk argues that these 'texts' disclose the primary strategies by which British rock groups, mostly comprised of young working and lower middle-class men, made their bid for aesthetic merit by sampling music hall sounds. The result was a symbolically charged form whose main purpose was to unsettle the hierarchy that set traditional popular culture above the new medium. Rock groups engaged with the music of the past in order both to demonstrate the comparative vitality of the new form and signify rock's new art status, compared to earlier British pop music. The book historicizes punk rock as a later development of earlier British rock, rather than a rupture. Unlike earlier groups, the Sex Pistols did not appropriate music hall form in an ironic way, but the band and their manager Malcolm McLaren were obsessed with the meaning of the past for the present in a distinctly modernist fashion.

More books from Taylor and Francis

Cover of the book Catholicism Today by Barry J. Faulk
Cover of the book Managing Marital Disputes in Malaysia by Barry J. Faulk
Cover of the book Red Activists and Black Freedom by Barry J. Faulk
Cover of the book Global Capitalism and Transnational Class Formation by Barry J. Faulk
Cover of the book Contestations Over Gender in Asia by Barry J. Faulk
Cover of the book Outdoor Advertising (RLE Advertising) by Barry J. Faulk
Cover of the book A History of the Marconi Company 1874-1965 by Barry J. Faulk
Cover of the book Why Architects Matter by Barry J. Faulk
Cover of the book Learning Liberation by Barry J. Faulk
Cover of the book The Meanings of Violence by Barry J. Faulk
Cover of the book Cities at Risk by Barry J. Faulk
Cover of the book The Refugees Convention 50 Years on: Globalisation and International Law by Barry J. Faulk
Cover of the book Beginnings by Barry J. Faulk
Cover of the book An A to Z Practical Guide to Learning Difficulties by Barry J. Faulk
Cover of the book Laytime and Demurrage by Barry J. Faulk
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy