seems like something that’s been on rock history’s tongue for a long time without ever quite leaving it. The book, out September 26, began life as Hamilton’s graduate thesis (he’s a professor at the University of Virginia).
seems like something that’s been on rock history’s tongue for a long time without ever quite leaving it. The book, out September 26, began life as Hamilton’s graduate thesis (he’s a professor at the University of Virginia).Tags: My Favorite Movie EssaySpeech Help For SPoint By Point ThesisCritical Thinking Exercises For NursesEssay Questions For HolesEssay Writing About MyselfEssay On Medieval WeaponsThesis In Filipino SubjectAdvertising Business Plan Sample
Rock and roll appeared at a time when racial tensions in the United States were entering a new phase, with the beginnings of the civil rights movement for desegregation, leading to the Supreme Court ruling that abolished the policy of "separate but equal" in 1954, but leaving a policy which would be extremely difficult to enforce in parts of the United States.
The coming together of white youth audiences and black music in rock and roll, inevitably provoked strong white racist reactions within the US, with many whites condemning its breaking down of barriers based on color.
Especially in light of the book, what do you make of Trump using “You Can’t Always Get What You Want” as his campaign music?
What’s odd to me—no, it’s not odd, it’s depressing—is the way that rock music, particularly rock music of the 1960s and ’70s, has become the soundtrack to the reactionary right, the way it’s become the white-male right-wing revanchist soundtrack.
They’re so familiar that they’ve been worn of meaning through cultural use.
Part of what I wanted to do was to recapture what was actually going on here.Rock and roll influenced daily life, fashion, attitudes and language in a way few other social developments have equalled.As the original generations of rock and roll fans matured, the music became an accepted and deeply interwoven thread in popular culture.When Greil Marcus wrote about Prince opening for the Stones in 1981 and getting pelted with garbage, he included a virulently racist letter about the incident, all misspellings verbatim.Looking at it again it’s reminiscent of comment boxes, specifically post-Trump.Yeah, the way this music gets appropriated by side of things; it kind of boggles the mind. Obviously, there’s a long history of politicians, particularly on the right, clumsily using rock and pop music, the Reagan-Springsteen example being the most iconic.But at the same time, it speaks to the extent to which a lot of that music has been really drained of its context, and drained of understandings of the contexts that produced it, understandings of the various political and cultural commitments of the artists that produced it... One of the things that did inspire me to write the book: So much of the music that I discuss in this book is so incredibly famous. A lot of the songs I write about are songs that people are really sick of hearing.You hear them on classic rock stations all the time in the 21st century, but you would never hear the vast majority of music whose influence the Stones themselves were trumpeting.I think there’s been a tendency to think of a band like the Stones in particular as being obsessed with African-American music as something that’s old.A band like the Rolling Stones, who in 2016—or even in 1989—it’s so easy to be cynical about, and so much of that they have brought upon themselves.But there was a period when this was a band that was making incredibly vital, dangerous, exciting music, in the best sense—music that really was coming out of status quo and doing it in a way that was really exciting and artistically impressive.