Musical subcultures:Goth subculture, Rave, Emo, Beatnik, Freetekno, Cassette culture, Filk music, Juggalo, Punk subculture, Rockabilly, New Romanticism, Riot grrrl, Northern soul, Deadhead, Poseur, Romo, Straight edge, Free party, Universal Zulu Nation
Based on the high school subcultures of 1950s America, it takes its name from the tough guy working-class greasers of the era. The musical, set in 1959 in fictional Rydell High in Chicago, tackles such social issues as teenage pregnancy and gang violence; its themes include love, friendship, teenage rebellion and sexual exploration during adolescence, and, to some degree, class consciousness/class conflict.This songbook provides vocal selections from the stage version.
A compelling visual portrait of a time, place, and subculture that raised a middle finger to modern society Oh So Pretty: Punk in Print 1976-80 is an unrivalled collection of visually striking ephemera from Britains punk subculture. It presents 500 artefacts - ´zines,´ gig posters, flyers, and badges - from well-known and obscure musical acts, designers, venues, and related political groups. While punk was first and foremost a music phenomenon, it reflected a DIY spirit and instantly recognizable aesthetic that was as raw and strident and irrepressible as the music. As disposable as the items in this book once were, together they tell a story about music, history, class, and art, and document a seismic shift in society and visual culture.
In This Is All a Dream We Dreamed, two of the most well-respected chroniclers of the Dead, Blair Jackson and David Gans, reveal the band´s story through the words of its members, their creative collaborators and peers, and a number of diverse fans, stitching together a multitude of voices into a seamless oral tapestry. Capturing the ebullient spirit at the group´s core, Jackson and Gans weave together a musical saga that examines the music and subculture that developed into its own economy, touching fans from all walks of life, from penniless hippies to celebrities, and at least one U.S. vice president. This definitive book traces the Dead´s evolution from its humble beginnings as a folk/bluegrass band playing small venues in Palo Alto to the feral psychedelic warriors and stadium-filling Americana jam band that blazed all the way through to the 90s. Along the way, we hear from many who were touched by the Dead—from David Crosby and Miles Davis, to Ken Kesey, Carolyn ´´Mountain Girl´´ Garcia, and a host of Merry Pranksters, to legendary concert promoter Bill Graham, and others. Throughout their journey the Dead broke (and sometimes rewrote) just about every rule of the music business, defying conventional wisdom and charting their own often unusual course, in the process creating a business model unlike any seen before. Musically, too, they were pioneers, fusing inspired ideas and techniques with intuition and fearlessness to craft an utterly unique and instantly recognizable sound. Their music centered on collective improvisation, spiritual and social democracy, trust, generosity, and fun. They believed that you can make something real, spontaneous, and compelling happen with other musicians if you trust and encourage each other, and jam as if your life depended on it. And when it worked, there was nothing else like it. Whether you´re part of the new generation of Deadheads who are just discovering their music or a devoted fan who ... 1. Language: English. Narrator: Holter Graham, Fred Berman, Oliver Wyman, Arthur Bishop, Eliza Foss, Helen Litchfield, Cynthia Hopkins, David Gans. Audio sample: http://samples.audible.de/bk/aren/002134de/bk_rhde_002536_sample.mp3. Digital audiobook in aax.
Sex. Drugs. Loud music. Wild costumes. Dazzling light shows. These words can all describe a great rock concert or a hot dance club, but they were also part and parcel of the ancient cultural phenomenon known as the ´´Mystery religions´´. In this book, author Christopher Knowles shows how the long-dead Mystery religions got a secular reincarnation when a new musical form called rock ´n´ roll burst onto the scene. Knowles shows how the Mysteries prefigured subcultures as diverse as Santeria, Freemasonry, and Mardi Gras, and explains exactly how ancient rituals and music found their way to the New World. In the process, The Secret History of Rock ´n´ Roll traces the development of rock´s most popular genres, such as punk and metal, and reveals how many of rock´s most iconic artists fill the same archetypal roles as the ancient gods. You´ll see how many of the rituals, customs, and musical styles of our postmodern society have stunning ancient parallels. You´ll meet history´s first pop divas, headbangers, and guitar heroes and read the untold story of the Puritan Woodstock. Get ready for a wild ride that will take you from the Stone Age to the Space Age. 1. Language: English. Narrator: Bill Andrew Quinn. Audio sample: http://samples.audible.de/bk/acx0/000326de/bk_rhde_002536_sample.mp3. Digital audiobook in aax.
Heavy music and its subcultures have always been closely related to sex, decadence, and rebellion. Starting with pioneers as The Rolling Stones, Jimmy Hendrix and The Doors in the 1960s, Led Zeppelin, Aerosmith, AC/DC and KISS in the 1970s, they all have had the unifying pursuit of unattached love, musical success, and drugs, thus coining the timeless slogan sex, drugs and rock n roll. Nevertheless, while proclaiming values as personal freedom, sexual liberation, and open-mindedness, the heavy music stays to a greater extent conservative, when it comes to sex and gender issues. Hard rock and all of its forms are considered as essentially a male form of expression: there are hardly few women as Patti Smith and Janis Joplin who managed to become one of the boys and to reach a cult status in time. In fact, the male connotation in the genre is present over all: starting from the macho look, through the lyrics, actually, the whole rock star attitude. A deviation from this norm embodies glam rock and later glam metal subgenres which beginnings in the 1970s are marked by David Bowie with his high theatricality, the glittering Marc Bolan from T. Rex in the UK and by the controversial Jobriath and New York Dolls, who appeared almost at the same time in the USA. This book analyses various questions, concerning sex, gender and performance in glam rock music using theories from the fields of gender studies, media studies, feminism, and psychoanalysis. The book also discusses the socio-cultural context in which glam rock was born and the colossal shift in sexual politics, which it has brought with itself. Furthermore, the relationship to historical events, postmodern values and consumerism are taken into consideration. From the text: - Glam Rock; - Glam Trouble; - Female and Male Objectification; - Gender Studies; - David Bowie
This book is the first in-depth, ethnographic study of the Dutch punk scene. It questions the artificial boundaries of subcultural research, calling for a critical analysis of the distinctions drawn between subcultural and everyday lives, and between localised and globalised subcultures. The everyday experiences of punk are framed within the mobile and connected global subculture of which they are a part. It traces its emergence in the 1970s and its development through to 2010, with chapters that map Dutch punk historically and spatially. Further chapters explore the meanings and practices attached to punk by its participants before focusing in particular on the political affiliations of punks. This book argues for an approach to social research that recognises the messiness and the connectedness of punk and of the social world. Kirsty Lohman is Leverhulme Research Fellow at the University of Surrey, UK. Her current work examines Punk, Politics and Gender in the UK and her other research interests include DIY musical/cultural participation, gender, sexuality, transnational cultural mobility and political and community activism.
By late 1968, the third album by Sly & the Family Stone absolutely blew the roof off the building. Life sounded so tangibly real it almost seemed like it was cut live. The title track, along with ´´Love City,´´ ´´Plastic Jim,´´ ´´Into My Own Thing´´ and especially ´´Dynamite!´´ signaled a perfect alliance between Sly´s multi-influence, far-reaching musical vision and the burgeoning hippie ballroom community, already spreading like lawn daisies throughout the land. Never before had juicily syncopated beats dovetailed so perfectly with distortion-laced rock guitar. ´´You don´t have to die before you live,´´ sings Sly on ´´Life´´ and he´s not kidding! The lyrical content of Sly´s music becomes even more graphic with detailed workouts like ´´Jane Is A Groupee,´´ a riveting description of this fascinating rock ´n´ roll sub-culture. Then, on the other hand, you have the full-bore party numbers like ´´M´Lady´´ and ´´Fun,´´ songs fully capable of launching anybody´s weekend with reckless abandon!
"I read somewhere that 77 percent of all the mentally ill live in poverty. Actually, I´m more intrigued by the 23 percent who are apparently doing quite well for themselves." - Jerry Garcia Despite the enormous esteem he has garnered from virtually every corner of the music world, Jerry Garcia has continued to elude both fans and music historians as they attempt to determine his origins and categorize his art and influence on American music. Part of their difficulty lies in the fact that his work as the frontman for the Grateful Dead, "one of the most prolific and iconic guitarists of the twentieth century"; tended toward a blending of the traditional with the experimental. He was willing to use almost any and every available ethnic musical resource. Garcia´s passionate interest in virtually every nook and cranny of American music, particularly rural music, made the task of following his concepts from moment to moment an unpredictable and inexact science. In his explorations and elaborations on old musical treasures, whether familiar or obscure, he fully indulged in almost all of them at one time or another. For Garcia, this was not a career move but a joyous personal search to create a vast palette of harmonic, rhythmic, and textural escapades. As an iconic example of the "communitarian; drug-positive hippie subculture of Haight-Ashbury"; and fulfilling all the expectations of the devotees who immersed themselves in the era´s music, Garcia could just as easily draw from classical music as he could from American jazz. He performed highly regionalized blues in all of their dialects, along with country music, numerous shades of rock music, and any combination of all of them. 1. Language: English. Narrator: Violet Meadow. Audio sample: http://samples.audible.de/bk/acx0/034641de/bk_rhde_002536_sample.mp3. Digital audiobook in aax.
Songs Only You Know: A Memoir plunges listeners into the Detroit hardcore punk scene with 18-year-old Sean and spans a dark decade during which his father succumbs to crack addiction, his younger sister spirals into a fatal depression, and his sense of home crumbles. Sean´s salvation is music, as well as the many eccentrics and outsiders he befriends as front man of a band once referred to by Spin magazine as ´´an art-coremindfuck´´. Sean´s prose whips from mordantly funny to searingly honest while offering an unflinching look at a family in crisis, low-rent music subculture, and the hard-earned identity of its author. A story of young manhood that deserves a place alongside Tobias Wolff´s In Pharaoh´s Army and Nick Flynn´s Another Bullshit Night in Suck City, Songs Only You Know is a beautiful, devastating exploration of family, friends, and one young man´s musical dream. It marks the arrival of a fiercely original literary voice. 1. Language: English. Narrator: Tristan Morris. Audio sample: http://samples.audible.de/bk/blak/006505de/bk_rhde_002536_sample.mp3. Digital audiobook in aax.