The Pop Festival: History, Music, Media, Culture
Autor George McKayen Limba Engleză Hardback – 15 iul 2015
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Specificații
ISBN-13: 9781623568207
ISBN-10: 162356820X
Pagini: 256
Ilustrații: 85 illus
Dimensiuni: 152 x 229 x 23 mm
Greutate: 0.5 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States
ISBN-10: 162356820X
Pagini: 256
Ilustrații: 85 illus
Dimensiuni: 152 x 229 x 23 mm
Greutate: 0.5 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States
Caracteristici
Rehistoricises the pop festival by tracing its origins to the 1950s (rather than 1960s)
Notă biografică
George McKay is a leading writer on alternative cultures and music. He is Professor of Media Studies at the University of East Anglia, UK; his website is georgemckay.org
Cuprins
Acknowledgements Picture creditsContributorsIntroductionGeorge McKayChapter 1.'The pose . is a stance': popular music and the cultural politics of festival in 1950s BritainGeorge McKayChapter 2 Out of sight: the mediation of the music festivalMark GoodallChapter 3 'Let there be rock!' Myth and ideology in the rock festivals of the transatlantic countercultureNicholas GebhardtChapter 4 'As real as real can get': race, representation, and rhetoric at Wattstax, 1972Gina ArnoldChapter 5 The artist at the music festival: art, performance and hybridity Rebekka KillChapter 6 Photo-essay: Free festivals, new travellers, and the free party scene in Britain, 1981-1992Alan Lodge Chapter 7 Festival bodies: the corporeality of the contemporary music festival scene in AustraliaJoanne Cummings and Jacinta HerbornChapter 8 The Love Parade: European techno, the EDM festival, and the tragedy in DuisburgSean Nye and Ronald HitzlerChapter 9 Protestival: global days of action and carnivalised politics at the turn of the millenniumGraham St JohnChapter 10 Alternative playworlds: psytrance festivals, deep play and creative zones of transcendenceAlice O'Grady Chapter 11 No Spectators! The art of participation, from Burning Man to boutique festivals in BritainRoxanne RobinsonChapter 12 Musicking in Motor City: reconfiguring urban space at the Detroit Jazz FestivalAnne DvingeChapter 13 Branding, sponsorship, and the music festivalChris AndertonChapter 14 Everybody talk about pop music: Un-Convention as alternative to festival, from DIY music to social changeAndrew DubberIndex
Recenzii
In addition to its stellar 33 1/3 series, Bloomsbury publishes some of the best academic writing about music that one will read. In The Pop Festival, the music festival is put under the scholarly microscope in 14 separate essays, all punctiliously annotated and referenced . the book provides valuable insight into the counter-culture beast that has been and is the music festival. Reading might not be as free and easy as a day at Woodstock, but through careful reading one will find reward.
For any student of the social, political, and cultural impact of the festivals [this is] a five-star treasure trove of ideas, joining-up disparate elements of society and contextualising the festivals within that background ... An important study.
The Pop Festival is the most comprehensive collection explaining the underlying nature of music festivals. From humble beginnings of community folk festivals to political movements and to the evolution of the EDM festivals of our time, there is something that will intrigue everyone in here. The essays are each fairly short with their own distinct tone and voice, so each story and era feels self-contained. Yet, they weave together a vivid story of where we've been, with eyes on where we are now.
The festival has long been an essential facet of the popular music experience. In this wonderful book, McKay assembles a series of masterful essays that take us on a thought provoking journey through the history, politics and aesthetic qualities of the pop festival.
George McKay has brought together a lively, challenging, accessible and eclectic collection of essays spanning diverse aspects of the pop music festival: its history, politics, and cultural meaning; its muddy, sweaty, dancing bodies, its mythology and racial tensions, the euphoric (and sometimes tragic) crush of the crowd. I warmly recommend The Pop Festival to anyone interested in the politics of festivals across music and media studies, cultural history and event management.
Ranging widely in time and space, from early 1950s British cultural festivals through Love Parade and Burning Man, this original and compelling book examines the music festival from a rich variety of perspectives. The Pop Festival is particularly good at tracing the political, racial and musical contexts which have made festivals such important moments in cultural life around the world. Woodstock is here, and analyzed with great skill, but so are a wide range of other festivals whose importance has been forgotten. This is nothing less than an alternate history of popular music since the Second World War.
For any student of the social, political, and cultural impact of the festivals [this is] a five-star treasure trove of ideas, joining-up disparate elements of society and contextualising the festivals within that background ... An important study.
The Pop Festival is the most comprehensive collection explaining the underlying nature of music festivals. From humble beginnings of community folk festivals to political movements and to the evolution of the EDM festivals of our time, there is something that will intrigue everyone in here. The essays are each fairly short with their own distinct tone and voice, so each story and era feels self-contained. Yet, they weave together a vivid story of where we've been, with eyes on where we are now.
The festival has long been an essential facet of the popular music experience. In this wonderful book, McKay assembles a series of masterful essays that take us on a thought provoking journey through the history, politics and aesthetic qualities of the pop festival.
George McKay has brought together a lively, challenging, accessible and eclectic collection of essays spanning diverse aspects of the pop music festival: its history, politics, and cultural meaning; its muddy, sweaty, dancing bodies, its mythology and racial tensions, the euphoric (and sometimes tragic) crush of the crowd. I warmly recommend The Pop Festival to anyone interested in the politics of festivals across music and media studies, cultural history and event management.
Ranging widely in time and space, from early 1950s British cultural festivals through Love Parade and Burning Man, this original and compelling book examines the music festival from a rich variety of perspectives. The Pop Festival is particularly good at tracing the political, racial and musical contexts which have made festivals such important moments in cultural life around the world. Woodstock is here, and analyzed with great skill, but so are a wide range of other festivals whose importance has been forgotten. This is nothing less than an alternate history of popular music since the Second World War.