Rockin' Out : Popular Music in the USA

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  • Edition: 1st
  • Format: Paperback
  • Copyright: 1996-09-01
  • Publisher: Pearson P T R
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This book proceeds from the assumption that music is always a social indicator; that is, it tells us something about the world around us. It responds to, mirrors, and influences the society in which we live. This comprehensive social history is organized chronologically around themes and issues which explicate the connection between music and other social processes. These include the multicultural influences in US popular music; the impact of technological advances; the significance of class, race, gender, ethnicity, and region; the importance of political context; and the power of consumer preferences. Rockin' Out is necessarily encyclopedic; still, it balances information with analysis. The text begins with the invention of sound recording and the rise of Tin Pan Alley, and proceeds through discussions of blues, country, and rhythm and blues as historical background. As such, it provides students with significant discussions of the preconditions and formative influences of the music. Garofalo discusses rock and soul, punk and disco, rap and metal, and alternative music as well as all of the sub-genres and stylistic variants of these sounds. This is the only text that covers the total range of US popular music in the 20th century, locates them in their social context, and provides an interdisciplinary analysis of their significance.

Author Biography

Reebee Garofalo has taught at the University of Massachusetts Boston since 1978.

Table of Contents

Prefacep. vii
Introduction: Definitions, Themes, and Issuesp. 1
Into the Twentieth Century: Popular Music and Mass Culturep. 2
Rock 'n' Roll: The Birth of a New Erap. 4
Marketing and the Politics of Race, Language, and Genderp. 9
No Hablamos Espanol: The Language Barrierp. 12
The Long, Hard Climb: Gender Discriminationp. 13
Regulating Popular Musicp. 14
Mass Technology and Popular Taste: The Tin Pan Alley Erap. 17
Sound Recording: From Cylinder to Discp. 18
Tin Pan Alley Constructs the Mainstream Traditionp. 24
Tin Pan Alley Incorporates African American Musicp. 26
Tin Pan Alley Consolidates Its Powerp. 29
Commercial Broadcasting: A Very Private Enterprisep. 32
The Growth of Network Radiop. 33
The Advertisers Versus the Programmersp. 35
Hollywood Bolsters Tin Pan Alleyp. 37
Blues and Country Music: Mass Media and the Construction of Racep. 43
Blues and Country: More Equal than Separatep. 44
"Race" Music: The Popular Sounds of Black Americap. 46
"Hillbilly": The Music of the White Working Classp. 51
The Dissemination of Blues and Country: More Separate than Equalp. 55
The Long Road Back for Recordsp. 59
"Good Rockin' Tonight": The Rise of Rhythm and Bluesp. 65
The Publishers and the Broadcasters: ASCAP Versus BMIp. 66
Enter the Deejay: The Broadcasters Versus the AFMp. 68
From Big Bands to Solo Singersp. 71
The Major Labels Reclaim Country Musicp. 73
The Independents Promote Rhythm and Bluesp. 76
High Fidelity/Low Overheadp. 82
Television and the Suppression of FM Broadcastingp. 84
Independent Radio: Deejays in Your Facep. 86
Crossing Cultures: The Eruption of Rock 'n' Rollp. 93
Cultural Diversity: The Roots of Rock 'n' Rollp. 94
Structural Changes in the Music Industryp. 98
Sounds of the Citiesp. 101
New Orleans: The Fertile Crescent of Rock 'n' Rollp. 101
Los Angeles: From Jump Blues to Chicano Rockp. 108
Chicago: The Blues Electrifiedp. 111
Cincinnati: The Crossroads of Blues and Countryp. 115
RandB Sanctified: The Gospel Connectionp. 116
Doo Wop: The Intersection of Gospel, Jazz, and Popp. 121
Rockabilly: The Country Strainp. 131
The Empire Strikes Back: The Reaction to Rock 'n' Rollp. 149
The Established Powers Fight Backp. 152
Covering the Basesp. 154
Pop Diversions: From Kingston Town to the Kingston Triop. 157
Schlock Rock: Enter the White Middle Classp. 160
Television's Greatest Hitsp. 165
The Brill Building: The New Tin Pan Alleyp. 167
The Official Attack on Rock 'n' Rollp. 169
Surf's Up!p. 175
Popular Music and Political Culture: The Sixtiesp. 183
The Civil Rights Movement and Popular Musicp. 184
The "Girl Groups" and the Men behind Themp. 186
Motown: The Integration of Popp. 191
Folk Music: The Voice of Civil Rightsp. 196
The British Invasion Occupies the Pop Chartsp. 200
Breaking the Sounds of Silencep. 209
Folk Rock: Adding Substance to Formp. 210
Black (Music) Is Beautifulp. 213
Against the Grain: The Counterculturep. 217
Blues on Acid: Psychedelic Rockp. 218
Commercializing the Counterculture: The Monterey Pop Festivalp. 222
Riding the Stormp. 226
Woodstock and Altamont: Reaching the Heights, Taking the Fallp. 231
Music Versus Markets: The Fragmentation of Popp. 239
The Music Industry: A Sound Investmentp. 240
Merger Maniap. 241
Expanding the Infrastructure: Counterculture as Commodityp. 243
Creativity and Commerce: Rock as Artp. 248
Sweeter Soul Musicp. 257
Singer/Songwriters, Soft Rock Solutions, and Morep. 264
Women's Music: The Feminist Alternativep. 273
From Country Rock to Southern Boogiep. 277
Mad with Power: Heavy Metalp. 285
All That Glitters Does Not Sell Goldp. 294
Punk and Disco: The Poles of Popp. 301
Punk Versus Discop. 303
Punk: Rock as (White) Noisep. 305
Born in the USAp. 308
Anarchy in the U.K.p. 317
Flirtation with Fascism: The Underbelly of Punkp. 322
Rock Against Racism: The Progressive Rejoinderp. 325
Riding the New Wavep. 329
Disco: The Rhythm without the Bluesp. 334
Proto-Disco: The Funk Connectionp. 335
Up from the Disco Undergroundp. 339
Mainstream Disco: The Bee Gees Boogie Downp. 343
The Hard-Rock Reactionp. 347
Music Videos, Superstars, and Mega-Events: The Eightiesp. 353
Early Music Television: They Want Their MTVp. 355
Superstars: The Road to Economic Recoveryp. 365
Charity Rock and Mega-Events: Who Is the World?p. 375
Christmas in Ethiopia: The Advent of Charity Rockp. 376
Mega-Events: The Politics of Mass Culturep. 381
Technology and the New International Music Industryp. 390
Rap and Metal: Youth Culture and Censorshipp. 395
The Continuing History of Heavy Metalp. 397
Heavy Metal: The New Wavep. 397
Metal Fragmentsp. 402
Hip Hop, Don't Stopp. 408
Old School Rapp. 409
Hip Hop: The Next Generationp. 412
Popular Music and the Politics of Censorshipp. 423
The Parents Music Resource Centerp. 424
The Issues: Sex, Drugs, and Rock 'n' Roll Revisitedp. 427
Alternative to What?p. 443
Strange Bedfellows: Alternative and the Mainstreamp. 446
Marketing Categories and Monster Contractsp. 453
Country and RandB: The Other Alternativesp. 457
Lollapalooza: Countercultural Sensibilities, Mainstream Cloutp. 460
Bibliographyp. 467
Indexp. 475
Table of Contents provided by Syndetics. All Rights Reserved.

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