Academic literature on the topic 'Rock music, fiction'
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Journal articles on the topic "Rock music, fiction"
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STEENMEIJER, MAARTEN. "Other Lives: rock, memory and oblivion in post-Franco fiction." Popular Music 24, no. 2 (May 2005): 245–56. http://dx.doi.org/10.1017/s0261143005000450.
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The functions and meanings of the global discourse of American and British rock in national literatures have hardly been studied so far. This article focuses on the very interesting case of Spanish literature after Franco. The central question is: How has rock functioned in the literature of the new Spain, both as intertext and as cultural memory? To be more specific, the main purpose of this contribution is to study the presence, functions and meanings of rock in the narratives of two leading authors of two generations of post-Franco novelists: Antonio Muñoz Molina (1956) and Ray Loriga (1967). Particular attention will be paid to the complicated processes of memory and oblivion articulated by explicit and implicit references to rock in the pivotal novels El jinete polaco (Muñoz Molina 1991) and Héroes (Loriga 1993), and to their functions and meanings in the historical-cultural process of memory and trauma in post-Franco Spain.
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Mitchell, Tony. "Questions of style: notes on Italian hip hop." Popular Music 14, no. 3 (October 1995): 333–48. http://dx.doi.org/10.1017/s0261143000007777.
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In his article ‘Rock music and politics in Italy’, Umberto Fiori deploys the example of an open-air concert by Genesis in Tirrenia in the province of Pisa, promoted in the summer of 1982 by the Italian Communist Party (PCI) as part of its annual Feste dell'Unita, as a summary example of de-politicisation of the consumption and production of rock music in Italy, and the institutionalisation of the oppositional, dissenting aspects of rock music that had previously been so potent there throughout the 1970s. To Fiori, the Genesis concert representedan unmistakeable step forward in the slow process of the ‘normalisation’ of the relationship between rock and politics in Italy. Explosive material until a few years before, rock music in the 1980s seems to have returned to being a commodity like any other, even in Italy. The songs are once again simply songs, the public is the public. The musicians are only interested in their work, and the organisers make their expected profits. If they happen to be a political party, so much the better: they can also profit in terms of public image and perhaps even votes. … Italy now learnt how to institutionalise deviation and transgression. An ‘acceptable’ gap was re-established between fiction and reality, desire and action, and music and political practice. (Fiori 1984, pp. 261–2)
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Graham, Thomas Austin. "Review: Novel Sounds: Southern Fiction in the Age of Rock and Roll by Florence Dore." Journal of Popular Music Studies 31, no. 4 (2019): 177–79. http://dx.doi.org/10.1525/jpms.2019.31.4.177.
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Sanjek, David. "The Bloody Heart of Rock ‘n’ Roll: Images of Popular Music in Contemporary Speculative Fiction." Journal of Popular Culture 28, no. 4 (March 1995): 179–209. http://dx.doi.org/10.1111/j.0022-3840.1995.00179.x.
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McLeod, Ken. "Space oddities: aliens, futurism and meaning in popular music." Popular Music 22, no. 3 (October 2003): 337–55. http://dx.doi.org/10.1017/s0261143003003222.
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Despite the rampant popularity of space, alien and futuristic imagery in popular culture, little scholarship has recognised the impact of such themes on popular music. This article explores the complex relationship between the numerous uses of space, alien and techno futuristic themes in popular music and the construction of various marginalised identities. Arranged roughly chronologically from early 1950s rock and roll to late 1990s techno, I discuss how many artists, such as Bill Haley, David Bowie and George Clinton, have used such imagery to promote various nonconformist ideologies and identities ranging from African-American empowerment to Gay and Lesbian agendas. This article also relates developments in scientific space research and popular science fiction culture to corresponding uses of space and alien imagery in various forms of popular music. In general, popular music's use of futuristic space and alien themes denotes a related neo-Gnostic withdrawal and alienation from traditionally dominant cultural structures in an attempt to unite us with a common ‘other’ that transcends divisions of race, gender, sexual preference, religion or nationality.
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Kairaitytė-Užupė, Aušra, and Egidija Ramanauskaitė. "The Emergence and Prevalence of Informal Youth Self-published Fanzines in Lithuania." Tautosakos darbai 65 (July 24, 2023): 128–44. http://dx.doi.org/10.51554/td.23.65.06.
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The article presents the phenomenon of informal newspapers fanzines published by the Lithuanian youth. Using a digitized collection of 500 fanzines from the 1990s and additional sources representing rock music, punk, science-fiction, and other subcultures, employing certain methods of textual analysis and ethnographic research (questionnaires, targeted interviews with zinesters, publishers, and collectors), the article analyses emergence of fanzines, their prevalence in Lithuania, and motivation for their publishing.
The main results of the research show that the most active period of fanzine-publishing in Lithuania was 1990–2004 when a wave of subcultural self-expression among young people was spreading after the restoration of Lithuania’s independence. Fanzines as a phenomenon were characteristic not only of Lithuania’s major cities, but also of its regions. The main motivation to create fanzines signifies young people’s need to disseminate the issues of cultural life important to them yet absent from the official press, to express their creative potential, and to broaden their circle of the like-minded people.
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Sutton, Matthew D. "Novel Sounds: Southern Fiction in the Age of Rock and RollThe Devil’s Music: How Christians Inspired, Condemned, and Embraced Rock ’n’ Roll“Do You Have A Band?”: Poetry and Punk Rock in New York City." American Literature 92, no. 2 (June 1, 2020): 412–15. http://dx.doi.org/10.1215/00029831-8267960.
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Rasendriya, Athiyya Apsarini, Ishak Ramli, Drajatno Widi Utomo, Yosua Reydo Respati, and Wegig Murwonugroho. "DAYA TARIK VISUAL BAND VIRTUAL GORILLAZ: MEMBANGUN IDENTITAS DAN FANTASI." ANDHARUPA 10, no. 02 (June 30, 2024): 272–85. http://dx.doi.org/10.33633/andharupa.v10i02.4933.
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Abstrak Gorillaz adalah band virtual yang dibentuk musisi Damon Albarn dan seniman Jamie Hewlett (1998). Band ini mencampurkan genre musik seperti rock, hip-hop, dub, reggae, electronic, dan pop. Gorillaz terdiri dari empat anggota virtual yaitu Stuart Pot sebagai vokalis dan pemain keyboard, Murdoc Niccals sebagai pemain bass dengan gaya kontroversial, Noodle sebagai gitaris digambarkan sebagai gadis Jepang muda yang kini telah dewasa, dan Russel Hobbs sebagai drummer yang memiliki latar belakang cerita dirasuki oleh roh teman-temannya yang telah meninggal. Anggota band direpresentasikan sebagai karakter kartun dengan alur cerita. Band animasi virtual yang bermain fiksi, bukan manusia sesungguhnya. Band virtual yang menggabungkan teknologi untuk merangsang indera manusia untuk memberikan pengalaman yang berbeda. Sebagai band yang menjajakan visual tokoh animasi yang fiktif, memunculkan keingintahuan penulis atas kekuatan daya tarik virtual, persepsi, dan apresiasi pendengar. Penelitian ini menggunakan pendekatan kualitatif deskriptif melalui metode Semiotika Charles Sanders Peirce. Dalam penelitian ini ditemukan bahwa inovasi band Gorillaz memadukan seni visual dan musik dengan cara pemanfaatan teknologi animasi holografik tampil live dengan musisi sesungguhnya. Kekuatan narasi fantasi menjadi aksentuasi dimunculkan dalam animasi tiap tokoh virtual. Kata Kunci: animasi hologram, band virtual, daya tarik, fantasi visual, Gorillaz Abstract Gorillaz is a virtual band formed by musician Damon Albarn and artist Jamie Hewlett in 1998. The band blends music genres such as rock, hip-hop, dub, reggae, electronic, and pop. Gorillaz consists of four virtual members namely Stuart Pot as vocalist and keyboard player, Murdoc Niccals as controversial bassist, Noodle as guitarist portrayed as a young Japanese girl who has matured; and Russel Hobbs as drummer with a backstory of being haunted by the spirits of deceased friends. Band members are represented as cartoon characters with narrative arcs. Gorillaz is an animated virtual band playing fictional characters rather than real humans, integrating technology to stimulate human senses for a unique experience. As a band showcasing fictional animated characters, it piques curiosity about the virtual appeal, perception, and listener appreciation. This qualitative descriptive research employs Charles Sanders Peirce's Semiotics method. The study concludes that Gorillaz's innovation combines visual art and music through holographic animation technology in live performances with real musicians, accentuating the narrative power of fantasy in each virtual character's animation. Keywords: appeal, Gorillaz, holographic animation, virtual band, visual fantasy
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Feuerstein, Thomas. "Prometheus Delivered // Prometeo liberado." Ecozon@: European Journal of Literature, Culture and Environment 9, no. 2 (October 24, 2018): 195–99. http://dx.doi.org/10.37536/ecozona.2018.9.2.2396.
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Stone is turned into meat. This spectacular project entitled “Prometheus delivered” is an installation that Thomas Feuerstein stages as a fascinating laboratory of bubbling bioreactors, mysterious fluids, pumps and endless tubes which wind around a classicist marble sculpture of Prometheus and meander through the entire exhibition. It is the first major solo exhibition of the Austrian artist in Munich. At the center of the installation is a sculpture, a replica of the Prometheus statue by Nicolas-Sébastien Adam (1762), and features its gradual decomposition. The miraculous protagonists of this process of metabolism are stone-eating (chemolithoautotrophic) bacteria. They convert the marble into plaster and, in a further complex transformation, they themselves become the food of human liver cells. The cycle of destruction and re-creation inherent in the Prometheus myth is replicated in a biochemical process. Zeus chained Prometheus to a rock in the Caucasus as punishment for bringing fire to people and thus technology. An eagle rips his liver out of his body – but every night it grows back again. The final result of Thomas Feuerstein's “Prometheus delivered” is – by analogy to the myth – a bioreactor in which human hepatocytes grow and finally form a new three- dimensional liver sculpture. As in antiquity, the liver becomes the organ and a medium that looks into the future because Feuerstein’s installation gives us a glimpse into a time to come in which human beings no longer subsist on animals and plants, but possibly on their own body cells. The exhibition presents this narrative using drawings and objects, sets them to music that also incorporates a radio play, and performs them by means of biochemical processes. In addition to focusing on sound scientific facts, the show is also a science fiction story and a splatter movie on the brink of horror. Resumen La Piedra se convierte en carne. Este espectacular proyecto titulado “Prometeo liberado” es una obra que Thomas Feuerstein plantea como un laboratorio fascinante de biorreactores burbujeantes, fluidos misteriosos, surtidores y tubos sin fin que envuelven una escultura clásica de mármol de Prometeo y que serpentean por toda la exposición. Es la primera gran exposición en solitario del artista austríaco en Múnich. En el centro de la obra hay una escultura, una réplica de la estatua de Prometeo de Nicolas-Sébastien Adam (1762), y presenta su descomposición gradual. Los protagonistas milagrosos de este proceso son bacterias comedoras de piedra (quimiolitoautotróficas). Convierten el mármol en escayola y, en una transformación más compleja, ellas mismas se convierten en el alimento de células del hígado humano. El ciclo de destrucción y re-creación inherente al mito de Prometeo se replica en un proceso bioquímico. Zeus encadenó a Prometeo a una roca en el Cáucaso como castigo por llevar el fuego al hombre, y así, la tecnología. Un águila le arranca el hígado del cuerpo—pero cada noche vuelve a crecer. El resultado final del “Prometeo Liberado” de Thomas Feuerstein es—análogo al mito—un biorreactor en el que los hepatocitos humanos crecen y finalmente forman una nueva escultura tridimensional del hígado. Como en la antigüedad, el hígado se convierte en el órgano y en un medio que mira hacia el futuro porque la obra de Feuerstein nos permite ojear un tiempo venidero en el que los seres humanos ya no viven de animales y plantas, sino posiblemente de sus propias células. La exposición presenta esta narrativa usando dibujos y objetos, usa música que también incorpora una obra radiofónica, y los pone en funcionamiento mediante procesos bioquímicos. Además de centrarse en hechos científicos sobre el sonido, el espectáculo también es una historia de ciencia ficción y una película con salpicaduras al borde del terror.
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Head, Matthew. "Birdsong and the Origins of Music." Journal of the Royal Musical Association 122, no. 1 (1997): 1–23. http://dx.doi.org/10.1093/jrma/122.1.1.
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How old is music, and what are its most ancient forms? What is its origin, its source, and to whom shall we attribute its invention? Is music from man, from nature, or from God? Whom does it serve, in whose name is it sung? These are the questions that eighteenth-century writers asked themselves as they embarked on their histories of music; these are the questions they felt it necessary to answer on the first pages of their manuscripts. Today we have consigned the questions to comedy. Who but Barbra Streisand could fall in love with the professor who arrived at the congress of American musicologists with a suitcase filled with rocks that he claimed to be the earliest musical instruments? Innocent and unanswerable, the question ‘How did music begin?’ strikes us as childlike; it has fallen out of currency. In journalism, fiction, the testimony of musicians and composers, and in psychological and psychoanalytical literature, music's origin is still touched upon obliquely. Roland Barthes, inviting the postmodern reader ‘not [to] reject the delirium of origins’, proposes his own theory concerning certain ‘rhythmic incisions … on cave walls of the Mousterian epoch’ that point to ‘the intentional reproduction of a [musical] rhythm’. But the question of music's origin has vanished from histories of music. This being so, we might ask under what intellectual, institutional or professional circumstances the question was withdrawn: for a discourse on the origins of music continued to the middle of this century with the revised edition of the New Oxford History of Music.
Dissertations / Theses on the topic "Rock music, fiction"
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Richards, James. "Sugar Skulls." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/english_diss/8.
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This dissertation is a collection of four long short stories about contemporary Americans written in the mode of psychological realism. “Bare Knuckles” depicts the struggles of a young man trying to “make it” in the world of illegal boxing. “ZOSO” focuses on the breakdown of an upper-middleclass family forced to move from the rustbelt to the “New South.” In “Dusted,” a man ill-equipped to navigate through the adult world turns to substance abuse and violence as a “way out.” “Sugar Skulls” explores the fascination with death in the punk rock world.
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Whitcher, Gary Frederick. "'More than America': some New Zealand responses to American culture in the mid-twentieth century." Thesis, University of Canterbury. Humanities, 2011. http://hdl.handle.net/10092/6304.
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This thesis focuses on a transformational but disregarded period in New Zealand’s twentieth century history, the era from the arrival of the Marines in 1942 to the arrival of Rock Around the Clock in 1956. It examines one of the chief agents in this metamorphosis: the impact of American culture. During this era the crucial conduits of that culture were movies, music and comics. The aims of my thesis are threefold: to explore how New Zealanders responded to this cultural trinity, determine the key features of their reactions and assess their significance.
The perceived modernity and alterity of Hollywood movies, musical genres such as swing, and the content and presentation of American comics and ‘pulps’, became the sources of heated debate during the midcentury. Many New Zealanders admired what they perceived as the exuberance, variety and style of such American media. They also applauded the willingness of the cultural triptych to appropriate visual, textual and musical forms and styles without respect for the traditional classifications of cultural merit. Such perceived standards were based on the privileged judgements of cultural arbiters drawn from members of New Zealand’s educational and civic elites. Key figures within these elites insisted that American culture was ‘low’, inferior and commodified, threatening the dominance of a sacrosanct, traditional ‘high’culture. Many of them also maintained that these American cultural imports endangered both the traditionally British nature of our cultural heritage, and New Zealand’s distinctively ‘British’ identity.
Many of these complaints enfolded deeper objections to American movies, music and literary forms exemplified by comics and pulps. Significant intellectual and civic figures portrayed these cultural modes as pernicious and malignant, because they were allegedly the product of malignant African-American, Jewish and capitalist sources, which threatened to poison the cultural and social values of New Zealanders, especially the young. In order to justify such attitudes, these influential cultural guardians portrayed the general public as an essentially immature, susceptible, unthinking and puritanical mass. Accordingly, this public, supposedly ignorant of the dangers posed by American culture, required the intervention and protection of members of this elite.
Responses to these potent expressions of American culture provide focal points which both illuminate and reflect wider social, political and ideological controversies within midcentury New Zealand. Not only were these reactions part of a process of comprehension and negotiation of new aesthetic styles and media modes. They also represent an arena of public and intellectual contention whose significance has been neglected or under-valued. New Zealanders’ attitudes towards the new cinematic, literary and musical elements of American culture occurred within a rich and revealing socio-political and ideological context. When we comment on that culture we reveal significant features of our own national and cultural selves.
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(9784727), Stephen Butler. "“Rock around the Real” Fictional bands on film: The evolution of an invisible genre." Thesis, 2016. https://figshare.com/articles/thesis/_Rock_around_the_Real_Fictional_bands_on_film_The_evolution_of_an_invisible_genre/13444778.
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‘To begin with, everything’– Russell Hammond (Almost famous)
Rock music is a global phenomenon that originated in the 1950s and continues to the present day. The rock musician has become a ubiquitous figure in a wide range of mass media forms: novels, biographies, magazines, games, TV shows and films.
Since rock music and its ‘project of authenticity’ (Keightley 2003) began ‘becoming residual’ (Grossberg 2002), a phenomenon sometimes characterized as the “death of rock” (Dettmar 2006), fictional band films have proliferated. This thesis documents the evolution of the fictional band film in terms of genre theory, the social history of rock, and the discourses of authenticity circulating in the media. The thesis employs poststructuralist film theory and semiotic analysis to elaborate on the significance of what might be regarded as an ‘invisible genre’ (Brown 2013). The study focuses on five feature films, each of which tells the story of a fictional band in a particular phase of what Bennett (1991, p. 147) calls the ‘paradigmatic rock’n’roll career’: cult phase, crossing over, transcendence, decline, and comeback. In contrast to the prevalent critical view that the rock fiction film is inferior to non-fictional genres such as the documentary, concert film and biopic, analysis suggests that the fictional band film is a specific performance of rock, and perhaps rock’s paradigmatic cinematic expression.
Books on the topic "Rock music, fiction"
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1957-, Sawyers June Skinner, and DeCurtis Anthony, eds. The best in rock fiction. Milwaukee, WI: Hal Leonard, 2005.
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illustrator, Doucet Bob, ed. Duck, dive, rock & roll. Edina, Minn: Magic Wagon, 2013.
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Rock on: The greatest hits of science fiction & fantasy. [Gaithersburg, Md.]: Prime Books, 2012.
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Block, Francesca Lia. Cherokee Bat and the Goat Guys. New York, NY: HarperCollins Publishers, 1992.
Find full textBook chapters on the topic "Rock music, fiction"
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Wright, Julie Lobalzo. "“ This is a F**King Business ”: The Concert Show and Tour In 1970s Hollywood Fiction Films." In Mapping the Rockumentary, edited by Gunnar Iversen and Scott MacKenzie, 303–13. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474478021.003.0023.
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In this chapter, Julie Lobalzo Wright discusses how live music, star culture, and concert tours were reflected in US fiction films in the 1970s. Focusing on Hollywood biopics, the chapter sees how fiction films in the 1970s document the expansion of the popular music business and the new role of rock concert tours in popular culture.
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Milner, Andrew, and J. R. Burgmann. "Cli-fi in Other Media." In Science Fiction and Climate Change, 171–89. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621723.003.0008.
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This chapter explores cli-fi in other print media (short stories, published poetry, comics and graphic novels), recorded popular music (folk and rock), and audio-visual media (cinema, television and videogames). It identifies rhetorically effective instances of cli-fi from a wide range of media, notably Carol Ann Duffy’s ‘Keep It in the Ground’, Brian Wood’s The Massive, Anohni’s Hopelessness, Franny Armstrong’s The Age of Stupid and Darren Aronofsky’s Noah. But it concludes, nonetheless, that it is in cli-fi novels and trilogies, especially those that deal with mitigation and negative or positive adaptation, that the major effort to respond to the climate crisis has taken shape. The more general conclusion, then, is that longer narrative forms seem best suited to climate fiction.
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Laird, Tracey E. W. "“Free Form Country Folk Rock Science Fiction Gospel Gum Existential Bluegrass Guacamole Opera Music”." In Austin City Limits, 30–48. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199812417.003.0003.
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Limón, José E. "Al Norte toward Home." In The Latina/o Midwest Reader, edited by Omar Valerio-Jiménez, Santiago Vaquera-Vásquez, and Claire F. Fox. University of Illinois Press, 2017. http://dx.doi.org/10.5622/illinois/9780252041211.003.0003.
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This essay traces the cultural connections between Mexican American in Texas and those in the Midwest. Beginning with the famous cattle drives from Texas to the Midwest in the mid-nineteenth century and the musical genre of the corrido to folk healing, contemporary rock music, and fiction, these two seemingly distinct communities created cultural linkages that helped them struggle against adversity in a manner best understood as an example of critical regionalism as developed by Kenneth Frampton, Fredric Jameson and Cheryl Herr.
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Noë, Alva. "Dylan’s Literature." In Learning to Look, 148–50. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190928216.003.0038.
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This chapter describes how Bob Dylan was awarded the 2016 Nobel Prize in Literature. Dylan is a rock star, or a folk singer, or a pop musician. He is not a writer, neither of fiction nor of poetry or drama. Pop music and literature are as different as painting is different from filmmaking. The chapter then considers how Dylan himself takes on the question of his relation to literature in his Nobel Prize lecture, which has been published in the form of a recording. As a young person in grammar school, he read many great books, and some of them impressed him deeply. He asserts that he engages themes from these books in his own songs. Dylan then adds that songs are made for singing the way Shakespeare's lines are made to be performed onstage.
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"Mix Tape Memories and Fictions." In Unspooled, 127–51. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478027713-007.
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This chapter considers indie rock culture's ritualization of mix taping. It argues that the indie mix tape tapped into an emerging understanding of popular music as a communicative resource whose creators made their feelings available to be deployed on listeners' behalf. In contrast to use of the term mixtape within hip-hop for DJ-created works of turntable artistry, creators and consumers of indie music constructed the mix tape as a gift that symbolically rescued music from the profane world of commodities. The mix tape's routines of announcing one's music tastes as a bid for connection outlived its heyday, as online vendors continued to deploy it as a metaphor to ground the daunting flow of digital music.
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"Karen E.H. Skinazi, Women of Valor: Orthodox Jewish Troll Fighters, Crime Writers, and Rock Stars in Contemporary Literature and Culture. New Brunswick: Rutgers University Press, 2018. 290 pp." In Textual Transmission in Contemporary Jewish Cultures, edited by Avriel Bar-Levav, 278–80. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197516485.003.0025.
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This lively and readable book opens the window to a rich and vibrant world of Orthodox, or religiously observant, Jewish women who keep kosher and Shabbat while holding jobs, solving crimes, confronting prejudice, and making music. Drawing on memoirs, novels, film, and a graphic novel, Karen Skinazi argues that Jewish women find opportunities for personal empowerment through religious observance, and that their actions within the tradition (and against it) offer opportunities for corrective approaches to the tradition and to its perception by outsiders. The book is structured around selected verses of “Eshet ḥayil”—“Woman of Valor” (Prov. 31:10–31)—an acrostic poem that is sung on Friday nights as part of the Shabbat observance (the term also refers to any woman who is an active public figure). For Skinazi, the initiative, authority, energy, and intelligence ascribed to the woman of valor in the poem offers a counternarrative to mainstream fictional and media depictions of religious observance. The book thus offers itself as a feminist affirmation of religious practice in the post-secular age as described by German philosopher and sociologist Jürgen Habermas and Canadian philosopher Charles Taylor....