Related Papers
2023
The Creative Transformation of Despair, Hate and Violence
Rainer M . Holm-Hadulla, MD
Rock Music Studies
Reception of the Rolling Stones in Communist Czechoslovakia.docx
2015 •
Jan Blüml
The article examines the reflections and influences of the Rolling Stones phenomenon within the framework of communist Czechoslovakia. Based on the exploration of characteristic historical and cultural events this article confirms the exceptional status of the Rolling Stones in Czechoslovakia as a political band par excellence.
Away From The Numbers
Gabriel Donleavy
An examination of the applicability of the Adorno thesis to pop music culture from the sixties to the eighties.
Revista Discente Ofícios de Clio
Pleased to meet you, hope you guess my name
2023 •
Isabele Pacheco Dias
Ao longo da história do rock como gênero musical, o Diabo se tornou uma figura central, seja em suas temáticas, representações ou reputação. O objetivo deste artigo é analisar o papel da canção Sympathy for the Devil dos Rolling Stones nesse processo, bem como sua construção do Diabo como sujeito histórico e a representação dos eventos históricos descritos na letra, identificando o que tais representações nos revelam tanto sobre a percepção da banda sobre contexto histórico mundial no momento de criação da música, quanto o seu impacto na história dos usos da figura do Diabo no rock. Para tanto, a análise proposta baseia-se nas categorias elaboradas por Paul Friedlander em seu método "janela do rock”.
New Left in Victorian Drag: The Rolling Stones Rock and Roll Circus
Barry Faulk
On the cultural context of the Rolling Stones' never-broadcast TV movie project, "The Rolling Stones Rock and Roll Circus," a snapshot of rock and roll's cultural possibilities.
Doctoral Dissertation
Forces of Chaos and Anarchy: Rock Music, The New Left and Social Movements, 1964 to 1972
2017 •
Jordy Cummings
This dissertation engages an unresolved debate on the ‘rock aesthetic’ in New Left Review, between Perry Anderson and David Fernbach while pointing toward a new dialectical social theory with which to analyze cultural form in general and music in particular. The debate was in the first instance methodological, formal/technical vs. lyrical contextual analysis. Within this methodological debate we see inscribed the misunderstanding the sixties New Left had of the sixties counterculture, and thus the conditions of possibility for a missed encounter. Rock music was neither a direct instantiation of the times, as Anderson implies, nor was it an entirely new form that must be schematized sui generis with a new set of axioms, as suggested by Fernbach. Indeed, it was both and then some. In engaging this debate, I use canonical figures of the era as my primary case studies as well as what I call my excursions – miniature analyses that capture the broader point I am making in my cognitive mapping of the cultural production of the long sixties. From this project’s standpoint, it was the Left that missed an encounter with the counterculture, not the counterculture that missed an encounter with the Left. To continue this engagement, I have deployed what I have called a theory of the missed encounter. I engage what could have taken place, that is to say, if the implicit metaphysical and practical connection between rock music culture and the Left had been consummated, by examining why this could not have taken place, why there was a missed encounter. As against the more commonly theorized Popular Front and Punk eras which I stipulate as consummated encounters, the sixties, aesthetically and politically – did not coalesce in the same sense. The Missed Encounter, for me, is a heuristic, a point-of-departure. I presume, thus, with my own analysis that once one goes beyond mythology, a missed encounter is readily apparent. The purpose of my rethinking of the rock music canon is not positivist proof of a missed encounter, rather it is to formulate the ‘sixties question’ through the premises of its existence.
The Rougher the Better. Eine Geschichte des 'dreckigen Sounds', seiner ästhetischen Motive und sozialen Funktionen
Ralf von Appen
Apocalypse Rock and the Auteur Mélomane: The Stones’ “Gimme Shelter,” Martin Scorsese’s Musical Signature, in Context Amanda Howell Rock Music Studies Volume 2, Issue 3 pp. 280-294 | DOI: 10.1080/19401159.2015.1093375
Amanda Howell
The Rolling Stones and Philosophy: It's Just a Thought Away
Rock and Roll Grist for the John Stuart Mill: Are the Stones a Higher or Lower Pleasure?
John Huss
Pop Cult: Religion and Popular Music
Rupert Till
This book explores the development of a range of cults of popular music as a response to changes in attitudes to meaning, spirituality and religion in society. At a time when fundamentalism is on the rise, traditional religions are in decline and postmodernity has challenged any system that claims to be all-defining, young people have left their traditional places of worship and set up their own, in clubs, at festivals and within music culture. "Pop Cults" investigates the ways in which popular music and its surrounding culture have become a primary site for the location of meaning, belief and identity. It provides an introduction to the history of the interactions of vernacular music and religion, and the role of music in religious culture. Rupert Till explores the cults of heavy metal, pop stars, club culture and virtual popular music worlds, investigating the sex, drug, local and death cults of the sacred popular, and their relationships with traditional religions. He concludes by discussing how and why popular music cultures have taken on many of the roles of traditional religions in contemporary society.
