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Currencies Of Rock Performance

Overview

Currencies of Rock Performance: Youth, Electricity, and Capital is a historiography of rock that draws attention to the practice of historiography: how rock is historicized and how the procedures of historicizing delimit what is made visible as that history. My aim in this is to dislodge rock from the traditional modernist narratives that have contained what rock and those who populate its history may be/become. To this end, rather than begin my discussion with the rock-object and attempt to come to a consensus ...
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Overview

Currencies of Rock Performance: Youth, Electricity, and Capital is a historiography of rock that draws attention to the practice of historiography: how rock is historicized and how the procedures of historicizing delimit what is made visible as that history. My aim in this is to dislodge rock from the traditional modernist narratives that have contained what rock and those who populate its history may be/become. To this end, rather than begin my discussion with the rock-object and attempt to come to a consensus as to what that object actually is---to define it---I have attempted to articulate the discursive space in the post-wars West in which "rock" was permitted visibility as an artistic practice. This space---which I call, "the current"---is a confluence of three different "currencies" of rock performance: youth, electricity, and capital. In exploring each of these currencies, I focus on the artists that are most representative of each: (1) Bob Dylan's gesture of protest enacts a "now" that foregoes the past and points unabashedly toward the future, invoking an experience of youth; (2) Jimi Hendrix imagines the universe as a collection of electronic nodal points, through which the flow of his music, an electricity, can pass and enliven all who engage it; and (3) David Bowie's work demonstrates that although rock's claim to authenticity relies upon an adamant stance against the commodification of its products---which products include the rockers themselves---rock authenticity is yet another form of capital for exchange. Of all the material conditions included in my discussion, the most prominent is "the condition of recording." Since the end of WWII the dynamics of electronic recording technologies have become so internalized by those who engage them as to result in the reorganization of a multitude of ontological categories and a transformed social space. This "condition" is especially pertinent to a historiography of rock, since rock's fundamental and promiscuous relationship with recording technologies makes it a principal contributor to the formation of the condition. Between this condition and the currencies developed within it, a series of different artistic practices have emerged and been positioned as "rock."
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Product Details

  • ISBN-13: 9781243965349
  • Publisher: BiblioLabsII
  • Publication date: 9/10/2011
  • Pages: 286
  • Product dimensions: 7.44 (w) x 9.69 (h) x 0.60 (d)

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