Rockin' Out: Popular Music in the USA

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/*4059H-5, 0-13-040598-1, Garofalo, Reebee, Rockin' Out: Popular Music in the USA, Second Edition*/ An easy-to-read, jargon-free book that gives the reader a comprehensive social history of popular music in the United States from the heyday of Tin Pan Alley to the current sounds of electronic dance music and teen pop, from the invention of the phonograph to the promise of the Internet. The text focuses on analysis and critique of the music itself and the conditions of its production and consumption. It also explores the different social issues
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Overview

/*4059H-5, 0-13-040598-1, Garofalo, Reebee, Rockin' Out: Popular Music in the USA, Second Edition*/ An easy-to-read, jargon-free book that gives the reader a comprehensive social history of popular music in the United States from the heyday of Tin Pan Alley to the current sounds of electronic dance music and teen pop, from the invention of the phonograph to the promise of the Internet. The text focuses on analysis and critique of the music itself and the conditions of its production and consumption. It also explores the different social issues that affect and are affected by music, such as race, class, gender, ethnicity, technology, and copyright. For anyone who is interested in a comprehensive and detailed history and analysis of popular music in America.
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Product Details

  • ISBN-13: 9780205137039
  • Publisher: Prentice Hall Professional Technical Reference
  • Publication date: 9/26/1996
  • Edition description: Older Edition
  • Edition number: 1
  • Pages: 484
  • Product dimensions: 7.01 (w) x 9.19 (h) x 0.74 (d)

Table of Contents

Preface
Introduction: Definitions, Themes, and Issues 1
1 Mass Technology and Popular Taste: The Tin Pan Alley Era 17
2 Blues and Country Music: Mass Media and the Construction of Race 43
3 "Good Rockin' Tonight": The Rise of Rhythm and Blues 65
4 Crossing Cultures: The Eruption of Rock 'n' Roll 93
5 The Empire Strikes Back: The Reaction to Rock 'n' Roll 149
6 Popular Music and Political Culture: The Sixties 183
7 Music Versus Markets: The Fragmentation of Pop 239
8 Punk and Disco: The Poles of Pop 301
9 Music Videos, Superstars, and Mega-Events: The Eighties 353
10 Rap and Metal: Youth Culture and Censorship 395
11 Alternative to What? 443
Bibliography 467
Index 475
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Preface

In some ways it is hard for me to believe that I am already doing a second edition of Rockin' Out. At the same time, I am thankful for the opportunity to tweak that handful of nagging blunders that occurred to me about five minutes after going to press with the first edition. It also allows me to correct an omission from the preface to the first edition—the acknowledgment of Brad Martin who worked as my research assistant, contributing everything from footnote corrections to substantive comments on the first edition.

Rockin' Out now takes popular music history into the twenty-first century with commentary on everything from Eminem's controversial performance at the 2001 Grammy Awards to the outcome of the Napster trial. Earlier parts of the book have also been made more user friendly by telling the story in a better nuanced way and converting a number of artist and song lists from the text into easy-to-understand tables, which give the reader a graphic sense of historical patterns and preserve the narrative for more important analytic points. The addition of a music index makes the second edition more useful as a source book. Of course, the major change in the second edition is a completely rewritten Chapter 11, "Alternative to What?: Packaging Pop in the Nineties," which includes new sections on electronic dance music, women in rock, teen pop, Latin(o) popular music, contemporary hip hop, and the future of music and the music industry in the digital age.

As with the first edition, I am deeply indebted to a number of people for their insight and comments. I particularly want to thank Craig Morrison, McGill University, for his challengingcomments and detailed review of the entire first edition. There are also a number of reviewers who have field tested Rockin' Out, providing useful insights for this revision. These include: Shannon Dudley, University of Washington; Anahid Kassabian, Fordham University; Fred Maus, University of Virginia; Mark Springer, St. Cloud State University; and Robert Walser, UCLA. Some great conversations with Kai Fikenstscher, Murray Forman, and Deborah Pacini Hernandez helped me to better understand electronic dance music, contemporary hip hop, and Latin(o) popular music, respectively. A special thanks goes to Tai Hernandez for his critical reading of the last chapter. Finally, there is the cadre of students from the History of Rock `n' Roll class I taught at Tufts University while on sabbatical, who contributed to the research for the new material in the book: Ana Garnecho and Christina Lembo (teen pop), Lisa Wichter (women), Elise Podell (MP3), Matthew Baron (r&b), Mark Scholnick (rap), Laura Horstmann and Zach Berge (turntablism), Allie Schwartz and Alison Clarke (swing), and Suzanne Szwarc (Latin pop). Their work was useful in helping orient me to contemporary trends, and they were a joy to work with.

You may notice that Rockin' Out is now published by Prentice Hall; those corporate mergers I write about in the book are not limited to the music industry. I am pleased with my new home and my relationship with my new editor, Chris Johnson, and his assistant, Evette Dickerson. I am looking forward to a long and productive relationship with them. One of the reasons I'm so pleased is that they contracted the same production team I had for the first edition, with Susan McNally at the helm and Denise Hoffman on Quark. I also want to thank Tara L. Masih for the fine copyedit, and Katherine Stimson, who kept me awake nights marveling at the new subject and music indexes. As with the first edition, Dave Sanjek, archivist for BMI and a consummate scholar in his own right, gets major kudos for coming across with most of the new photographs.

As for me, I am in my twenty-third year at the College of Public and Community Service at UMass Boston, and I still wouldn't trade this job for any other. On the home front, my wife, Deborah Pacini Hernandez, got tenure (for the third time), our daughter, Radha, got married (and continues to teach in the Boston public schools), and our son, Tai, graduated from Art school with a degree in photography (and took a job at HMV where he passes on his musical knowledge and store discounts to us). On the more sorrowful side, my dad died at age 92, after living a long and full life. Now in her nineties, my mom continues to be a trooper, although she doesn't play much jazz piano anymore. On the whole, life is good, and like the beat, it goes on. I have been blessed with good friends, interesting colleagues, and a loving family; I dedicate the second edition to them and to the memory of my father.

Reebee Garofalo
April, 2001

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