Historical Theory and Methods through Popular Music, 1970–2000: “Those are the New Saints” (Pop Music, Culture and Identity)

This book examines the post-1960s era of popular music in the Anglo-Black Atlantic through the prism of historical theory and methods. By using a series of case studies, this book mobilizes historical theory and methods to underline different expressions of alternative music functioning within a mainstream musical industry. Each chapter highlights a particular theory or method while simultaneously weaving it through a genre of music expressing a notion of alternativity—an explicit positioning of one’s expression outside and counter to the mainstream. __Historical Theory and Methods through Popular Music__ seeks to fill a gap in current scholarship by offering a collection written specifically for the pedagogical and theoretical needs of those interested in the topic. This Book Examines The Post-1960s Era Of Popular Music In The Anglo-black Atlantic Through The Prism Of Historical Theory And Methods. By Using A Series Of Case Studies, This Book Mobilizes Historical Theory And Methods To Underline Different Expressions Of Alternative Music Functioning Within A Mainstream Musical Industry. Each Chapter Highlights A Particular Theory Or Method While Simultaneously Weaving It Through A Genre Of Music Expressing A Notion Of Alternativity--an Explicit Positioning Of One's Expression Outside And Counter To The Mainstream. Historical Theory And Methods Through Popular Music Seeks To Fill A Gap In Current Scholarship By Offering A Collection Written Specifically For The Pedagogical And Theoretical Needs Of Those Interested In The Topic. Acknowledgements; Contents; Chapter 1 Introduction: The Process And Pedagogy Of Historical Theory; Alternativity; Pedagogy; Prelude To The Alternative: Thinking About Modernity, The Longue Durée, And Ontology; Chapter 2 400 Years: Modernity, The Longue Durée, And Jamaican Music; Modernity, Babylon, And The Caribbean; Ska-rock Steady-reggae; After Roots Reggae: Nobody Move, Nobody Get Hurt; Chapter 3 This Charming Man: Queer And Alternative Masculinities, 1970-1994; Chapter 4 Will The Wolf Survive?: Punk Rock And Chicanao Identity In Los Angeles Chapter 5 A Perfect New Loop: Hip-hop, Deindustrialization, And The Post-civil Rights Era, 1973-2000the African Diaspora, Technology, And The Remnants Of Industrialism (a Longue Durée Remix); Post-industrial Blackness And Mass Incarceration; Hip-hop And Post-industrialism; Chapter 6 The Pride Of History: Post-punk And The Aesthetics Of Post-modernity; Path(s) To Post-modernity; Getting The Story Crooked: History And Post-modernity; Post-punk: Crooked Narratives, Irony, And Visceral Entertainment; Conclusion; Chapter 7 Waveless: Mtv And The Quiet Feminism Of The 1980s Chapter 8 Hiraeth: The Celtic Moment In 1980s Alternative Rocku2; Big Country; The Alarm; Chapter 9 Feels Blind: Counter-hegemony In Alternative Rock During The Reaganthatcher Era; Hegemony: From Gramsci To Lears To Williams; Political Alternativity; Economic (infrastructure) Alternativity; Aesthetic Alternativity; The Alternative Conclusion; Chapter 10 No Depression: The Nostalgia And Authenticity Of Alternative Country; A Genre Born (again); Nostalgia And Authenticity; The Longue Durée Re-cycling Of Alt-country; The Alt-country Moment Picking Through The Alternatives Of American Country Musicauthenticity-concluded; Chapter 11 Conclusion; Index Kenneth L. Shonk, Jr., Daniel Robert Mcclure. Includes Bibliographical References. "Acknowledgements"--"Contents"--"Chapter 1 Introduction: The Process and Pedagogy of Historical Theory" -- "Alternativity" -- "Pedagogy" -- "Prelude to the Alternative: Thinking About Modernity, the Longue Durée, and Ontology" -- "Chapter 2 â#x80;#x9C;400 Yearsâ#x80;#x9D;: Modernity, The Longue Durée, and Jamaican Music" -- "Modernity, Babylon, and the Caribbean" -- "Skaâ#x80;#x94;Rock Steadyâ#x80;#x94;Reggae" -- "After Roots Reggae: Nobody Move, Nobody Get Hurt" -- "Chapter 3 â#x80;#x9C;This Charming Manâ#x80;#x9D;: Queer and Alternative Masculinities, 1970â#x80;#x93;1994" -- "Chapter 4 â#x80;#x9C;Will the Wolf Survive?â#x80;#x9D;: Punk Rock and Chicanao Identity in Los Angeles" -- "Chapter 5 A Perfect New Loop: Hip-Hop, Deindustrialization, and the Post-Civil Rights Era, 1973â#x80;#x93;2000" -- "The African Diaspora, Technology, and the Remnants of Industrialism (a Longue Durée Remix)" -- "Post-Industrial Blackness and Mass Incarceration" -- "Hip-Hop and Post-Industrialism" -- "Chapter 6 â#x80;#x9C;The Pride of Historyâ#x80;#x9D;: Post-punk and the Aesthetics of Post-modernity" -- "Path(s) to Post-modernity" -- "Getting the Story Crooked: History and Post-modernity" -- "Post-punk: Crooked Narratives, Irony, and Visceral Entertainment" -- "Conclusion" -- "Chapter 7 Waveless: MTV and the â#x80;#x9C;Quietâ#x80;#x9D; Feminism of the 1980s" -- "Chapter 8 Hiraeth: The Celtic Moment in 1980s Alternative Rock" -- "U2" -- "Big Country" -- "The Alarm" -- "Chapter 9 â#x80;#x9C;Feels Blindâ#x80;#x9D;: Counter-Hegemony in Alternative Rock During the ReaganThatcher Era" -- "Hegemony: From Gramsci to Lears to Williams" -- "Political Alternativity" -- "Economic (Infrastructure) Alternativity" -- "Aesthetic Alternativity" -- "The Alternative Conclusion" -- "Chapter 10 â#x80;#x9C;No Depressionâ#x80;#x9D;: The Nostalgia and Authenticity of Alternative Country" -- "A Genre Born (Again)" -- "Nostalgia and Authenticity" -- "The Longue Durée Re-Cycling of Alt-Country" -- "The Alt-Country Moment." Front Matter ....Pages i-xii Introduction: The Process and Pedagogy of Historical Theory (Kenneth L. Shonk, Daniel Robert McClure)....Pages 1-23 “400 Years”: Modernity, The Longue Durée, and Jamaican Music (Kenneth L. Shonk, Daniel Robert McClure)....Pages 25-58 “This Charming Man”: Queer and Alternative Masculinities, 1970–1994 (Kenneth L. Shonk, Daniel Robert McClure)....Pages 59-86 “Will the Wolf Survive?”: Punk Rock and Chicana/o Identity in Los Angeles (Kenneth L. Shonk, Daniel Robert McClure)....Pages 87-110 A Perfect New Loop: Hip-Hop, Deindustrialization, and the Post-Civil Rights Era, 1973–2000 (Kenneth L. Shonk, Daniel Robert McClure)....Pages 111-140 “The Pride of History”: Post-punk and the Aesthetics of Post-modernity (Kenneth L. Shonk, Daniel Robert McClure)....Pages 141-170 Waveless: MTV and the “Quiet” Feminism of the 1980s (Kenneth L. Shonk, Daniel Robert McClure)....Pages 171-198 Hiraeth: The Celtic Moment in 1980s Alternative Rock (Kenneth L. Shonk, Daniel Robert McClure)....Pages 199-225 “Feels Blind”: Counter-Hegemony in Alternative Rock During the Reagan/Thatcher Era (Kenneth L. Shonk, Daniel Robert McClure)....Pages 227-258 “No Depression”: The Nostalgia and Authenticity of Alternative Country (Kenneth L. Shonk, Daniel Robert McClure)....Pages 259-290 Conclusion (Kenneth L. Shonk, Daniel Robert McClure)....Pages 291-294 Back Matter ....Pages 295-311