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Rock music has been the principal outlet of youth rebellion for more than half a century, and though rock rebels have been idolized and profiled extensively, their humor has not been at the center of attention. In Rebels Wit Attitude, music writer Iain Ellis throws a spotlight on the history of humor in rock music, and its use as a weapon of anti-establishment rebellion. The performers who are the subjects of Ellis’ study are not merely musicians or comedians—they are artists whose works exude defiance and resistance. Discussing the work of iconic figures as diverse as Chuck Berry, Bob Dylan, Lou Reed, the Beastie Boys, and Madonna, Ellis reveals how issues of politics, ethics, race, and gender, among others, have energized their expressions of rock (and) humor. Rebels Wit Attitude is an entertaining look at some of the greatest rebels in American rock culture and a fascinating history of humor and dissent.
In Rebels Wit Attitude, music writer and professor Iain Ellis throws a spotlight on the history of humor as a weapon of anti-establishment rebellion, paying tribute to the great rebel humorists in American rock history and investigating comedy and laughter as the catalyst and main expressive force in these artists' work. The performers who are the subject of Ellis's study are not merely funny people - they are those whose art exudes defiance and resistance, whether aimed at social structures and mores, political systems, aesthetic practices, or the music industry itself. Subversive rock humor has emerged as a formidable force of modern art, building a reputation for rock music as a rebellious - sometimes dangerous - form of expression that can dismay the adult mainstream as it empowers the youth culture. In this study of rock's impact on youth through the decades, Ellis proves that the most subversive rock humorists serve as the conscience of our culture. They chastise pretensions, satirize hypocrisy, and pour scorn on power, corruption, and lies. Discussing the work of iconic figures as diverse as Chuck Berry, Lou Reed, the Ramones, the Talking Heads, the Beastie Boys, Missy Elliott, Ellis examines the nature of the rock humorist, asking why and in what ways each performer uses humor as a weapon of resistance to various status quos. The commentary on these artists' work is the basis for a deeper discussion of the historical foundations and other socio-cultural contexts of humorous art, and Ellis delves into the larger issues of politics, nationality, geography, generation, art, social class, race, gender and sexuality that surround his subject. The chapters, divided by decade, include introductory sections outlining each decade's defining forces and contextual features. While lyrics constitute Ellis's primary field of analysis, his exploration goes well beyond that, moving into a discussion and interpretation of image, performance, product, and musical content.
Brand Bible is a comprehensive resource on brand design fundamentals. It looks at the influences of modern design going back through time, delivering a short anatomical overview and examines brand treatments and movements in design. You'll learn the steps necessary to develop a successful brand system from defining the brand attributes and assessing the competition, to working with materials and vendors, and all the steps in between. The author, who is the president of the design group at Sterling Brands, has overseen the design/redesign of major brands including Pepsi, Burger King, Tropicana, Kleenex, and many more.
Author : John A. Dowell,Cynthia J. Miller Publisher : Lexington Books Page : 198 pages File Size : 48,6 Mb Release : 2017-12-06 Category : Social Science ISBN : 9781498565004
Horrific Humor and the Moment of Droll Grimness in Cinema by John A. Dowell,Cynthia J. Miller Pdf
Horrific Humor and the Moment of Droll Grimness in Cinema explores the moment in audience reception where screams and laughter collide. Essays examinine the aesthetics and mechanics of the sLaughter moment, the impact of its frission of humor and horror on the viewer, and sLaughter’s implications for the human condition more generally./span
This Expanded Edition features even more insights on “Weird Al” Yankovic, including his activities during a tumultuous 2020 and 2021, diving deeper into the world of the iconic man who has made a career out of making us laugh. Funny music is often dismissed as light and irrelevant, but Yankovic’s fourteen successful studio albums prove there is more going on than comedic music's reputation suggests. Lily Hirsch weaves together original interviews with the prince of parody himself, creating a fresh take on comedy and music’s complicated romance. She reveals that Yankovic’s jests have always had a deeper meaning, addressing such topics as bullying, celebrity, and racial and gender stereotypes. The Expanded Edition celebrates Yankovic’s vast influence on musicians, comedians, and performing artists as well as what the man has meant to fans—in a time of uncertainty, Yankovic has served as a much-needed bright spot for many. From his love of accordions and Hawaiian print shirts to his popular puns and trademark dance moves, Weird Al is undeterred by those who say funny music is nothing but a low-brow pastime. And thank goodness. With his good-guy grace still intact, Yankovic remains unapologetically and unmistakably himself. Reveling in the mischief and wisdom of Yankovic’s over forty-year career, this book is an Al-expense-paid tour of a true comedic and musical genius.
Taking Funny Music Seriously by Lily E. Hirsch Pdf
Take funny music seriously! Though often dismissed as silly or derivative, funny music, Lily E. Hirsch argues, is incredibly creative and dynamic, serving multiple aims from the celebratory to the rebellious, the entertaining to the mentally uplifting. Music can be a rich site for humor, with so many opportunities that are ripe for a comedic left turn. Taking Funny Music Seriously includes original interviews with some of the best musical humorists, such as Tom Lehrer, "the J. D. Salinger of musical satire"; Peter Schickele, who performed as the invented composer P. D. Q. Bach, the supposed lost son of the great J. S. Bach; Kate Micucci and Riki Lindhome of the funny music duo Garfunkel and Oates; comedic film composer Theodore Shapiro; Too Slim of the country group Riders in the Sky; and musical comedian Jessica McKenna, from the podcast Off Book, part of a long line of "funny girls." With their help, Taking Funny Music Seriously examines comedy from a variety of genres and musical contexts—from bad singing to rap, classical music to country, Broadway music to film music, and even love songs and songs about death. In its coverage of comedic musical media, Taking Funny Music Seriously is an accessible and lively look at funny music. It offers us a chance to appreciate more fully the joke in music and the benefits of getting that joke—especially in times of crisis—including comfort, catharsis, and connection.
The Uses and Abuses of Humour in Social Work by Stephen Jordan Pdf
In recent years, social work academics and practitioners have highlighted the need to "re-claim" methodologies which unpack creativity and resourcefulness. In the bleakest of times many turn to humour to survive. Making a unique contribution to social work thought, this is the first book to focus exclusively on humour use in relation to social work. Over eight chapters Jordan covers a range of examples of social work humour, using examples from practice, fiction and research. He concludes that social work has a complex relationship with humour and that humour has an important role in social work as it enables social workers to hold contradictory views. It also allows society to manage its ambivalent and contradictory view of social work. Aimed at academics, students and social work professionals, this book explores social work’s sometimes uneasy relationship with humour. It will be of interest to anyone with an academic interest in humour.
Insulting Music explores insult in and around music and demonstrates that insult is a key dimension of Western musical experience and practice. There is insult in the music we hear, how we express our musical preferences, as well as our reactions to settings and sites of music and music making. More than that, when music and insult overlap, the effects can both promote social justice or undermine it, foster connection or break it apart. The coming together of music and insult shapes our sense of self and view of other people, underlining and constructing difference, often in terms of race and gender. In the last decade, music’s power dynamics have become an increasingly important concern for music scholars, critics, and fans. Studying musicians such as Frank Zappa, Nickleback, Taylor Swift, and the Insane Clown Posse, and musical phenomena such as musician jokes, the use of music to torture people, and the playing of music in restaurants, this book shows the various and contradictory ways insults are used to negotiate those existing dynamics in and around music.
Punk Pedagogies by Gareth Dylan Smith,Mike Dines,Tom Parkinson Pdf
Punk Pedagogies: Music, Culture and Learning brings together a collection of international authors to explore the possibilities, practices and implications that emerge from the union of punk and pedagogy. The punk ethos—a notoriously evasive and multifaceted beast—offers unique applications in music education and beyond, and this volume presents a breadth of interdisciplinary perspectives to challenge current thinking on how, why and where the subculture influences teaching and learning. As (punk) educators and artists, contributing authors grapple with punk’s historicity, its pervasiveness, its (dis)functionality and its messiness, making Punk Pedagogies relevant and motivating to both instructors and students with proven pedagogical practices.
Profiles history's notable tricksters--from P.T. Barnum to Stephen Colbert--and their spectacles from the 1600s to the present, considering how pranksters have used humor to expose larger truths and, on occasion, incited social change.
This is the Sound of Irony: Music, Politics and Popular Culture by Katherine L. Turner Pdf
The use of irony in music is just beginning to be defined and critiqued, although it has been used, implied and decried by composers, performers, listeners and critics for centuries. Irony in popular music is especially worthy of study because it is pervasive, even fundamental to the music, the business of making music and the politics of messaging. Contributors to this collection address a variety of musical ironies found in the ’notes themselves,’ in the text or subtext, and through performance, reception and criticism. The chapters explore the linkages between irony and the comic, the tragic, the remembered, the forgotten, the co-opted, and the resistant. From the nineteenth to twenty-first centuries, through America, Europe and Asia, this provocative range of ironies course through issues of race, religion, class, the political left and right, country, punk, hip hop, folk, rock, easy listening, opera and the technologies that make possible our pop music experience. This interdisciplinary volume creates new methodologies and applies existing theories of irony to musical works that have made a cultural or political impact through the use of this most multifaceted of devices.
The Shangri-Las’ Golden Hits of the Shangri-Las by Ada Wolin Pdf
Of the many girl-groups that came out of the 1960s, none is more idiosyncratic and influential than the Shangri-Las. They were together only five years, but within that time they subverted pop standards and foreshadowed a generation of tough women in music. Critically, they are not lauded in the way of the Ronettes, and they are certainly not a household name like the Supremes. They were a little too low-brow with an uncouth flair for theatrics that has placed them just left of the girl-group canon. This book examines the still-elusive validation of 1960s girl-groups as a whole, but also paradoxically aims to free the Shangri-Las from that category, viewing them instead with the sort of individuality traditionally afforded to rock groups. They were somehow able to challenge the status quo under the guise of sticky-sweet pop, a feat not many pop groups can achieve, but which they do fleetingly but not insubstantially in Golden Hits of the Shangri-Las.
Quicklet on The Best Ramones Songs: Lyrics and Analysis by David Cassel Pdf
ABOUT THE BOOK Via Sugar Sweet Sunshine It's like the world is still quivering from that night they took the stage in New York City — counting out just a little too fast, “1, 2, 3, 4...” When the four Ramones first played “Blitzkrieg Bop” in 1974, they were raw, ragged, and revolutionary. They played a new kind of rock that was more intense —darker, faster, funnier, and more free. It was Dee Dee, Tommy, Johnny, and Joey Ramone who were the first to imagine a world where the music sounded so different. Over the years we realized their band was resurrecting those taboo rock joys they'd first experienced as young teenagers, when radio rock was a freak-welcoming place, and everyone could share a wild abandonment together. In trying to reclaim that power — the dark magic they remembered — the Ramones spewed out their own pumped-up mystery, distilled from comic-book horrors, the evils both in the world around us and from their own lives, and, most of all, that powerful early fascination with what rock had meant to them and their refusal to forget what rock could mean... I actually met the Ramones just a few years after they launched, at one of their personal appearances in California. They’d already burned through two drummers, and the four tough-looking musicians were all lined up behind a table at a record store, staring back dangerously. Awed by their reputation, all I could think to ask was, “What's it like being a Ramone?” “It's very rewarding,” replied their new drummer Richie, adding “I recommend it” — a semi-sarcastic answer that was part put-on, part mystique. It was just like the way every musician who played in the band took the last name “Ramone,” even though none of them were in any way related. Though they cultivated this mock mysteriousness, the best thing about the Ramones was ultimately their kids-from-the-neighborhood attitude, their daring to believe in the idea that you could be famous without changing. In so doing, they changed the relationship between performers and audiences forever, smashing their guitars against that big wall between the media and the rest of us. Their songs catch the tension between pop music and raw reality, that love-hate dance between fame and grit, or the stage and the street, with one very radical idea: that real was enough. One of the surprises of their career is that they lived many of the cartoon horrors they described, that their life was as startling as their music. Their songs actually capture pieces of their life — that's part of what makes the songs feel so real — and they left them behind as part of a legend which can still haunt the musicians of today. In the end, it was almost as though a cruel universe felt it had to hunt down the Ramones and kill them. The voice behind the Ramones was their lovably ordinary vocalist Joey Ramone, who died of cancer in 2001 at the age of 49. And just thirteen months later, the man who’d laid down the relentless bass lines on their first albums, Dee Dee Ramone, died of a heroin overdose at the age of 50. By 2004, cancer had also claimed their fierce guitarist Johnny Ramone at the age of 55. The only original band member to even reach the age of 60 was drummer Tommy, who also co-produced their first albums (and continues producing music to this day). Though the line-up of the band sometimes changed, the Ramones' sound was always a reaction to the decline of rock in the 1970s...and an attempt to shove it in a new direction. But there was also always a tension between darkness and light — a mad hope that these wild real-life stories could somehow ascend into pop music heaven. It was a 20-year war that created love, death, and heroes, while slowly attracting believers and eventually a movement.
Music, Narrative and the Moving Image by Anonim Pdf
By focusing on discussions of artistic works that show relationships between three individual communicative media, this volume adopts an innovative, trifocal interdisciplinary perspective: the traditional field of Word and Music Studies is here extended to include research on film and other forms of moving visualizations.