A01=Jedediah Sklower
A01=Sheila Whiteley
Author_Jedediah Sklower
Author_Sheila Whiteley
avant-garde rock
Category1=Non-Fiction
Category=AVLP
Category=JBCC
Category=NL-AV
Category=NL-JF
Cold War Berlin
collective identity in music scenes
Contemporary Societies
COP=United Kingdom
countercultural
Countercultural Space
cultural politics
dead
Den Tandt
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
eq_society-politics
Feminist Performer
Format=BB
grateful
Grateful Dead
Helter Skelter
HMM=234
IMPN=Routledge
ISBN13=9781472421067
Language_English
Late Great Planet Earth
music and identity
neapolitan
Neapolitan Music
Neapolitan Song
Ornette Coleman Quartet
PA=Available
PD=20140528
Pop Star
POP=London
Price=€100 to €200
PS=Active
PUB=Taylor & Francis Ltd
Record Collector
Restricted Production
Rock Festival
Rock Music
Roy Lichtenstein
sheik
Sheik Yerbouti
sociological theory
song
space
subcultural studies
Subject=Music
Subject=Society & Culture : General
Support Records
Trout Mask Replica
underground
utopian movements
velvet
Verse
Verse Line
West Germany
Wet T-Shirt Contest
WG=726
WMM=156
yerbouti
Young Man
Product details
- ISBN 9781472421067
- Weight: 725g
- Dimensions: 156 x 234mm
- Publication Date: 28 May 2014
- Publisher: Taylor & Francis Ltd
- Publication City/Country: London, GB
- Product Form: Hardback
- Language: English
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’Counterculture’ emerged as a term in the late 1960s and has been re-deployed in more recent decades in relation to other forms of cultural and socio-political phenomena. This volume provides an essential new academic scrutiny of the concept of ’counterculture’ and a critical examination of the period and its heritage. Recent developments in sociological theory complicate and problematise theories developed in the 1960s, with digital technology, for example, providing an impetus for new understandings of counterculture. Music played a significant part in the way that the counterculture authored space in relation to articulations of community by providing a shared sense of collective identity. Not least, the heady mixture of genres provided a socio-cultural-political backdrop for distinctive musical practices and innovations which, in relation to counterculture ideology, provided a rich experiential setting in which different groups defined their relationship both to the local and international dimensions of the movement, so providing a sense of locality, community and collective identity.
Sheila Whiteley was Professor Emeritus, the University of Salford, Visiting Professor, Southampton Solent University, UK and Research Fellow, the Bader International Study Centre, Queen’s University (Canada). Among her many publications: The Space Between the Notes: Rock and the Counter Culture (1992); Women and Popular Music (2000); and Too Much Too Young (2005). A PhD candidate in cultural history and communication sciences (university of Paris 3), Jedediah Sklower teaches communication studies at Sciences Po Paris and popular music history and aesthetics at the Catholic University of Lille. He has been a member of the editorial team of the French journal of popular music studies Volume! since 2008. He published Free jazz, la catastrophe féconde. Une histoire du monde éclaté du jazz en France (1960-1982) (L’Harmattan, 2006), edited a special issue of Volume! dedicated to 'listening' (Éditions Mélanie Seteun, 2013). He also co-organised the 'Changing the Tune: Popular Music and Politics in the XXIst century' international conference in June 2013, with Alenka Barber-Kersovan (ASPM) and Elsa Grassy (IASPM-bfe).
