The Rock Cover Song: Culture, History, Politics by Doyle Greene

By Doyle Greene

Conceal songs function as a sort of cultural discourse throughout a variety of musical genres and varied societal, ancient and political stipulations. Case stories comprise a comparative research of Jimi Hendrix's and Whitney Houston's types of "The Star-Spangled Banner" in addition to a mapping of the trajectory of "(I Can't Get No) Satisfaction" from the unique model through the Rolling Stones via disguise types by way of Otis Redding, Devo, and Britney Spears. the unconventional deconstruction of dad and rock songs via the citizens and Laibach can be tested, with extra experiences of canopy songs by means of reminiscent of Van Halen, Kim Wilde, Rufus Harley, the 4 Tops, Pat Boone and Johnny money. instead of questions of caliber or how a canopy music measures up as "better or worse" than different types, this ebook makes a speciality of the ideological implications and social stakes of the "same outdated songs" as they're reconfigured to think about, touch upon and confront political problems with gender, sexuality, race, the geographical region and the iteration hole.

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By Doyle Greene

Conceal songs function as a sort of cultural discourse throughout a variety of musical genres and varied societal, ancient and political stipulations. Case stories comprise a comparative research of Jimi Hendrix's and Whitney Houston's types of "The Star-Spangled Banner" in addition to a mapping of the trajectory of "(I Can't Get No) Satisfaction" from the unique model through the Rolling Stones via disguise types by way of Otis Redding, Devo, and Britney Spears. the unconventional deconstruction of dad and rock songs via the citizens and Laibach can be tested, with extra experiences of canopy songs by means of reminiscent of Van Halen, Kim Wilde, Rufus Harley, the 4 Tops, Pat Boone and Johnny money. instead of questions of caliber or how a canopy music measures up as "better or worse" than different types, this ebook makes a speciality of the ideological implications and social stakes of the "same outdated songs" as they're reconfigured to think about, touch upon and confront political problems with gender, sexuality, race, the geographical region and the iteration hole.

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On one hand, it demonstrates the degree to which the Residents could effectively deconstruct popular music and avant-garde/experimental music into unsettling yet humorous assemblages. “Songs” become a ground-up assemblage of rock-and-roll songs spewed back out as dissonance and noise while still retaining their recognizable “essence” with vocal melodies and instrumental riffs as the hooks that made them hit songs and marketable musical commodities. On the other hand, the Residents not only were influenced by Frank 2.

10 The problem becomes minimizing the noise of Hendrix’s version of “The Star-Spangled Banner” as it assails “the relentless positivity of the original” and overemphasizing the music of Hendrix’s version of “The Star Spangled Banner” as it prescribes a “political alternative” of counterculture idealism that assumes its own relentless 1. National Anthems 21 positivity which, over the course of history, becomes manifest as cultural nostalgia and political romanticism to sustain the counterculture myth.

The punk vanguard became more interested in musical meaning itself, in the stylistic assumptions that bound subcultures together. 28 Active since the early 1970s, the Residents began as a multi-media project encompassing film, theater, and music that incorporated elements of Dada, Surrealism, Pop Art, and kitsch. Musically the Residents were highly influenced by sources ranging from Frank Zappa, Captain Beefheart, Harry Partch, free jazz and musique concrète; however, popular music 2. The “Anti-Cover” 39 genres like exotica and commercial jingles could be discerned as well.

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