Overview
This collection of original essays and interviews brings together scholars, critics, journalists and performers to focus on youth music and the contemporary scene. It includes theoretical discussions of musical history; social commentaries on such genres as disco, metal and rap music; and case histories of specific movements like the Riots Girls, funk clubbing in Rio de Janeiro, and the British rave scene.
Full Product Details
Author: Tricia Rose ,
Andrew Ross
Publisher: Taylor & Francis Ltd
Imprint: Routledge
Dimensions:
Width: 18.70cm
, Height: 2.30cm
, Length: 23.50cm
Weight: 0.530kg
ISBN: 9780415909082
ISBN 10: 0415909082
Pages: 286
Publication Date: 14 April 1994
Audience:
College/higher education
,
Professional and scholarly
,
Undergraduate
,
Postgraduate, Research & Scholarly
Format: Paperback
Publisher's Status: Active
Availability: In Print
This item will be ordered in for you from one of our suppliers. Upon receipt, we will promptly dispatch it out to you. For in store availability, please contact us.
Reviews
... [This book] is the screaming child demanding attention not only from scholars but from mainstream music journalists as well. The strength of this collection, which is primarily cultural criticism, lies in its various and often conflicting approaches and perspectives.. - American Music, Fall 1996 ... everyone who contributes is bright, excited, and big with fruitful thoughts. - Puncture A huge, multilayered cacphonus conversation, involving styles of popular music ranging from hardcore rap to college rock to rave to Brazilian funk, represented by participants from all avenues of musical culture. The radical decision to include artists and members of the popular press alongside academics means that the voices included within Microphone Fiends don't conform to one language, they argue with each other and with themselves, unafraid of the rebel stance that has characterized youth culture from its rowdy, world-changing birth. Listening to each other, artists, culture workers, and scholars can uncover insights about the pop-cult ground they cultuivate that otherwise would have eluded them. -Ann Powers, The Village Voice Expression is what youth music and youth culture are all about, a mode of expression that has been lacking in a social perspective. The diversity of the book reflects the multiculturalism within, giving a precise sub-cultural analysis. The book's dedication to youth musical culture only makes Microphone Fiends better. Fortunately, it has matured to a point where it can report on itself competently. Microphone Fiends definitely represents the music behind its cultures.. I bet Microphone Fiends becomes required reading in musical historyclasses everywhere. This exhaustive dissertation of popular (and not so popular) music forms is basically a collection of articles, commentaries anddiscussions on everything from raves to riot grrls. - Thrust, #23
... [This book] is the screaming child demanding attention not only from scholars but from mainstream music journalists as well. The strength of this collection, which is primarily cultural criticism, lies in its various and often conflicting approaches and perspectives.. <br>- American Music, Fall 1996 <br>... everyone who contributes is bright, excited, and big with fruitful thoughts. <br>- Puncture <br> A huge, multilayered cacphonus conversation, involving styles of popular music ranging from hardcore rap to college rock to rave to Brazilian funk, represented by participants from all avenues of musical culture. The radical decision to include artists and members of the popular press alongside academics means that the voices included within Microphone Fiends don't conform to one language, they argue with each other and with themselves, unafraid of the rebel stance that has characterized youth culture from its rowdy, world-changing birth. Listening to each other, artists, culture workers, and scholars can uncover insights about the pop-cult ground they cultuivate that otherwise would have eluded them. <br>-Ann Powers, The Village Voice <br> Expression is what youth music and youth culture are all about, a mode of expression that has been lacking in a social perspective. The diversity of the book reflects the multiculturalism within, giving a precise sub-cultural analysis. The book's dedication to youth musical culture only makes Microphone Fiends better. Fortunately, it has matured to a point where it can report on itself competently. Microphone Fiends definitely represents the music behind its cultures.. <br> I bet Microphone Fiends becomes required reading in musical historyclasses everywhere. This exhaustive dissertation of popular (and not so popular) music forms is basically a collection of articles, commentaries anddiscussions on everything from raves to riot grrls. <br>- Thrust, #23 <br>
...[This book] is the screaming child demanding attention not only from scholars but from mainstream music journalists as well. The strength of this collection, which is primarily cultural criticism, lies in its various and often conflicting approaches and perspectives. -- American Music, Fall 1996 ...everyone who contributes is bright, excited, and big with fruitful thoughts. -- Puncture A huge, multilayered cacphonus conversation, involving styles of popular music ranging from hardcore rap to college rock to rave to Brazilian funk, represented by participants from all avenues of musical culture. The radical decision to include artists and members of the popular press alongside academics means that the voices included within Microphone Fiends don't conform to one language, they argue with each other and with themselves, unafraid of the rebel stance that has characterized youth culture from its rowdy, world-changing birth. Listening to each other, artists, culture workers, and scholars can uncover insights about the pop-cult ground they cultuivate that otherwise would have eluded them. -- Ann Powers, The Village Voice Expression is what youth music and youth culture are all about, a mode of expression that has been lacking in a social perspective. The diversity of the book reflects the multiculturalism within, giving a precise sub-cultural analysis. The book's dedication to youth musical culture only makes Microphone Fiends better. Fortunately, it has matured to a point where it can report on itself competently. Microphone Fiends definitely represents the music behind its cultures. I bet Microphone Fiends becomes required reading in musical history classes everywhere. This exhaustive dissertation of popular (and not so popular) music forms is basically a collection of articles, commentaries and discussions on everything from raves to riot grrls. -- Thrust,#23 . . .strike[s] a welcome balance between self-aware and self-concious pronouncements on the next generation. -- Publisher's Weekly ...[This book] is the screaming child demanding attention not only from scholars but from mainstream music journalists as well. The strength of this collection, which is primarily cultural criticism, lies in its various and often conflicting approaches and perspectives. -- American Music, Fall 1996
...[This book] is the screaming child demanding attention not only from scholars but from mainstream music journalists as well. The strength of this collection, which is primarily cultural criticism, lies in its various and often conflicting approaches and perspectives. -- American Music, Fall 1996 ...everyone who contributes is bright, excited, and big with fruitful thoughts. -- Puncture A huge, multilayered cacphonus conversation, involving styles of popular music ranging from hardcore rap to college rock to rave to Brazilian funk, represented by participants from all avenues of musical culture. The radical decision to include artists and members of the popular press alongside academics means that the voices included within Microphone Fiends don't conform to one language, they argue with each other and with themselves, unafraid of the rebel stance that has characterized youth culture from its rowdy, world-changing birth. Listening to each other, artists, culture workers, and scholars can uncover insights about the pop-cult ground they cultuivate that otherwise would have eluded them. -- Ann Powers, The Village Voice Expression is what youth music and youth culture are all about, a mode of expression that has been lacking in a social perspective. The diversity of the book reflects the multiculturalism within, giving a precise sub-cultural analysis. The book's dedication to youth musical culture only makes Microphone Fiends better. Fortunately, it has matured to a point where it can report on itself competently. Microphone Fiends definitely represents the music behind its cultures. I bet Microphone Fiends becomes required reading in musical history classes everywhere. This exhaustive dissertation of popular (and not so popular) music forms is basically a collection of articles, commentaries and discussions on everything from raves to riot grrls. -- Thrust,#23 . . .strike[s] a welcome balance between self-aware and self-concious pronouncements on the next generation. -- Publisher's Weekly ...[This book] is the screaming child demanding attention not only from scholars but from mainstream music journalists as well. The strength of this collection, which is primarily cultural criticism, lies in its various and often conflicting approaches and perspectives. -- American Music, Fall 1996
Author Information
Tricia Rose is Assistant Professor of History and Africana Studies at New York University. Andrew Ross is Director of the American Studies Program and Professor of Comparative Literature at New York University.
