Col emmett schaill biography of michael jackson

To learn more, view our Privacy Policy. To browse Academia. The opening rapid stroke of fingers across the keys of a piano, followed by a staccato funk-driven guitar accompanied by bass, sets the scene for arguably one of the most stunning introductions in the history of rock. These essays, elaborated over two decades, approach several aspects of rock culture: the significance of rock as a cultural practice in the field of twentieth-century art; the representation of musicianship; and the analysis of lyrics.

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High Fidelity's January issue marked the year anniversary of the long playing record LP with a pair of critical takes on the cultural impact of what everybody agreed was a stunningly successful new distribution channel for music. In less than a decade, the world had filled up with new records, enabling an unparalleled abundance of new listening experiences.

But, editor Roland Gelatt noted, as the trickle of recorded repertoire grew into a steady stream and then a raging flood, the careful attention of the consumer was perhaps the first thing to wash away: I am writing this article after having listened on successive evenings to new recordings of La Sonnambula and Der Rosenkavalier, each of them a distinguished recreation.

Two decades ago, either of these sets would have constituted the opera issue of an entire season. We would have had months to savor it without competition; indeed, it is very possible that we would have acquired it in installments, act by act, to spread the expense. Today, the two operas are pebbles in an avalanche. Naturally, the purchaser valued it less.

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Gelatt anticipated two generations of sociologists by noting a temptation to "omnivorous listening" in all this abundance; with so much on offer, how was one to choose? The same fear of plenty seems to haunt rock critics today, but it's now data that seems to proliferate without limit; Ian Penman , writing about David Bowie, longs openly for an earlier, more innocent time when, he says, "rock mattered" because it was almost impossible to find out anything about it: In the days when such figures were active you had to be satisfied with an occasional music-press annual, or the lyrics printed in your girlfriend's Jackie, or, if you were really lucky, a title like The Sociology of Riff no photos or illustrations.

Maybe one of the reasons the s were such an incredibly creative time is that we weren't all reading biographies and blogs and tweets about or even by our heroes, who in turn weren't thinking about the best way to "grow their brand" exponentially through a social media arc. All that unmediated space waiting to be filled! He is engaging, identifying with the song: he has a sense of dominion over the song and the medium.

He can take that song or leave it.