Rock Criticism from the Beginning : Amusers,

Rock Criticism from the Beginning is a wide-ranging exploration of the rise and development of rock criticism in Britain and the United States from the 1960s to the present. It chronicles the evolution of a new form of journalism, and the course by wh

Hans Weisethaunet is Associate Professor at the Grieg Academy, the University of Bergen, Norway. Morten Michelsen is Associate Professor of Popular Music at the University of Copenhagen and leader of a research project on Danish rock culture from the 1950s to the 1980s. Gestur Gudmundsson is Associate Professor at the Department of Educational Sociology, The Danish University of Education. Ulf Lindberg is a former Swedish Lecturer at the Department of Scandinavian Studies, Aarhus University, Denmark, he is presently Lecturer at the Department of Teacher Education at Malmo University in Sweden.

Acknowledgments

vii

Introduction

1

(10)

Some Notes on Criticism

11

(12)

Criticism: An Introduction

11

(4)

Music Criticism Before Rock

15

(3)

The Frames of Rock Criticism

18

(5)

Theoretical Perspectives

23

(30)

High Culture---Low Culture

23

(6)

Introducing Bourdieu

29

(5)

Applying Bourdieu to the Study of Popular Culture

34

(5)

Rock Criticism as a Legitimizing Discursive Practice

39

(5)

``Authenticity'' in Rock Critical Discourse

44

(4)

The Spatial Distribution of Rock and Rock Criticism

48

(3)

Themes and Questions for a Historical Study of Rock Criticism

51

(2)

The Social and Cultural Background of Rock and Rock Criticism in the 1960s and 1970s

53

(16)

The Discontents of Modernization: Cultural Release

53

(3)

The Social Background of Rock Culture and Rock Discourse

56

(4)

The Aesthetic Climate of the 1960s

60

(9)

The Formative Period: Absolute Beginners (1964--1967)

69

(62)

Introduction

69

(7)

The English ``Gentleman'' Critic: Chris Welch and the Prehistory of Rock Criticism at Melody Maker

76

(30)

The Serious Fan: Paul Williams and the Birth of Rock Criticism in the U.S.

106

(7)

``Reporting the Counterculture'': Richard Goldstein

113

(7)

Rock `n' Roll as ``Style'': Nik Cohn

120

(11)

Founding Fathers in the Promised Land (1967--1975)

131

(66)

The Rock Press 1967--1975

133

(8)

The First Dean of Rock Critics Lays Down the Basic Rules: Jon Landau

141

(10)

Taste Inc.: Robert Christgau, the Dean of New York Rock Critics

151

(8)

On a Mystery Train Through the History of America and Art: Greil Marcus

159

(11)

Hit Man and Radical: Dave Marsh

170

(5)

The Holy Madman of Rock Criticism: Lester Bangs

175

(9)

Other Voices of the Late 1960s

184

(4)

Young Men with a Vocation: Shaping a New Field and Inventing Positions

188

(9)

British Brats (1972--1978)

197

(22)

The NME Connection

197

(13)

Punk: A Moment of Transition

210

(9)

Coda: The Boy Looked at Johnny

215

(4)

Style It Takes. Criticism and New Pop (1978--1985)

219

(40)

The Social and Cultural Background of Late 20th Century Rock Criticism

219

(7)

Into the Pop Process

226

(5)

The Standards of Postmodern Pop Sensibility

231

(12)

Music Magazines in the Early 1980s: New Agents and Growing Competition

243

(6)

The Critics

249

(10)

Academic Leanings and Consumer Guides (1986--2004)

259

(70)

A Wealth of Positions

259

(12)

The Critics

271

(29)

The Magazine Market in the 1980s and 1990s

300

(23)

The State of the Field Since the Turn of the Century

323

(6)

Concluding Remarks

329

(16)

The Field of Rock Criticism

329

(8)

Aesthetic Beliefs and Discursive Practices

337

(8)

References

Literature

345

(13)

Interviews

358

(1)

Index

359

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Rock Criticism from the Beginning : Amusers, Bruisers, and Cool-Headed Cruisers

Summary

Author Biography

Table of Contents

Supplemental Materials