Table Of ContentCounterCultures and PoPular MusiC
a translated and edited edition of a special issue of Volume! The French Journal
of Popular Music Studies (Éditions Mélanie seteun).
additional articles published in both ‘countercultures’ issues of Volume! can be
found at: http://www.cairn.info/revue-volume.htm and http://volume.revues.org.
Volume! is the only French peer-reviewed popular music studies journal. Created
in 2002 by Marie-Pierre Bonniol, samuel Étienne and Gérôme Guibert, it is
published independently by the Éditions Mélanie seteun, a publishing association
specialising since 1998 in the cultural sociology of popular music. Biannual special
issues deal with various topics in popular music studies, in a multidisciplinary
perspective. it is also included on the online international academic portals
Cairn.info and revues.org. Volume! is classified by the French AERES and
abstracted/indexed on the international index to Music Periodicals, the répertoire
international de littérature Musicale and the Music index.
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Countercultures and
Popular Music
edited by
sheila Whiteley
University of Salford, UK
Jedediah skloWer
Université Sorbonne Nouvelle, Paris 3, France
© sheila Whiteley and Jedediah sklower and the contributors 2014
all rights reserved. no part of this publication may be reproduced, stored in a retrieval
system or transmitted in any form or by any means, electronic, mechanical, photocopying,
recording or otherwise without the prior permission of the publisher.
sheila Whiteley and Jedediah sklower have asserted their rights under the Copyright,
Designs and Patents Act, 1988, to be identified as the editors of this work.
Published by
ashgate Publishing limited ashgate Publishing Company
Wey Court east 110 Cherry street
union road suite 3-1
Farnham Burlington, Vt 05401-3818
surrey, Gu9 7Pt usa
england
www.ashgate.com
British Library Cataloguing in Publication Data
a catalogue record for this book is available from the British library.
The Library of Congress has cataloged the printed edition as follows:
Countercultures and popular music / edited by sheila Whiteley and Jedediah sklower.
pages cm. – (ashgate Popular and folk music series)
includes bibliographical references and index.
isBn 978-1-4724-2106-7 (hardcover : alk. paper) – isBn 978-1-4724-2107-4 (ebook) –
isBn 978-1-4724-2108-1 (epub)
1. Popular music – social aspects. 2. Counterculture. i. Whiteley, sheila, 1941–
ii. sklower, Jedediah.
Ml3918.P67C73 2014
306.4’8424–dc23
2013047641
isBn 9781472421067 (hbk)
isBn 9781472421074 (ebk – PdF)
isBn 9781472421081 (ebk – ePuB)
Bach musicological font developed by © yo tomita
IV
Printed in the united kingdom by henry ling limited,
at the dorset Press, dorchester, dt1 1hd
Contents
List of Figures vii
General Editors’ Preface ix
Notes on Contributors xi
Preface: Dissent within Dissent xv
Jedediah Sklower
IntroductIon
Countercultures and Popular Music 3
Sheila Whiteley
Reappraising ‘Counterculture’ 17
Andy Bennett
Part I theorIsIng countercultures
1 Break on Through: The Counterculture and the
Climax of American Modernism 29
Ryan Moore
2 The Banality of Degradation: Andy Warhol, the
Velvet Underground and the Trash Aesthetic 45
Simon Warner
3 Were British Subcultures the Beginning of Multitude? 65
Charles Mueller
Part II utoPIas, dystoPIas and the aPocalyPtIc
4 The Rock Counterculture from Modernist Utopianism to the
Development of an Alternative Music Scene 81
Christophe Den Tandt
5 ‘Helter Skelter’ and Sixties Revisionism 95
Gerald Carlin and Mark Jones
6 Apocalyptic Music: Reflections on Countercultural Christian Influence 109
Shawn David Young
vi CouNTERCuLTuRES AND PoPuLAR MuSiC
7 Nobody’s Army: Contradictory Cultural Rhetoric in Woodstock
and Gimme Shelter 123
Gina Arnold
Part III sonIc anarchy and Freaks
8 The Long Freak Out: Unfinished Music and Countercultural
Madness in Avant-Garde Rock of the 1960s and 1970s 141
Jay Keister
9 The Grateful Dead and Friedrich Nietzsche: Transformation in
Music and Consciousness 157
Stanley J. Spector
10 Scream from the Heart: Yoko Ono’s Rock and Roll Revolution 171
Shelina Brown
11 From Countercultures to Suburban Cultures:
Frank Zappa after 1968 187
Benjamin Halligan
Part IV countercultural scenes – MusIc and Place
12 Countercultural Space Does Not Persist: Christiania and the
Role of Music 205
Thorbjörg Daphne Hall
13 A Border-Crossing Soundscape of Pop: The Auditory Traces of
Subcultural Practices in 1960s Berlin 223
Heiner Stahl
14 Music and Countercultures in Italy: The Neapolitan Scene 237
Giovanni Vacca
Bibliography 251
Discography 275
Filmography 281
index 283
List of Figures
12.1 The entrance into Christiania. Photo: Thorbjörg Daphne Hall 210
12.2 The stage by Nemoland. Photo: Thorbjörg Daphne Hall 211
12.3 Outside Loppen. Photo: Thorbjörg Daphne Hall 214
12.4 The tourist information hut where guided tours are offered.
Photo: Thorbjörg Daphne Hall 215
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General Editors’ Preface
Popular musicology embraces the field of musicological study that engages with
popular forms of music, especially music associated with commerce, entertainment
and leisure activities. The Ashgate Popular and Folk Music series aims to present
the best research in this field. Authors are concerned with criticism and analysis
of the music itself, as well as locating musical practices, values and meanings
in cultural context. The focus of the series is on popular music of the twentieth
and twenty-first centuries, with a remit to encompass the entirety of the world’s
popular music.
Critical and analytical tools employed in the study of popular music are being
continually developed and refined in the twenty-first century. Perspectives on the
transcultural and intercultural uses of popular music have enriched understanding
of social context, reception and subject position. Popular genres as distinct as
reggae, township, bhangra, and flamenco are features of a shrinking, transnational
world. The series recognises and addresses the emergence of mixed genres and
new global fusions, and utilises a wide range of theoretical models drawn from
anthropology, sociology, psychoanalysis, media studies, semiotics, postcolonial
studies, feminism, gender studies and queer studies.
Stan Hawkins, Professor of Popular Musicology, University of Oslo &
Derek B. Scott, Professor of Critical Musicology, University of Leeds
