In the mid-1950s, rock 'n' roll amalgamated earlier black and white working-class musical traditions to displace the Great American Songbook's hegemony over Anglophone popular music. At the same time, the classic musical was both displaced and re-created in a new form of film: the rock 'n' roll musical. For the next two decades, the genre's evolution in the United States and the United Kingdom accompanied and sustained the emergence, flowering, and decay of a counterculture. Cinema was second only to records in the production of the new cultural gestalt that the music generated.
For rock music and film buffs alike, this is the ultimate guide exploring the electrifying, entertaining, and often daring marriage of rock & roll and cinema.
Hugely acclaimed author of THIS IS UNCOOL and FEAR OF MUSIC turns his attention to rock 'n' roll movies.
Risky Business chronicles the interaction of two major mediums of mass culture in the latter twentieth century. This book is essential for those interested in communications, popular culture, and social change.
Insiders' accounts of the deals behind the fusion of creativity and commerce in film and television.
From Elvis Presley to Madonna, this book examines the casting rock stars in films. In so doing, Rock Star/Movie Star offers a new perspective on the role of stardom within the convergence of media industries.
Told with incomparable humor and heart, They Call Me Supermensch is a sincere, hilarious, behind-the-scenes look at the worlds of music and entertainment from a consummate Hollywood insider.
Urbana: U of Illinois P, 2000. Beatles, The. The Beatles Anthology. San Francisco: Chronicle Books, 2000. Brody, Richard. “Cocksucker Blues: Robert Frank's Suppressed Rolling Stones Documentary Comes to Film Forum.
In this exceptional cultural history, Atlantic Senior Editor Ronald Brownstein—“one of America's best political journalists (The Economist)—tells the kaleidoscopic story of one monumental year that marked the city of Los Angeles’ ...
This book offers a unique examination of the development of popular music function in film.
He'd sit there and basically try to bribe me, said if I helped him with his project, he'd get me pussy. ... He had a good thing going with Ladd, who would have backed one of Airman's laundry stubs so long as the director kept the budget ...