MARC Record from marc_columbia

LEADER: 06120cam a2200421 a 4500
001 7819444
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008 091104t20102010vtua b 001 0deng
010 $a 2009046894
020 $a9780754668626 (hardcover : alk. paper)
020 $a0754668622 (hardcover : alk. paper)
020 $a9780754668671 (pbk. : alk. paper)
020 $a0754668673 (pbk. : alk. paper)
024 $a40017988862
035 $a(OCoLC)463676040
035 $a(OCoLC)ocn463676040
035 $a(NNC)7819444
035 $a7819444
040 $aDLC$cDLC$dYDX$dYDXCP$dOrLoB-B
043 $ae-uk-en
050 00 $aML420.S6716$bM37 2010
082 00 $a782.42166092/2$222
245 00 $aMark E. Smith and the Fall :$bart, music and politics /$cedited by Michael Goddard and Benjamin Halligan.
260 $aBurlington, VT :$bAshgate,$c[2010], ©2010.
300 $axvi, 209 pages :$billustrations ;$c24 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
490 1 $aAshgate popular and folk music series
504 $aIncludes bibliographical references and index.
505 00 $tIntroduction: M̀essing up the Paintwork' /$rBenjamin Halligan -- $gPART I.$tTHE FALL AND T̀HE NORTH' -- $g1.$tBuilding up a Band: Music for a Second City /$rRichard Witts -- $g2.$tThe Fall: A Manchester Band? /$rKatie Hannon -- $g3.$tSalford Drift: A Psychogeography of The Fall /$rMark Goodall -- $gPART II.$tTHE TECHNIQUES AND TACTICS OF THE FALL -- $g4.$tR̀ebellious Jukebox': The Fall and the War against Conformity /$rAndy Wood -- $g5.$tÌ curse your preoccupation with your record collection': The Fall on Vinyl 1978-83 /$rRichard Osborne -- $g6.$tD̀ictaphonics': Acoustics and Primitive Recording in the Music of The Fall /$rRobert Walker -- $g7.$tL̀et me tell you about scientific management': The Fall, the Factory and the Disciplined Worker /$rOwen Hatherley -- $gPART III.$tTHE AESTHETICS OF THE FALL -- $g8.$tM̀emorex for the Krakens': The Fall's Pulp Modernism /$rMark Fisher -- $g9.$tLanguage Scraps: Mark E. Smith's Handwriting and the Typography of The Fall /$rPaul Wilson -- $g10.$tH̀umbled in Iceland': On Improvisation during The Fall /$rRobin Purves -- $g11.$tThe Fall, Mark E. Smith and T̀he Stranger': Ambiguity, Objectivity and the Transformative Power of a Band from Elsewhere /$rMartin Myers -- $gPART IV.$tTHE FALL, THE MEDIA AND CULTURAL POLITICS -- $g12.$tT̀he Sound of The Fall, the Truth of this Movement of Error': A True Companion, an Ambivalent Friendship, an Ethic of Truths /$rAngus McDonald -- $g13.$tÌ think it's over now': The Fall, John Peel, Popular Music and Radio /$rPaul Long -- $g14.$tIn Search of Cultural Politics in a Fall Fanzine /$rChris Atton -- $g15.$tÀs if we didn't know who he was': Mark E. Smith's Untimeliness /$rDean Lockwood.
520 1 $a"These essays penetrate the fathomless depths of the Fall's sound and Mark E. Smith's Vision bringing back fresh perceptions that do not èxplan' so much as enhance and expand the inexhaustible mystery of this singular band. Simon Reynolds, author of Rip It Up and Start Again: Postpunk 1978-84 and Totally Wired: Postpunk Interviews and Overviews" "The strength of this book draws ultimately on the complexity of The Fall, with its cosmic library of s̀crewed up' lyrics to unfold, and its vast conurbation of psychic soundscapes to drift through. There is bound to be controversy over whether the band is a legitimate subject for academic study. The best response to the sceptics can be found in the pages of this brilliant collection. Simon Ford, author of The Wreckers of Civilisation and Hip Priest" "This volume offers a comprehensive range of approaches to the work of Mark E. Smith and his band The Fall in relation to music, art and politics. Mark E. Smith remains one of the most divisive and idiosyncratic figures in popular music after a recording career with The Fall that spans thirty years. Although The Fall were originally associated with the contemporaneous punk explosion, from the beginning they pursued a highly original vision of what was possible in the sphere of popular music. While other punk bands burned out after a few years, only to then reform decades later as their own cover bands, The Fall continue to evolve while retaining a remarkable consistency, even with the frequent line-up changes that soon left Mark E. Smith as the only permanent member of the group. The key aspect of the group that this volume explores is the invariably creative, unfailingly critical and often antagonistic relations that characterize both the internal dynamics of the group and the group's position in the pop cultural surroundings. The Fall's ambiguous position in the unfolding histories of British popular music and therefore in the new heritage industries of popular culture in the UK, from post-punk to anti-Thatcher politics, to the F̀actory fiction of Manchester' and on into Mark E. Smith's current role as ageing enfant terrible of rock, illustrates the uneasy relationship between the band, their critical commentators and the historians of popular music. This volume engages directly with this critical ambiguity. With a diverse range of approaches to The Fall, this volume opens up new possibilities for writing about contemporary music beyond traditional approaches grounded in the sociology of music, Cultural Studies and music journalism---an aim which is reflected in the variety of provocative critical approaches and writing styles that make up the volume."--BOOK JACKET.
600 10 $aSmith, Mark E.,$d1957-2018$xCriticism and interpretation.
650 0 $aRock music$zEngland$xHistory and criticism.$0http://id.loc.gov/authorities/subjects/sh2010111368
610 20 $aFall (Musical group)$0http://id.loc.gov/authorities/names/n91099092
700 1 $aGoddard, Michael,$d1965-$0http://id.loc.gov/authorities/names/n2009066944
700 1 $aHalligan, Benjamin.$0http://id.loc.gov/authorities/names/n2003047306
830 0 $aAshgate popular and folk music series.$0http://id.loc.gov/authorities/names/n2001065264
852 00 $bmus$hML420.S6716$iM37 2010