Rocking Around The Clock

The first non-stop rock video channel was launched in the US in 1981. As a unique popular culture form, MTV warrants attention, and in this, the first study of the medium, originally published in 1987, Ann Kaplan examines the cultural context of MTV and its relationship to the history of rock music. The first part of the book focuses on MTV as a commercial institution, on the contexts of production and exhibition of videos, on their similarity to ads, and on the different perspectives of directors and viewers. Does the adoption of adolescent styles and iconography signal an open-minded acceptance of youth’s subversive stances; or does it rather suggest a cynicism by which profit has become the only value? In the second part of the book, Kaplan turns to the rock videos themselves, and from the mass of material that flows through MTV she identifies five distinct types of video: the ‘romantic’, the ‘socially conscious’, the ‘nihilistic’, the ‘classical’, and the ‘postmodern’. There are detailed analyses of certain videos; and Kaplan focuses particularly on gender issues in videos by both male and female stars. The final chapter explores the wider implications of MTV. What does the channel tell us about the state of youth culture at the time?

The author of What Was the First Rock 'n' Roll Record? chronicles the spectacular chart-topping success of Bill Haley's hit record "Rock Around the Clock," focusing particular attention on the cultural setting that surrounded the birth of rock music in 1955. Original.

The first non-stop rock video channel was launched in the US in 1981. As a unique popular culture form, MTV warrants attention, and in this, the first study of the medium, originally published in 1987, Ann Kaplan examines the cultural context of MTV and its relationship to the history of rock music. The first part of the book focuses on MTV as a commercial institution, on the contexts of production and exhibition of videos, on their similarity to ads, and on the different perspectives of directors and viewers. Does the adoption of adolescent styles and iconography signal an open-minded acceptance of youth’s subversive stances; or does it rather suggest a cynicism by which profit has become the only value? In the second part of the book, Kaplan turns to the rock videos themselves, and from the mass of material that flows through MTV she identifies five distinct types of video: the ‘romantic’, the ‘socially conscious’, the ‘nihilistic’, the ‘classical’, and the ‘postmodern’. There are detailed analyses of certain videos; and Kaplan focuses particularly on gender issues in videos by both male and female stars. The final chapter explores the wider implications of MTV. What does the channel tell us about the state of youth culture at the time?

Examining one of the earliest films made specifically for young audiences in US cinema, Rock around the Clock (1956), this book explores the exploitation production company that made the film and the ways it represented young people, especially in terms of their association with rock ’n’ roll music and culture. Providing new avenues of approaching the film, the book looks at how Rock around the Clock has attracted significant scholarly attention, despite its origins as a low-budget production made by master exploitation filmmaker Sam Katzman. It challenges accounts that see the film’s young people as juvenile delinquents, using instead the label ‘cultural rebels’ as a signifier of youth’s ability to resurrect a moribund music industry and rejuvenate a stale youth culture. This book also questions the nature of the label ‘exploitation’ as applied to the film by examining Columbia Pictures’ role as a resource provider for Katzman’s film, comparing Rock around the Clock to contemporaneous films with a youth focus that were produced in different industrial contexts and investigating its relationship to adaptation by asking whether the film is an example of a ‘postliterary’ adaptation. Rich on archival research and industrial and textual analysis, Rock around the Clock will interest both film studies and youth cultures scholars.

Learn How to Play the Ukulele in DAYS & Master 21 Songs! Ready to learn how to play the ukulele...today? With Ukulele For Beginners, you can, even if you've never touched an instrument before! Don't fret about what came before; now that you're in the capable hands of Ukulele For Beginners: 21 Songs in 6 Days, no ukulele chord is out of reach. And that's just the beginning... This book is the simplest, easiest, and most efficient way for beginner musicians to learn ukulele and master a whole set-list worth of songs. Here's why: Instruction AND videos are provided free with your purchase of this music book. No matter your learning style, you can read, listen, or watch as you play along with your ukulele. You're learning from a Grammy Award nominated educatorand former Harvard Master Class piano teacher. All songs are well-known, easy-to-learn folk songs so you can up your confidence and play with ease, eliminating the learning curve. AND all songs (from Row Row Row Your Boat to Three Blind Mice to Frere Jacques) include: strum patterns, chord diagrams, sheet music, and lyrics - everything you need to make your 1st-and 21st-song sound perfect. So whether you read music already or are just searching for your personal Ukulele For Dummies, look no further! The 21 Songs in 6 Days songbook allows you to sing along, go back to review, and learn at your pace with the FREE bonus online video instructions! Make it easy to master the ukulele... grab your copy of this Amazon Best Seller today. Complete Songlist: Are You Sleeping? Row, Row, Row Your Boat Three Blind Mice Have You Seen the Ghost of John? Hey, Ho, Nobody Home Ah, Poor Bird Frere Jacques Chatter With the Angels A Ram Sam Sam Shoo, Fly, Don't Bother Me (in F) Hush, Little Baby (in F) Oats, Peas, Beans and Barley Grow (in F) C, then G7 Etude Shoo, Fly, Don't Bother Me (in C) Hush, Little Baby (in C) Oats, Peas, Beans and Barley Grow (in C) He's Got the Whole World in His Hands Polly Wolly Doodle Jingle Bells This Land Is Your Land For He's a Jolly Good Fellow Oh, When the Saints I've Been Working on the Railroad Red River Valley

(Faber Piano Adventures ). BigTime Studio Collection draws from the best pieces in the BigTime Level 4 Supplementary Library, offering nine exceptional student favorites in a full array of genres and styles. A current song from the pop charts is featured as a Bonus Hit to entertain and inspire the intermediate pianist! Songs include: Canon in D * The Pink Panther * Can You Feel the Love Tonight * Morning Has Broken * Rock Around the Clock * 100 Years * Autumn Leaves * Deep River * Solace. Plus the Special Bonus Hit: Gangnam Style!

Holden Caulfield, the beat writers, Elvis Presley, Chuck Berry, and James Dean—these and other avatars of youthful rebellion were much more than entertainment. As Leerom Medovoi shows, they were often embraced and hotly debated at the dawn of the Cold War era because they stood for dissent and defiance at a time when the ideological production of the United States as leader of the “free world” required emancipatory figures who could represent America’s geopolitical claims. Medovoi argues that the “bad boy” became a guarantor of the country’s anti-authoritarian, democratic self-image: a kindred spirit to the freedom-seeking nations of the rapidly decolonizing third world and a counterpoint to the repressive conformity attributed to both the Soviet Union abroad and America’s burgeoning suburbs at home. Alongside the young rebel, the contemporary concept of identity emerged in the 1950s. It was in that decade that “identity” was first used to define collective selves in the politicized manner that is recognizable today: in terms such as “national identity” and “racial identity.” Medovoi traces the rapid absorption of identity themes across many facets of postwar American culture, including beat literature, the young adult novel, the Hollywood teen film, early rock ‘n’ roll, black drama, and “bad girl” narratives. He demonstrates that youth culture especially began to exhibit telltale motifs of teen, racial, sexual, gender, and generational revolt that would burst into political prominence during the ensuing decades, bequeathing to the progressive wing of contemporary American political culture a potent but ambiguous legacy of identity politics.

Examining social and popular dance forms from a variety of critical and cultural perspectives