Youth music is the most creative and contested location on the cultural landscape. It is a vehicle for generational moods and aspirations, a public refuge for fantasies outlawed in daily life, a testing ground for technical ingenuity, an enormously profitable commercial channel for mainstream narratives of thought and behavior, and one of the corporate state's main theatres for national moral panic. Today's sounds, and the debates about their various forms, are inseparable from the social conditions of the last two decades: class polarization, racial marginalization, and economic violence enacted to a degree that has left youth, as a whole, with drastically reduced opportunities in life. Youth culture is still responding to these uneven developments with a passion that has been romanticized by some critics as a significant form of resistance, and denigrated by others as an avoidance of direct and political protest. Microphone Fiends, a collection of original essays andinterviews, brings together some of the best known scholars, critics, journalists and performers to focus on the contemporary scene. It includes theoretical discussions of musical history along with social commentaries about genres like disco, metal and rap music, and case histories of specific movements like the Riot Grrls, funk clubbing in Rio de Janeiro, and the British rave scene. The contents of the volume engage with the broad tradition of cultural studies and sociology of youth music and culture, but they are also designed to address audiences reached by mainstream music journalism and fans of any musical taste.
..."[This book] is the screaming child demanding attention not only from scholars but from mainstream music journalists as well. The strength of this collection, which is primarily cultural criticism, lies in its various and often conflicting approaches and perspectives.."
-"American Music, Fall 1996
..."everyone who contributes is bright, excited, and big with fruitful thoughts."
"A huge, multilayered cacphonus conversation, involving styles of popular music ranging from hardcore rap to college rock to rave to Brazilian funk, represented by participants from all avenues of musical culture. The radical decision to include artists and members of the popular press alongside academics means that the voices included within "Microphone Fiends don't conform to one language, they argue with each other and with themselves, unafraid of the rebel stance that has characterized youth culture from its rowdy, world-changing birth. Listening to each other, artists, culture workers, and scholars can uncover insights about the pop-cult ground they cultuivate that otherwise would have eluded them."
-Ann Powers, "The Village Voice
"Expression is what youth music and youth culture are all about, a mode of expression that has been lacking in a social perspective. The diversity of the book reflects the "multiculturalism" within, giving a precise sub-cultural analysis. The book's dedication to youth musical culture only makes "Microphone Fiends better. Fortunately, it has matured to a point where it can report on itself competently. "Microphone Fiends definitely represents the music behind its cultures.."
"I bet "Microphone Fiends becomes required reading in musical historyclasses everywhere. This exhaustive dissertation of popular (and not so popular) music forms is basically a collection of articles, commentaries anddiscussions on everything from raves to riot grrls."
|We Know What Time It Is: Race, Class and Youth Culture in the Nineties||p. 17|
|Same as it Ever Was: Youth Culture and Music||p. 29|
|Is Anybody Listening? Does Anybody Care?: On Talking about 'The State of Rock'||p. 41|
|Excerpt from Altered Spade: Readings in Race-Mutation Theory||p. 59|
|A Style Nobody Can Deal With: Politics, Style and the Postindustrial City in Hip Hop||p. 71|
|Puerto Rican and Proud, Boyee!: Rap Roots and Amnesia||p. 89|
|The State of Rap: Time and Place in Hip Hop Nationalism||p. 99|
|Contracting Rap: An Interview with Carmen Ashhurst-Watson||p. 122|
|In the Empire of the Beat: Discipline and Disco||p. 147|
|Not A Mutant Turtle||p. 160|
|Nobody Wants a Part-Time Mother: An Interview with Willi Ninja||p. 163|
|Moral Panic, The Media and British Rave Culture||p. 176|
|The Funkification of Rio||p. 193|
|Rah, Rah, Sis-Boom-Bah: The Secret Relationship Between College Rock and the Communist Party||p. 221|
|Border Crossing in the U.S.A.||p. 227|
|Highbrow, Lowbrow, Voodoo Aesthetics||p. 235|
|Smells Like Teen Spirit: Riot Grrrls, Revolution and Women in Independent Rock||p. 250|
|Contributor Notes||p. 275|
|Table of Contents provided by Blackwell. All Rights Reserved.|
For Ages: 18 years old
Number Of Pages: 288
Published: 14th April 1994
Country of Publication: GB
Dimensions (cm): 22.91 x 17.78
Weight (kg): 0.56
Edition Number: 1