It has been sixty years since Rock 'n' Roll exploded into the mainstream, yet we remain limited in our understanding of how its bawdy excesses absorbed into the annals of mass popularity in such a short amount of time. Mickey Vallee asks: what if the Rock 'n' Roll eruption was nothing less than postwar consumer capitalism at its very best, precisely because it was taken as its very worst? Vallee explores the emergence of Rock 'n' Roll's from an entirely new theoretical disposition in order to answer this question, drawing mainly from Lacanian cultural psychoanalysis to reveal that Rock 'n' Roll was far more conformist than we are generally led to believe; namely, that it was conformist with emerging liberal principles of freedom from the tyranny of the state. Vallee supports this proposition with detailed analyses of familiar (and not-so-familiar) characters and texts in Rock 'n' Roll to suggest that the disruption of our symbolic economy was symptomatic of a new cultural logic of economic freedom. While not denying Rock 'n' Roll's role in the pre-civil rights movement, Vallee refuses the possibility to deny that Rock 'n' Roll's symbolic efficacy ultimately coordinated a neoliberal foundation to the ideology of individualism in its rhythm, instrumentation, lyrics, and vocals, where its power was at its most effective and affective.
What makes a body of sound appear as an aesthetic object as well as a method for knowledge? In Sounding Bodies Sounding Worlds, Mickey Vallee argues that we must impose our sonic imagination onto the non-sonic, and embrace how we sound to ourselves, sound with our animal companions, and sound in very earth itself. From the invention of the laryngoscope to the role of the spectrogram, from the call of the bird to the tumble of a rockslide, from the deep listening of environmental immersion to the computational listening of bioacoustics research, Vallee offers a wide range of cases to convincingly argue that all life shares in a continuous, embodied and ethical vibration.
The theoretical work of Gilles Deleuze has transformed cultural studies and has made a significant impact on disciplines as diverse as sociology, queer theory, feminist studies, film, music, and philosophy. Until recently his books were notorious for their density and eccentric flair. While there are a wide array of introductions that complement and clarify his work, this assemblage stands apart by shedding his concepts of jargon and stressing the crucial, radical core of his philosophical ideas. [i]Demystifying Deleuze[/i]is a timely and approachable primer for students, scholars and critically-minded readers.
What makes a body of sound appear as an aesthetic object as well as a method for knowledge? In Sounding Bodies Sounding Worlds, Mickey Vallee argues that we must impose our sonic imagination onto the non-sonic, and embrace how we sound to ourselves, sound with our animal companions, and sound in very earth itself. From the invention of the laryngoscope to the role of the spectrogram, from the call of the bird to the tumble of a rockslide, from the deep listening of environmental immersion to the computational listening of bioacoustics research, Vallee offers a wide range of cases to convincingly argue that all life shares in a continuous, embodied and ethical vibration.
It has been sixty years since Rock 'n' Roll exploded into the mainstream, yet we remain limited in our understanding of how its bawdy excesses absorbed into the annals of mass popularity in such a short amount of time. Mickey Vallee asks: what if the Rock 'n' Roll eruption was nothing less than postwar consumer capitalism at its very best, precisely because it was taken as its very worst? Vallee explores the emergence of Rock 'n' Roll's from an entirely new theoretical disposition in order to answer this question, drawing mainly from Lacanian cultural psychoanalysis to reveal that Rock 'n' Roll was far more conformist than we are generally led to believe; namely, that it was conformist with emerging liberal principles of freedom from the tyranny of the state. Vallee supports this proposition with detailed analyses of familiar (and not-so-familiar) characters and texts in Rock 'n' Roll to suggest that the disruption of our symbolic economy was symptomatic of a new cultural logic of economic freedom. While not denying Rock 'n' Roll's role in the pre-civil rights movement, Vallee refuses the possibility to deny that Rock 'n' Roll's symbolic efficacy ultimately coordinated a neoliberal foundation to the ideology of individualism in its rhythm, instrumentation, lyrics, and vocals, where its power was at its most effective and affective.
The Mystery Fancier, Volume 8 Number 4, July-August 1986, contains: "That Pawn-Shop Gypsy," by Bob Sampson, "Mickey Spillane's Mike Hammer: The Great Cover-Up," by Jeff Banks, "The Rural Policeman in American Mystery Fiction," by George Dove and "The Cream of Queen," by Frank Floyd.
I had no trouble playing any kind of a role, ' Gene Tierney writes. 'My problems began when I had to be myself.' In Hollywood's golden age, everyone knew the starring roles Miss Tierney played in her 36 films: the unwashed Ellie May in 'Tobacco Road, ' the demure Martha in 'Heaven can Wait;' her appearances opposite Clark Gable, Tyrone Power, Rex Harrison, Humphrey Bogart, Henry Fonda, and, best remmebered of all, as the haunting -- murdered? --beauty of the portrait painting in 'Laura, ' one of the most televised films ever. Her rollercoaster marriage to fashion designer Oleg Cassini and her globe-trotting affair with Prince Aly Khan were public property. Word of her dates with billionaire Howard huges and a lighthearted ex - naval officer named Jack Kennedy circulated over the years. But the inside story of her greatest, most heart-wrenching role -- herself -- has never been told until right now. Outwardly living every woman's fantasies, she became an emotional invalid. Her marriage collapsed. Her romances failed. Her father became a cruel disappointment. Her first daughter was born deaf, blind, hopelessly retarded, At the crest of her career, Gene Tierny attempted suicide, suffered a nervous breakdown, and spent the next seven years in and out of sanatoriums. With candor, humor, and sometimes with anger, but never with self-pity or self-indulgence, she tells of her meteoric career, her long, slow, uneven recovery from 'the black tunnel of mental illness'; the struggles with her doctors, her treatments, her escape from confinement, her depressions, her mad impulses, herself, always herself ... and finally on to a happy remarriage and tranquillity.
An American sweetheart from Hollywood and former Miss Pittsburgh marries a failing Jewish comic stricken with agoraphobia. Shirley Jones, singing star of "Oklahoma!" and "Carousel" and Oscar-winner for "Elmer Gantry," was the mother of three sons when her husband, alcoholic actor Jack Cassidy, left her in the middle 1970's. Jack had a new girl--and problems facing up to Shirley's success and teen-age son David's big earnings as a rock idol. Stand-up comic Marty Ingels, on a downslide after a failed TV sitcom, followed by an on-camera nervous breakdown on The Tonight Show, began pursuing her, slyly moved into her apartment shirt by shirt, and captured her. Then came the day when Shirley could not explain Marty's presence in her apartment to a plumber; Marty said it was time to marry--and they did. Marty's phobia turned out to be correctable. Cured, Marty discovered a new skill and set himself up as a talent broker for TV spots, and thus Ingels, Inc. was born. This unconventional dual bio has many wacky moments as Marty reels under the influence of his illness, and never a dull page.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.