Sometimes popular music registers our concerns and anxieties more lucidly than we realise. This is evident in the case of an ideal of childhood innocence in rapid decay in recent decades. So claims Down with Childhood, as it takes in psychedelia’s preoccupation with rebirth and inner-children, the fascination with juvenilia amidst an ebbing UK rave scene and dozens of nursery rhyme hip-hop choruses spawned by a hit Jay-Z tune. As it examines the often complex sets of meanings to which the occasional presence of children in pop songs attests, the book pauses at Musical Youth’s ‘Pass the Dutchie’ and other one-hit teen wonders, the career paths of child stars including Michael Jackson and Britney Spears, radical experiments in free jazz, and Black Panther influenced children’s soul groups. In the process, a novel argument begins to emerge relating the often remarked crisis of childhood to changing experiences of work and play and ultimately, to an ongoing capitalist crisis that underlies them.
A study of contemporary music in light of transformations to work and social life. The emergence of the popular music industry in the early twentieth century not only drove a wedge between music production and consumption, it also underscored a wider separation of labor from leisure and of the workplace from the domestic sphere. These were changes characteristic of an industrial society where pleasure was to be sought outside of work, but these categories have grown increasingly porous today. As the working day extends into the home or becomes indistinguishable from leisure time, so the role and meaning of music in everyday life changes too. In arguing that the experience of popular music is partly conditioned by its segregation from work and its restriction to the time and space of leisure—the evening, the weekend, the dancehall—Take This Hammer shows how changes to work as it grows increasingly precarious, part-time, and temporary in recent decades, are related to transformations in popular music. Connecting contemporary changes in work and the economy to tendencies in popular music, Take This Hammer shows how song-form has both reflected developments in contemporary capitalism while also intimating a horizon beyond it. From online streaming and the extension of the working day to gentrification, unemployment and the emergence of trap rap, from ecological crisis and field recording to automation and trends in dance music, by exploring the intersections of work and song in the current era, not only do we gain a new understanding of contemporary musical culture, we also see how music might gesture towards a horizon beyond the alienating experience of work in capitalism itself.
Derrida and Foucault offers a major contribution to the interpretation of these two highly influential thinkers. By tracing the moments where Derrida and Foucault’s arguments converge but also where they deviate, this book fundamentally recasts our understanding not only of these two philosophers, but of the political more broadly. Organised thematically around questions of epistemology, ethics, and politics, this is the only work to bring Derrida and Foucault’s whole oeuvres into dialogue with one another. This book frames a dialogue not only between their works of the 1960s and 1970s but also their works that deal with political questions around liberalism, capitalism and democracy. This book offers the first substantial critical assessment of Derrida and Foucault’s political work and also situates these crucial thinkers in contemporary debates in political theory.
Sometimes popular music registers our concerns and anxieties more lucidly than we realise. This is evident in the case of an ideal of childhood innocence in rapid decay in recent decades. So claims Down with Childhood, as it takes in psychedelia’s preoccupation with rebirth and inner-children, the fascination with juvenilia amidst an ebbing UK rave scene and dozens of nursery rhyme hip-hop choruses spawned by a hit Jay-Z tune. As it examines the often complex sets of meanings to which the occasional presence of children in pop songs attests, the book pauses at Musical Youth’s ‘Pass the Dutchie’ and other one-hit teen wonders, the career paths of child stars including Michael Jackson and Britney Spears, radical experiments in free jazz, and Black Panther influenced children’s soul groups. In the process, a novel argument begins to emerge relating the often remarked crisis of childhood to changing experiences of work and play and ultimately, to an ongoing capitalist crisis that underlies them.
In 1980, Michel Foucault's work makes two decisive turns. On the one hand, as announced at the start of his course at the Collège de France for that year, Le Gouvernement des vivants, his topic will be the modalities through which power constitutes itself in relation to truth. On the other, the texts on which he will concentrate will no longer be those of the early modern period. Rather, he begins with one by Dio Cassius on the emperor Septimius Severus and then proceeds to spend the next two sessions offering a reading of Oedipus Tyrannus. He will concentrate on works from antiquity for the rest of his life. This book will offer the first detailed account of these lectures, examining both the development of their philosophical argument and the ancient texts on which that argument is based. This is the period during which Foucault also began work on Volumes 2 and 3 of the History of Sexuality. Yet, while there are clear overlaps between the work he was presenting in his course and the last books he published before his death, nonetheless the seminars are anything but rough drafts for the published work. Instead they offer a sustained encounter with the texts of the classical and early Christian era while seeking to trace a genealogy of the western subject as a speaker of truth.
People worldwide love to enjoy their preferred lifestyle. Music is a powerful lifestyle choice. It helps people shape and share their experiences. Music evolves, as does technology, culture and the music business. This book helps the reader to understand the changes to music and audio reproduction. Enabling them to make informed choices about music and the audio equipment they use. Thereby gaining richer musical experiences. This book explains why high-quality reproduction of music is hard. It identifies some factors that influence the quality of reproduction such as careful listening. Often discussions about music and audio ignore the role of the listener. Yet a person’s disposition, sensory awareness and attention, affect how they perceive music and what they experience from it. As well as music students, teachers, and musicologists, the book will appeal to those with a passion for quality music and the quality reproduction of music.
Derrida and Foucault offers a major contribution to the interpretation of these two highly influential thinkers. By tracing the moments where Derrida and Foucault's arguments converge but also where they deviate, this book fundamentally recasts our understanding not only of these two philosophers, but of the political more broadly. Organised thematically around questions of epistemology, ethics, and politics, this is the only work to bring Derrida and Foucault's whole oeuvres into dialogue with one another. This book frames a dialogue not only between their works of the 1960s and 1970s but also their works that deal with political questions around liberalism, capitalism and democracy. This book offers the first substantial critical assessment of Derrida and Foucault's political work and also situates these crucial thinkers in contemporary debates in political theory.
A study of contemporary music in light of transformations to work and social life. The emergence of the popular music industry in the early twentieth century not only drove a wedge between music production and consumption, it also underscored a wider separation of labor from leisure and of the workplace from the domestic sphere. These were changes characteristic of an industrial society where pleasure was to be sought outside of work, but these categories have grown increasingly porous today. As the working day extends into the home or becomes indistinguishable from leisure time, so the role and meaning of music in everyday life changes too. In arguing that the experience of popular music is partly conditioned by its segregation from work and its restriction to the time and space of leisure—the evening, the weekend, the dancehall—Take This Hammer shows how changes to work as it grows increasingly precarious, part-time, and temporary in recent decades, are related to transformations in popular music. Connecting contemporary changes in work and the economy to tendencies in popular music, Take This Hammer shows how song-form has both reflected developments in contemporary capitalism while also intimating a horizon beyond it. From online streaming and the extension of the working day to gentrification, unemployment and the emergence of trap rap, from ecological crisis and field recording to automation and trends in dance music, by exploring the intersections of work and song in the current era, not only do we gain a new understanding of contemporary musical culture, we also see how music might gesture towards a horizon beyond the alienating experience of work in capitalism itself.
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