Although David Bowie has famously characterized himself as a "leper messiah," a more appropriate moniker might be "rock god": someone whose influence has crossed numerous sub-genres of popular and classical music and can at times seem ubiquitous. By looking at key moments in his career (1972, 1977-79, 1980-83, and 1995-97) through several lenses-theories of sub-culture, gender/sexuality studies, theories of sound, post-colonial theory, and performance studies Waldrep examines Bowie's work in terms not only of his auditory output but his many reinterpretations of it via music videos, concert tours, television appearances, and occasional movie roles. Future Nostalgia looks at all aspects of Bowie's career in an attempt to trace Bowie's contribution to the performative paradigms that constitute contemporary rock music.
Although David Bowie has famously characterized himself as a "leper messiah," a more appropriate moniker might be "rock god": someone whose influence has crossed numerous sub-genres of popular and classical music and can at times seem ubiquitous. By looking at key moments in his career (1972, 1977-79, 1980-83, and 1995-97) through several lenses-theories of sub-culture, gender/sexuality studies, theories of sound, post-colonial theory, and performance studies Waldrep examines Bowie's work in terms not only of his auditory output but his many reinterpretations of it via music videos, concert tours, television appearances, and occasional movie roles. Future Nostalgia looks at all aspects of Bowie's career in an attempt to trace Bowie's contribution to the performative paradigms that constitute contemporary rock music.
Postmodern architecture - with its return to ornamentality, historical quotation, and low-culture kitsch - has long been seen as a critical and popular anodyne to the worst aspects of modernist architecture: glass boxes built in urban locales as so many interchangeable, generic anti-architectural cubes and slabs. This book extends this debate beyond the modernist/postmodernist rivalry to situate postmodernism as an already superseded concept that has been upended by deconstructionist and virtual architecture as well as the continued turn toward the use of theming in much new public and corporate space. It investigates architecture on the margins of postmodernism -- those places where both architecture and postmodernism begin to break down and to reveal new forms and new relationships. The book examines in detail not only a wide range of architectural phenomena such as theme parks, casinos, specific modernist and postmodernist buildings, but also interrogates architecture in relation to identity, specifically Native American and gay male identities, as they are reflected in new notions of the built environment. In dealing specifically with the intersection between postmodern architecture and virtual and filmic definitions of space, as well as with theming, and gender and racial identities, this book provides provides ground-breaking insights not only into postmodern architecture, but into spatial thinking in general.
A wave of teacher strikes in the 1960s and 1970s roiled urban communities. Jon Shelton illuminates how this tumultuous era helped shatter the liberal-labor coalition and opened the door to the neoliberal challenge at the heart of urban education today. As Shelton shows, many working- and middle-class whites sided with corporate interests in seeing themselves as society's only legitimate, productive members. This alliance increasingly argued that public employees and the urban poor took but did not give. Drawing on a wealth of research ranging from school board meetings to TV news reports, Shelton puts readers in the middle of fraught, intense strikes in Newark, St. Louis, and three other cities where these debates and shifting attitudes played out. He also demonstrates how the labor actions contributed to the growing public perception of unions as irrelevant or even detrimental to American prosperity. Foes of the labor movement, meanwhile, tapped into cultural and economic fears to undermine not just teacher unionism but the whole of liberalism.
A comprehensive study of the Progressive movement, Reinventing "The People"contends that the persistence of class conflict in America challenged the very defining feature of Progressivism: its promise of social harmony through democratic renewal. Shelton Stromquist profiles the movement's work in diverse arenas of social reform, politics, labor regulation and so-called race improvement. While these reformers emphasized different programs, they crafted a common language of social reconciliation in which an imagined civic community--"the People"--would transcend parochial class and political loyalties. But efforts to invent a society without enduring class lines marginalized new immigrants and African Americans by declaring them unprepared for civic responsibilities. In so doing, Progressives laid the foundation for twentieth-century liberals' inability to see their world in class terms and to conceive of social remedies that might alter the structures of class power.
By printing the title "Professor of Aesthetics" on his visiting cards, Oscar Wilde announced yet another transformation-and perhaps the most significant of his career, proclaiming his belief that he could redesign not just his image but his very self. Shelton Waldrep explores the cultural influences at play in Wilde's life and work and his influence on the writing and performance of the twentieth century, particularly on the lives and careers of some of its most aestheticized performers: Truman Capote, Andy Warhol, David Hockney, and David Bowie. As Waldrep reveals, Wilde's fusing of art with commerce foresaw the coming century's cultural producers who would blend works of both "high art" and mass-market appeal. Whether as a gay man or as a postmodern performance artist ahead of his time, Wilde ultimately emerges here as the embodiment of the twentieth-century media-savvy artist who is both subject and object of the aesthetic and economic systems in which he is enmeshed. Shelton Waldrep is associate professor of English at the University of Southern Maine. He is the coauthor of Inside the Mouse: Work and Play at Disney World (1995) and editor of The Seventies: The Age of Glitter in Popular Culture (2000).
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