| |
| |
| |
| Some notes on criticism | |
| |
| |
| |
| Criticism : an introduction | |
| |
| |
| |
| Music criticism before rock | |
| |
| |
| |
| The frames of rock criticism | |
| |
| |
| |
| Theoretical perspectives | |
| |
| |
| |
| High culture - low culture | |
| |
| |
| |
| Introducing Bourdieu | |
| |
| |
| |
| Applying Bourdieu to the study of popular culture | |
| |
| |
| |
| Rock criticism as a legitimizing discursive practice | |
| |
| |
| |
| "Authenticity" in rock critical discourse | |
| |
| |
| |
| The spatial distribution of rock and rock criticism | |
| |
| |
| |
| Themes and questions for a historical study of rock criticism | |
| |
| |
| |
| The social and cultural background of rock and rock criticism in the 1960s and 1970s | |
| |
| |
| |
| The discontents of modernization : cultural release | |
| |
| |
| |
| The social background of rock culture and rock discourse | |
| |
| |
| |
| The aesthetic climate of the 1960s | |
| |
| |
| |
| The formative period : absolute beginners (1964-1967) | |
| |
| |
| |
| Introduction | |
| |
| |
| |
| The English "gentleman" critic : Chris Welch and the prehistory of rock criticism at Melody Maker | |
| |
| |
| |
| The serious fan : Paul Williams and the birth of rock criticism in the U.S. | |
| |
| |
| |
| "Reporting the counterculture" : Richard Goldstein | |
| |
| |
| |
| Rock 'n' roll as "style" : Nik Cohn | |
| |
| |
| |
| Founding fathers in the promised land (1967-1975) | |
| |
| |
| |
| The rock press 1967-1975 | |
| |
| |
| |
| The first dean of rock critics lays down the basic rules : Jon Landau | |
| |
| |
| |
| Taste Inc. : Robert Christgau, the dean of New York rock critics | |
| |
| |
| |
| On a mystery train through the history of America and art : Greil Marcus | |
| |
| |
| |
| Hit man and radical : Dave Marsh | |
| |
| |
| |
| The holy madman of rock criticism : Lester Bangs | |
| |
| |
| |
| Other voices of the late 1960s | |
| |
| |
| |
| Young men with a vocation : shaping a new field and inventing positions | |
| |
| |
| |
| British brats (1972-1978) | |
| |
| |
| |
| The NME connection | |
| |
| |
| |
| Punk : a moment of transition | |
| |
| |
| Coda : the boy looked at Johnny | |
| |
| |
| |
| Style it takes : criticism and new pop (1978-1985) | |
| |
| |
| |
| The social and cultural background of late 20th century rock criticism | |
| |
| |
| |
| Into the pop process | |
| |
| |
| |
| The standards of postmodern pop sensibility | |
| |
| |
| |
| Music magazines in the early 1980s : new agents and growing competition | |
| |
| |
| |
| The critics | |
| |
| |
| |
| Academic leanings and consumer guides (1986-2004) | |
| |
| |
| |
| A wealth of positions | |
| |
| |
| |
| The critics | |
| |
| |
| |
| The magazine market in the 1980s and 1990s | |
| |
| |
| |
| The state of the field since the turn of the century | |
| |
| |
| |
| Concluding remarks | |
| |
| |
| |
| The field of rock criticism | |
| |
| |
| |
| Aesthetic beliefs and discursive practices | |