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Slang, youth subcultures and rock music - Дипломна робота

decadence but also in terms of stage and studio effects and costs. The sheer scale of rock album sales gave musicians--and their ever-growing entourage of managers, lawyers, and accountants--the upper hand in negotiations with record companies, and for a moment it seemed that the greater the artisticself-indulgence the bigger the financial return. By the end of the decade, though, the 25-year growth in record sales had come to a halt, and a combination of economic recession and increasing competition for young people's leisure spending (notably from the makers of video games) brought the music industry, by this point based on rock, its first real crisis. The Anglo-American music market was consolidated into a shape that has not changed much since, while new sales opportunities beyond the established transatlantic route began to be pursued more intently.
Challenges to mainstream rock
The 1970s, in short, was the decade in which a pattern of rock formats and functions was settled. The excesses of rock superstardom elicited both a return to DIY rock and roll (in the roots sounds of performers such as Bruce Springsteen and in the punk movement of British youth) and a self-consciously camp take on rock stardom itself (in the glam rock of the likes of Roxy Music, David Bowie, and Queen). The continuing needs of dancers were met by the disco movement (originally shaped by the twist phenomenon in the 1960s), which was briefly seized by the music industry as a new pop mainstream following the success of the film Saturday Night Fever in 1977. By the early 1980s, however, disco settled back into its own world of clubs, deejays, and recording studios and its own crosscurrents from African-American, Latin-American, and gay subcultures. African-American music developed in parallel to rock, drawing on rock technology sometimes to bridge black and white markets (as with Stevie Wonder) and sometimes to sharpen their differences (as in the case of funk).
Rock, in other words, was routinized, as both a moneymaking and a music-making practice. This had two consequences that were to become clearer in the 1980s. First, the musical tension between the mainstream and the margins, which had originally given rock and roll its cultural dynamism, was now contained within rock itself. The new mainstream was personified by Elton John, who developed a style of soul-inflected rock ballad that over the next two decades became the dominant sound of global pop music. But the 1970s also gave rise to a clearly "alternative" rock ideology (most militantly articulated by British punk musicians), a music scene self-consciously developed on independent labels using "underground" media and committed to protecting the "essence" of rock and roll from commercial degradation. The alternative-mainstream, authentic-fake distinction crossed all rock genres and indicated how rock culture had come to be defined by its own contradictions.
Second, sounds from outside the Anglo-American rock nexus began to make their mark on it (and in unexpected ways). In the 1970s, for example, Europop began to have an impact on the New York City dance scene via the clean, catchy Swedish sound of Abba, the electronic machine music of Kraftwerk, and the American-Italian collaboration (primarily in West Germany) of Donna Summer and Giorgio MoroderGiorgio Moroder. At the same time, Marley's success in applying a Jamaican sensibility to rock conventions meant that reggae became a new tool for rock musicians, whether established stars such as Clapton and the Rolling Stones' Keith Richards or young punks like the Clash, and played a significant role (via New York City's Jamaican sound-system deejays) in the emergence of hip-hop.
5. Rock in the 1980s and '90s
Digital technology and alternatives to adult-oriented rock
The music industry was rescued from its economic crisis by the development in the 1980s of a new technology, digital recording. Vinyl records were replaced by the compact disc (CD), a technological revolution that immediately had a conservative effect. By this point the most affluent record buyers had grown up on rock; they were encouraged to replace their records, to listen to the same music on a superior sound system. Rock became adult music; youthful fads continued to appear and disappear, but these were no longer seen as central to the rock process, and, if rock's 1970s superstars could no longer match the sales of their old records with their new releases, they continued to sell out stadium concerts that became nostalgic rituals (most unexpectedly for the Grateful Dead). For new white acts the industry had to turn to alternative rock. A new pattern emerged--most successfully in the 1980s for R.E.M. and in the '90s for Nirvana--in which independent labels, college radio stationscollege radio stations, and local retailers developed a cult audience for acts that were then signed and mass-marketed by a major label. Local record companies became, in effect, research and development divisions of the multinationals.
The radical development of digital technology occurred elsewhere, in the new devices for sampling and manipulating sound, used by dance music engineers who had already been exploring the rhythmic and sonic possibilities of electronic instruments and blurring the distinctions between live and recorded music. Over the next decade the uses of digital equipment pioneered on the dance scene fed into all forms of rock music making. For a rap act such as Public Enemy, what mattered was not just a new palette of "pure" sound but also a means of putting reality--the actual voices of the powerful and powerless--into the music. Rap, as was quickly understood by young disaffected groups around the world, made it possible to talk back to the media.
The global market and fragmentation
The regeneration of DIY paralleled the development of new means of global music marketing. The 1985 Live Aid event, in which live television broadcasts of charity concerts taking place on both sides of the Atlantic were shown worldwide, not only put on public display the rock establishment and its variety of sounds but also made clear television's potential as a marketing tool. MTV, the American cable company that had adopted the Top 40 radio format and made video clips as vital a promotional tool as singles, looked to satellite technology to spread its message: "One world, one music." And the most successful acts of the 1980s, Madonna and Michael Jackson (whose 1982 album, Thriller, became the best-selling album of all time by crossing rock's internal divides), were the first video acts, using MTV brilliantly to sell themselves as stars while being used, in turn, as global icons in the advertising strategies of companies such as Pepsi-Cola.
The problem with this pursuit of a single market for a single music was that rock culture was fragmenting. The 1990s had
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