Neil Nehring
Biographic Data
| ID | 5964221 |
|---|---|
| NAME | Neil Nehring |
| GIVEN NAMES | Neil |
| FAMILY NAME | Nehring |
| SIGNATURE | NEHRING N |
| AFFILIATIONS | The University of Texas at Austin |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 7 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Drowned, Washed Up, and Left for Dead
One of the most celebrated hits of all time, “Jumpin’ Jack Flash” (1968) took the Rolling Stones back to the Rock Olympus after a musically modest 1967. The song is a by-product of the turmoil of the late 1960s across the world, a statement of rebellious youth against the values of their parents. However, the song has never been approached from a linguistic or poetic point of view. The present study explores the semantics of the verses and the in…
Patti Smith and Modernism
A considerable number of academics writing on popular music have asserted that rock performers are identical with the dandy described in Charles Baudelaire’s “The Painter of Modern Life” (1863), even though he recasts the man-about-town as an intellectual afflicted by democracy and mass culture, and elsewhere deplores the invention of the camera simply for allowing the “mob” to gain access to paintings in mechanically reproduced form. Yet, despit…
Sir Michael and the Origin and Reception of “Street Fighting Man”
The political stance of Mick Jagger of the Rolling Stones during the tumultuous year of 1968, specifically its expression in the song “Street Fighting Man,” has in the last few years increasingly become an object of ridicule after his acceptance of establishmentarian accolades such as a knighthood. But revisiting his comments at the time and for decades afterwards on events of that year–the Grosvenor Square protest of the Vietnam War, in which he…
Introduction
Special Issue of Rock Music Studies
Guest-edited by Neil NehringUniversity of Texas at AustinRock Music Studies is a new popular music journal launched by Taylor & Francis in 2014, under the co-editorship of Gary Burns and Thomas Kit...
Everyone's Given Up and Just Wants to Go Dancing”
Some adherents of dance musics such as acid house argued in the last half of the Thatcher era (1979–90) that “rockism,” including the belief of punk rock that music could play a transgressive social role, should be abandoned. Dance and rock music, however, were interfused throughout the period and, far from surrendering to Thatcherism, steadfastly opposed it. The historical perspective on punk rock continues to be tainted by anti‐rockism nonethel…
The Situationist International in American Hardcore Punk, 1982–2002
Electronic and print discussions of the influence of the theories of the Situationist International on punk rock remain unfortunately bound to 1977 and the Sex Pistols. This essay pieces together the neglected history of the interest in the Situationists that has persisted ever since in American hardcore punk, including groups ranging from the Feederz in the '80s to the Dillinger Four and the Panthers in the new millennium. The failure of the lef…
Everyone's Given Up and Just Wants to Go Dancing”
Some adherents of dance musics such as acid house argued in the last half of the Thatcher era (1979–90) that “rockism,” including the belief of punk rock that music could play a transgressive social role, should be abandoned. Dance and rock music, however, were interfused throughout the period and, far from surrendering to Thatcherism, steadfastly opposed it. The historical perspective on punk rock continues to be tainted by anti‐rockism nonethel…
Everyone's Given Up and Just Wants to Go Dancing”
Some adherents of dance musics such as acid house argued in the last half of the Thatcher era (1979–90) that “rockism,” including the belief of punk rock that music could play a transgressive social role, should be abandoned. Dance and rock music, however, were interfused throughout the period and, far from surrendering to Thatcherism, steadfastly opposed it. The historical perspective on punk rock continues to be tainted by anti‐rockism nonethel…
The Situationist International in American Hardcore Punk, 1982–2002
Electronic and print discussions of the influence of the theories of the Situationist International on punk rock remain unfortunately bound to 1977 and the Sex Pistols. This essay pieces together the neglected history of the interest in the Situationists that has persisted ever since in American hardcore punk, including groups ranging from the Feederz in the '80s to the Dillinger Four and the Panthers in the new millennium. The failure of the lef…
Special Issue of Rock Music Studies
Guest-edited by Neil NehringUniversity of Texas at AustinRock Music Studies is a new popular music journal launched by Taylor & Francis in 2014, under the co-editorship of Gary Burns and Thomas Kit...
Sir Michael and the Origin and Reception of “Street Fighting Man”
The political stance of Mick Jagger of the Rolling Stones during the tumultuous year of 1968, specifically its expression in the song “Street Fighting Man,” has in the last few years increasingly become an object of ridicule after his acceptance of establishmentarian accolades such as a knighthood. But revisiting his comments at the time and for decades afterwards on events of that year–the Grosvenor Square protest of the Vietnam War, in which he…
Introduction
Patti Smith and Modernism
A considerable number of academics writing on popular music have asserted that rock performers are identical with the dandy described in Charles Baudelaire’s “The Painter of Modern Life” (1863), even though he recasts the man-about-town as an intellectual afflicted by democracy and mass culture, and elsewhere deplores the invention of the camera simply for allowing the “mob” to gain access to paintings in mechanically reproduced form. Yet, despit…
Drowned, Washed Up, and Left for Dead
One of the most celebrated hits of all time, “Jumpin’ Jack Flash” (1968) took the Rolling Stones back to the Rock Olympus after a musically modest 1967. The song is a by-product of the turmoil of the late 1960s across the world, a statement of rebellious youth against the values of their parents. However, the song has never been approached from a linguistic or poetic point of view. The present study explores the semantics of the verses and the in…
Art (7 works) · Art history (6 works) · Music History and Culture (6 works) · Law (4 works) · Literature (4 works) · Political science (4 works) · Aesthetics (3 works) · History (3 works) · Musicology and Musical Analysis (3 works) · Visual arts (3 works)