Florestan and Butt-head
A Glimpse into Postmodern Music Criticism
Bibliographic Data
| ID | 14802034 |
|---|---|
| Authors | Andrew Dell’antonio (corresponding author), Andrew Dell'Antonio |
| Year | 1999 |
| Volume | 17 |
| Issue | 1 |
| Pages | 65 |
| Publication date | 1999-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | American Music (JOURNAL) |
| Journal identifiers | ISSN: 0734-4392 • E-ISSN: 1945-2349 |
| Publisher | University of Illinois Press (PUBLISHER • US) |
| DOI | 10.2307/3052374 |
| OpenAlex | W2325643704 |
| Language | EN |
| References cited | 1 |
Much reviled in the press as avatars of teenage nihilism, banished from prime time to late night owing to their purported encouragement of impressionable young pyromaniacs, Beavis & Butt-head have drawn a substantially larger audience than almost all other MTV programs: in 1995 the show grossed over $17 million in advertising revenues for the network, and box office sales for their feature-length film topped $55 million within the first two months of its December 1996 release. More significantly for the focus of essay, Mike Judge's creations have been the only MTV video-jockeys to address music videos critically. While other programs merely present videos without critique, Beavis and Butt-head overlay their soundtracks with pointed, sometimes scathing criticism. Such criticism often takes the form of statements along the lines of this video sucks (admittedly not trenchantly insightful analysis). Yet just as often the boys' comments do address relevant issues about the video's imagery or musical style. And by interweaving insightful with
Aesthetics · Art · Art history · Criticism · Literature · Media studies · Musical · Nihilism · Political science · Postmodernism · Sociology · Visual arts · Digital Games and Media · Law · Music History and Culture
| Highly cited | No |
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