The Blizzard of Oz
Nick Cave’s Wearisome Ubiquity
Bibliographic Data
| ID | 21836471 |
|---|---|
| Authors | Dean Biron (0009-0002-4810-8523, Queensland University of Technology, corresponding author) |
| Year | 2023 |
| Volume | 10 |
| Issue | 3 |
| Pages | 220-230 |
| Publication date | 2023-09-02 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Rock Music Studies (JOURNAL) |
| Journal identifiers | ISSN: 1940-1159 • E-ISSN: 1940-1167 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/19401159.2023.2227001 |
| OpenAlex | W4382068133 |
| Language | EN |
| References cited | 3 |
Nick Cave is a hugely successful rock musician who has progressed from post-punk outsider in the 1980s to widely lauded singer-songwriter in the twenty-first century, while simultaneously enjoying critical recognition in fields such as literature and film. This article uses Cave’s 2022 book of interviews Faith, Hope and Carnage, as well as his ongoing blog The Red Hand Files, as a stepping-off point to consider his career trajectory in the context of longstanding accusations of misogyny, his extensive public commentaries on grief (stemming from the 2015 death of his son), and Cave’s latter-day excursions into conservative political commentary
Archaeology · Art · Art history · Cave · Faith · Grief · Political science · Politics · Punk · Theology · History · Law · Music History and Culture · Philosophy · Psychology
| Highly cited | No |
|---|