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When Did Art Music Become Separate From Popular Culture

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Pop music genre that emphasizes artistic styles over personal expressions

This article is about a postmodern approach to pop music. For the integration of high art values into popular music, come across Art music § Popular music. For the Lady Gaga album, see Artpop. For other uses, see Art popular (disambiguation).

Art pop
Stylistic origins
  • Pop[1]
  • pop art[2] [3]
Cultural origins Mid 1960s, United Kingdom and United States
Derivative forms
  • Mail-punk[4]
  • synth-pop[iv]
  • vaporwave[v]
Other topics
  • Art rock
  • industrial
  • list of art popular musicians
  • art world
  • avant-pop
  • commercialism
  • experimental pop
  • glam rock
  • low culture
  • New Romantic
  • ability pop
  • progressive popular

Art popular (as well typeset as art-pop or artpop) is a loosely divers style of pop music[ane] influenced past popular art'due south integration of high and depression culture, and which emphasizes the manipulation of signs, style, and gesture over personal expression.[6] [vii] Fine art pop artists may exist inspired by postmodern approaches or fine art theories[six] as well as other forms of art, such as way, fine fine art, cinema, and advanced literature.[3] [eight] They may deviate from traditional pop audiences and stone music conventions,[9] instead exploring ideas such every bit pop's condition equally commercial art, notions of artifice and the self, and questions of historical authenticity.

Starting in the mid 1960s, British and American pop musicians such every bit Brian Wilson, Phil Spector, and the Beatles began incorporating the ideas of the pop art move into their recordings.[i] English art pop musicians drew from their art school studies,[8] while in America the style drew on the influence of pop artist Andy Warhol and affiliated ring the Velvet Cloak-and-dagger,[10] and as well intersected with folk music's singer-songwriter movement.[1] The style would experience its "gilt age" in the 1970s among glam stone artists such as David Bowie and Roxy Music, who embraced theatricality and throwaway popular culture.[11]

Fine art popular'due south traditions would be continued in the late 1970s and 1980s through styles such as post-punk and synthpop likewise every bit the British New Romantic scene,[iv] [9] developing further with artists who rejected conventional rock instrumentation and structure in favor of dance styles and the synthesizer.[nine] The 2010s saw new art popular trends develop, such equally hip hop artists drawing on visual art and vaporwave artists exploring the sensibilities of contemporary capitalism and the Internet.

Characteristics [edit]

Art pop draws on postmodernism's breakdown of the high/low cultural boundary and explores concepts of bamboozlement and commerce.[12] [nb 1] The style emphasizes the manipulation of signs over personal expression, drawing on an aesthetic of the everyday and the disposable, in distinction to the Romantic and autonomous tradition embodied by art rock or progressive rock.[13] [nb 2] Sociomusicologist Simon Frith has distinguished the appropriation of art into pop music as having a particular concern with style, gesture, and the ironic use of historical eras and genres.[16] Central to particular purveyors of the fashion were notions of the self every bit a work of construction and artifice,[9] equally well as a preoccupation with the invention of terms, imagery, process, and affect.[17] The Independent 'south Nick Coleman wrote: "Art-pop is partly about attitude and style; but information technology's essentially virtually art. Information technology is, if you lot like, a mode of making pure formalism socially acceptable in a pop context.[xviii]

Cultural theorist Marking Fisher wrote that the development of fine art pop evolved out of the triangulation of pop, art, and fashion.[9] Frith states that it was "more or less" straight inspired by Pop art.[2] [3] [nb 3] Co-ordinate to critic Stephen Holden, art pop often refers to whatsoever popular fashion which deliberately aspires to the formal values of classical music and verse, though these works are ofttimes marketed by commercial interests rather than respected cultural institutions.[one] Writers for The Independent and the Financial Times have noted the attempts of art pop music to distance its audiences from the public at big.[20] [21] Robert Christgau wrote in The Hamlet Vocalization in 1987 that art-pop results "when a fascination with craft spirals upwards and in until it turns into an aestheticist obsession."[22]

Cultural groundwork [edit]

What seems clearer in hindsight ... is a distinction between the first wave of fine art school musicians, the London provincial r & b players who only picked upwards the maverick attitude and carried information technology with them into progressive rock, and a second generation, who applied art theories to popular music making

—Simon Frith, Art into Pop (1988)[23]

The boundaries between art and pop music became increasingly blurred throughout the second half of the 20th century.[24] In the 1960s, pop musicians such as John Lennon, Syd Barrett, Pete Townshend, Brian Eno, and Bryan Ferry began to take inspiration from their previous fine art school studies.[3] Frith states that in Britain, fine art school represented "a traditional escape road for the brilliant working course kids, and a convenance footing for young bands like the Beatles and across".[12] In Northward America, art pop was influenced past Bob Dylan and the Beat out Generation, and became more literary through folk music's singer-songwriter movement.[ane] Before progressive/art rock became the about commercially successful British audio of the early 1970s, the 1960s psychedelic move brought together fine art and commercialism, broaching the question of what information technology meant to be an "artist" in a mass medium.[25] Progressive musicians thought that artistic status depended on personal autonomy, and so the strategy of "progressive" rock groups was to nowadays themselves as performers and composers "above" normal pop practice.[26]

Another master influence on the development of art pop was the Pop fine art move.[1] The term "pop art", first coined to describe the aesthetic value of mass-produced goods, was directly applicable to the contemporary miracle of rock and curl (including Elvis Presley, an early Popular art icon).[27] According to Frith: "[Pop art] turned out to signal the end of Romanticism, to be an fine art without artists. Progressive rock was the bohemians' last bet ... In this context the key Pop art theorist was not [Richard] Hamilton or whatever of the other British artists who, for all their interest in the mass market, remained its academic admirers only, only Andy Warhol. For Warhol the significant issue wasn't the relative merits of 'high' and 'low' art but the relationship between all art and 'commerce'."[28] Warhol'due south Factory house band the Velvet Underground was an American group who emulated Warhol's art/pop synthesis, echoing his emphasis on simplicity, and pioneering a modernist avant-garde approach to fine art stone that ignored the conventional hierarchies of artistic representation.[29] [nb iv]

1960s: Origins [edit]

Holden traces fine art pop'southward origins to the mid 1960s, when producers such equally Phil Spector and musicians such equally Brian Wilson of the Beach Boys began incorporating pseudo-symphonic textures to their popular recordings, as well as the Beatles' beginning recordings with a string quartet.[1] [nb 5] In the words of author Matthew Bannister, Wilson and Spector were both known as "eremitic studio obsessives ... [who] habitually absented themselves from their own work", and similar Warhol, Spector existed "non as presence, only equally a controlling or organising principle behind and below the surfaces of media. Both vastly successful commercial artists, and both simultaneously absent and nowadays in their own creations."[35]

Writer Erik Davis called Wilson'due south fine art pop "unique in music history",[36] while collaborator Van Dyke Parks compared it to the contemporaneous work of Warhol and artist Roy Lichtenstein, citing his power to elevate common or hackneyed fabric to the level of "high art".[37] [nb 6] In his 2004 book Sonic Alchemy: Visionary Music Producers and Their Bohemian Recordings, David Howard credits the Beach Boys' 1966 single "Expert Vibrations" with launching the "cursory, shining moment [when] pop and art came together as unlikely commercial bedfellows."[41]

In a motion that was indicated by the Beatles, the Embankment Boys, Phil Spector, and Frank Zappa,[42] the dominant format of pop music transitioned from singles to albums, and many stone bands created works that aspired to make 1000 creative statements, where art rock would flourish.[1] Musicologist Ian Inglis writes that the cover art for the Beatles' 1967 anthology Sgt. Pepper's Lonely Hearts Club Band was "perceived every bit largely responsible for the connections betwixt fine art and pop to exist fabricated explicit".[43] Although Sgt. Pepper'south was preceded past several albums that had begun to bridge the line betwixt "disposable" pop and "serious" rock, it successfully gave an established "commercial" voice to an alternative youth culture.[44] Author Michael Johnson wrote that fine art popular music would continue to exist subsequent to the Beatles, only without ever achieving their level of popular success.[33] [nb 7]

The Who was labelled "the get-go pop art band" past their managing director, while fellow member Pete Townshend explains: "We stand for pop art clothes, pop fine art music and pop art behaviour ... we don't change offstage; we live popular art."[46] Frith considers their anthology The Who Sell Out (Dec 1967) "perchance the Pop art popular masterpiece", the Who using the "vitality" of commerce itself, a tactic echoed by Roy Wood's the Move and, later, Kevin Godley and Lol Creme of 10cc.[46] Townshend'south ideas were notable for their accent on commercialism: "[his] use of Pop art rhetoric ... referred not to music-making equally such – to the issue of self-expression – but to commercial music-making, to issues of packaging, selling and publicizing, to the problems of popularity and stardom."[46] In a May 1967 interview, Townshend coined the term "power popular" to describe the music of the Who, the Small Faces, and the Beach Boys. Power pop later developed as a genre known for its reconfiguration of 1960s tropes. Music journalist Paul Lester argued that this component could ratify power pop every bit one of the commencement postmodern music genres.[47]

1970s: New York scene and glam [edit]

Music journalist Paul Lester locates "the aureate age of balletic, intelligent art-popular" to when the bands 10cc, Roxy Music and Sparks "were mixing and matching from dissimilar genres and eras, well before the term 'postmodern' existed in the pop realm."[eleven] The effect of the Velvet Undercover gave stone musicians like Iggy Pop of the Stooges a cocky-consciousness about their work. Iggy was inspired to transform his personality into an art object, which would in turn influence singer David Bowie, and led to the Stooges' role equally the group linking 1960s hard rock to 1970s punk.[x] In the 1970s, a similarly cocky-witting art/pop customs (which Frith calls "the virtually significant" of the menses) began to coalesce in the Mercer Arts Center in New York. The school encouraged the continuation of the kinds of collaboration betwixt loftier and low fine art once exemplified past the Factory, as drummer Jerry Harrison (later on of Talking Heads) explained: "it started with the Velvet Cloak-and-dagger and all of the things that were identified with Andy Warhol."[10] [nb viii]

The glam rock scene of the early 1970s would over again draw widely on art school sensibilities.[12] Inspired partly by the Beatles' use of alter egos on Sgt. Pepper'due south,[48] glam emphasized outlandish costumes, theatrical performances, and allusions to throwaway pop culture phenomena, condign one of the well-nigh deliberately visual phenomena to emerge in rock music.[49] Some of its artists, like Bowie, Roxy Music, and ex-Velvet Hush-hush member Lou Reed, would continue the practices associated with the modernist avant-garde co-operative of art stone.[fourteen] [nb 9]

Bowie, a quondam art-school student and painter,[12] made visual presentation a central aspect of his work,[52] deriving his concept of art pop from the work and attitudes of Warhol and the Velvet Cloak-and-dagger.[53] Roxy Music is described by Frith as the "archetypical art pop band."[12] Frontman Bryan Ferry incorporated the influence of his mentor, pop art pioneer Richard Hamilton[49] [54] while synthesizer player Brian Eno drew on his written report of cybernetics and art under theorist Roy Ascott.[55] [nb x] Frith posits that Ferry and Bowie remain "the most significant influences in British pop", writing they were both concerned with "popular as commercial art", and together made glam rock into an fine art class to be taken seriously, dissimilar other "camp" acts such as Gary Glitter. This redefined progressive rock and revitalized the idea of the Romantic artist in terms of media fame.[57] According to Armond White, Roxy Music'due south date with pop art practices finer "showed that pop's surface frivolity and deep pleasure were legitimate and commanding pursuits."[17] Subsequently leaving Roxy Music in 1973, Eno would farther explore fine art pop styles on a series of experimental solo albums.[58] [nb 11] For the rest of the decade, he developed Warhol's arguments in a different direction from his contemporaries, and collaborated with a wide range of popular musicians of the era.[57]

1970s–80s: Post-punk developments [edit]

Cultural theorist Mark Fisher characterized a variety of musical developments in the tardily 1970s, including post-punk, synthpop, and particularly the work of High german electronic band Kraftwerk,[lx] as situated within fine art pop traditions.[four] He states that Bowie and Roxy Music's English language mode of art pop "culminated" with the music of the British group Japan.[eight] The Quietus characterized Nippon's 1979 album Tranquillity Life every bit defining "a very European form of detached, sexually-ambiguous and thoughtful fine art-pop" similar to that explored by Bowie on 1977'due south Low.[61] Brian Eno and John Cale would serve a crucial part in the careers of Bowie, Talking Heads, and many key punk and postal service-punk records.[57] Following the amateurism of the punk movement, mail service-punk era saw a return to the art schoolhouse tradition previously embodied by the work of Bowie and Roxy Music,[62] [4] with artists cartoon ideas from literature, art, cinema, and critical theory into musical and pop cultural contexts while refusing the common distinction between loftier art and low culture.[63] [64] [nb 12] An emphasis on multimedia functioning and visual art became common.[64]

Fisher characterized subsequent artists such as Grace Jones, the New Romantic groups of the 1980s, and Róisín Murphy as a role of an fine art pop lineage.[nine] He noted that the evolution of art popular involved the rejection of conventional rock instrumentation and structure in favor of dance styles and the synthesizer.[ix] The Quietus names English New Romantic human action Duran Duran, who were formatively influenced past the piece of work of Japan, Kraftwerk and David Bowie, every bit "pioneering art pop up to loonshit-packing level", developing the style into "a baroque, romantic escape."[61] Critic Simon Reynolds dubbed English vocalizer Kate Bush "the queen of fine art-pop", citing her merging of glamour, conceptualism, and innovation without forsaking commercial pop success during the late 1970s and 1980s.[68] Co-ordinate to The Concordian, "Running Up That Hill" was among the nigh distinctive and revolutionary works of 1980s art popular, containing "darting drum rhythms" and Bush-league'due south "dogged vocals".[67]

1990s–present [edit]

Björk performing in 2003 at Hurricane Festival.

Icelandic vocalist Björk was a prominent purveyor of art pop[69] for her wide-ranging integration of disparate forms of art and popular culture.[70] During the 1990s, she became art pop's almost commercially successful artist.[71] Discussing Björk in 2015, Jason Farago of The Guardian wrote: "The concluding 30 years in art history are in large role a story of collaborative enterprises, of collapsed boundaries between high art and low, and of the end of divisions betwixt media. Few cultural figures have made the distinctions seem as meaningless as the Icelandic singer who combined trip hop with 12-tone, and who brought the avant garde to MTV just before both those things disappeared."[72]

West'southward Yeezus Tour was described by Forbes as "the current mass cultural phenomenon all-time described as 'artpop.'"[73]

Co-ordinate to Barry Walters of NPR, 1990s rap group P.One thousand. Dawn developed a mode of "kaleidoscopic art-pop" that was initially dismissed past hip hop fans as "too soft, ruminative and far-ranging" but would eventually pave the way for the work of artists like Drake and Kanye Due west.[74] In 2013, Spin noted a "new art-pop era" in contemporary music, led by West, in which musicians describe on visual art as a signifier of wealth and extravagance also as creative exploration.[75] Fact labels West'due south 2008 album 808s & Heartbreak as an "art-pop masterpiece" which would accept a substantive influence on subsequent hip hop music, broadening the style across its contemporary emphasis on self-aggrandizement and blowing.[76] The New York Times ' Jon Caramanica described Due west's "thought-provoking and grand-scaled" works as having "widened [hip hop]'south gates, whether for middle-class values or high-style and high-art dreams."[77]

Contemporary female artists who "merge glamour, conceptualism, innovation and autonomy," such equally Grimes, Julia Holter, and FKA twigs, are frequently described as working in the tradition of Kate Bush.[68] Grimes is described by the Montreal Gazette as "an art-pop phenomenon" and role of "a long tradition of fascination with the pop star as artwork in progress", with particular attention drawn to role of the Net and digital platforms in her success.[78]

In a 2012 slice for Dummy, critic Adam Harper described an accelerationist zeitgeist in contemporary fine art-pop characterized by an ambiguous engagement with elements of contemporary capitalism.[v] He mentions the Internet-based genre vaporwave as consisting of underground fine art-pop musicians like James Ferraro and Daniel Lopatin[79] [80] "exploring the technological and commercial frontiers of 21st century hyper-capitalism's grimmest creative sensibilities".[5] Artists associated with the scene may release music via online pseudonyms while drawing on ideas of virtuality and synthetic 1990s sources such equally corporate mood music, lounge music, and muzak.[5]

Listing of artists [edit]

Notes [edit]

  1. ^ "If postmodernism means a breakdown of high/depression cultural boundaries, it ways too the end of this historical myth – which is where the fine art-pop musicians come in, complicating sociological readings of what music means, putting into play their own accounts of actuality and artifice."[7]
  2. ^ Historically, "art rock" has been used to draw at to the lowest degree two related, merely distinct, types of rock music.[14] The first is progressive rock, while the 2nd usage refers to groups who rejected psychedelia and the hippie counterculture in favor of a modernist, avant-garde approach divers by the Velvet Hole-and-corner.[14] In the stone music of the 1970s, the "art" descriptor was mostly understood to mean "aggressively avant-garde" or "pretentiously progressive".[15]
  3. ^ Musicologist Allan Moore surmises that the term "pop music" itself may have originated from Popular art.[19]
  4. ^ When the Velvet Hush-hush kickoff appeared in the mid 1960s, they faced rejection and were commonly dismissed as a "fag" ring.[30]
  5. ^ Through their influential work, Wilson and the Beatles' producer George Martin spread the thought of the recording studio as a creative environment that could help in the songwriting procedure.[32] Author Michael Johnson credits the Beach Boys' Pet Sounds (1966) and the Beatles' Sgt. Pepper's Solitary Hearts Club Band (1967) as the showtime documented "rise" of rock and roll.[33] Spector has besides been credited by journalist Richard Williams with transforming rock music as a performing fine art to an art which could only be in the recording studio, which "paved the mode for art rock".[34]
  6. ^ The Beach Boys were virtually disconnected from the cultural advanced, according to biographer Peter Ames Carlin, who concluded that – with the possible exception of Wilson – they "had [not] shown much discernible involvement in what you might phone call the world of ideas."[38] Wilson's unreleased Smile, conceived and recorded in 1966–67, has been described as an attempt to create "the great fine art pop album"[39] and the "preeminent psychedelic pop art argument" of the era.[40]
  7. ^ Frith likened the album'southward elaborate design to "reading the underground press ... [a skill that] was always synthetic around a sense of difference from the 'mass' popular audience. Art rock was 'superior' to all levels. ... the philistines had to be kept out." He also notes that Zappa targeted the consequence of pop commercialism with the comprehend of the Mothers of Invention'due south 1968 anthology We're Only in It for the Money, which parodied the cover of Sgt. Pepper's.[45]
  8. ^ Other students of the center included Laurie Anderson, Suicide'south Alan Vega, and Blondie's Chris Stein.[10]
  9. ^ Scholar Philip Auslander noted a pattern with artists who irreverently plundered older styles of music, such as Brill Edifice and Spector'southward Wall of Sound.[50] Producer Tony Visconti remembers that in 1970, he, Bowie, and T. Rex'south Marc Bolan would "get loftier and listen to Beach Boys albums and Phil Spector albums – we all had that in common, that nosotros loved the Beach Boys."[51]
  10. ^ Eno's initial musical influences were ideas from the classical avant-garde, like John Cage'southward indeterminacy, La Monte Young's minimalism, and the Velvet Surreptitious — specifically the band'due south John Cale.[56]
  11. ^ Eno's 1970s piece of work is cited past musicologist Leigh Landy as an archetypal example of a pop musician who "applied developments from the experimental sector while creating their own experimental popular sector".[59]
  12. ^ Among major influences on a variety of postal service-punk artists were postmodern novelists such as William S. Burroughs and J.1000. Ballard and advanced political movements such as Situationism and Dada.[65] Additionally, in some locations the creation of mail service-punk music was closely linked to the development of efficacious subcultures, which played important roles in the production of fine art, multimedia performances, fanzines related to the music. Simon Reynolds would notation: "Across the musicians, there was a whole cadre of catalysts and civilisation warriors, enablers and ideologues who started labels, managed bands, became innovative producers, published fanzines, ran hipster record stores, promoted gigs and organized festivals."[66]

References [edit]

  1. ^ a b c d e f g h i Holden, Stephen (February 28, 1999). "MUSIC; They're Recording, merely Are They Artists?". The New York Times . Retrieved July 17, 2013.
  2. ^ a b Frith & Horne 2016, p. 74.
  3. ^ a b c d Buckley 2012, p. 21.
  4. ^ a b c d east Fisher, Mark (2010). "You Remind Me of Gilt: Dialogue with Simon Reynolds". Kaleidoscope (9).
  5. ^ a b c d Harper, Adam (December seven, 2012). "Comment: Vaporwave and the pop-art of the virtual plaza". Dummy. Retrieved February viii, 2014.
  6. ^ a b Frith 1989, p. 116, 208.
  7. ^ a b Bannister 2007, p. 184.
  8. ^ a b c Fisher 2014, p. 5.
  9. ^ a b c d due east f g Fisher, Mark (Nov 7, 2007). "Glam's Exiled Princess: Roisin Tater". Fact. London. Archived from the original on Nov ten, 2007. Retrieved Nov 23, 2015.
  10. ^ a b c d Frith & Horne 2016, pp. 113–114.
  11. ^ a b Lester, Paul (June 11, 2015). "Franz and Sparks: this town is big enough for both of us". The Guardian.
  12. ^ a b c d e Frith 1989, p. 208.
  13. ^ Frith & Horne 2016, p. 98.
  14. ^ a b c Bannister 2007, p. 37.
  15. ^ Murray, Noel (May 28, 2015). "60 minutes of music that sum up fine art-punk pioneers Wire". The A.Five. Club.
  16. ^ Frith 1989, p. 97.
  17. ^ a b White, Armond. "The All-time of Roxy Music Shows Ferry's Talent for Exploring Pop While Creating It". Retrieved March 15, 2016.
  18. ^ Coleman, Nick (August 31, 2003). "Live Box". The Independent. Independent Print Express.
  19. ^ Moore 2016, "The (Very) Long 60s", pp. 12–13.
  20. ^ DJ Taylor (Baronial 13, 2015). "Electric Stupor: From the Gramophone to the iPhone: 125 Years of Pop Music by Peter Doggett, volume review". The Independent . Retrieved March 15, 2016.
  21. ^ a b Aspden, Peter. "The Sound and Fury of Popular Music." Financial Times. xiv Baronial 2015.
  22. ^ Christgau, Robert (February 24, 1987). "Christgau'due south Consumer Guide". The Village Voice . Retrieved April 24, 2019.
  23. ^ Frith & Horne 2016, p. 100.
  24. ^ Edmondson 2013, p. 1233.
  25. ^ Frith & Horne 2016, p. 99.
  26. ^ Frith & Horne 2016, pp. 74, 99–100.
  27. ^ Frith & Horne 2016, p. 103.
  28. ^ Frith & Horne 2016, p. 108.
  29. ^ Bannister 2007, pp. 44–45.
  30. ^ Bannister 2007, p. 45.
  31. ^ Masley, Ed (October 28, 2011). "Nearly 45 years subsequently, Beach Boys' 'Smile' complete". Arizona Central.
  32. ^ Edmondson 2013, p. 890.
  33. ^ a b Johnson 2009, p. 197.
  34. ^ Williams 2003, p. 38.
  35. ^ Bannister 2007, pp. 38, 44–45.
  36. ^ Davis, Erik (November nine, 1990). "Await! Listen! Vibrate! SMILE! The Apollonian Shimmer of the Beach Boys". LA Weekly. Archived from the original on December 4, 2014. Retrieved Jan 14, 2014.
  37. ^ Himes, Geoffrey. "Surf Music" (PDF). teachrock.org. Stone and Ringlet: An American History. Archived from the original (PDF) on November 25, 2015.
  38. ^ Carlin 2006, p. 62.
  39. ^ Richardson, Mark (November 2, 2011). "The Smile Sessions review". Pitchfork . Retrieved July 16, 2013.
  40. ^ Staton, Scott (September 22, 2005). "A Lost Pop Symphony". The New York Review of Books . Retrieved September 12, 2013.
  41. ^ Howard 2004, p. 66.
  42. ^ Julien 2008, pp. 30, 160.
  43. ^ Julien 2008, p. 102.
  44. ^ Holm-Hudson 2013, p. 10.
  45. ^ Frith & Horne 2016, pp. 57–58, 99.
  46. ^ a b c Frith & Horne 2016, p. 101.
  47. ^ Lester, Paul (February 11, 2015). "Powerpop: ten of the all-time". The Guardian.
  48. ^ MacDonald 2005, p. 232.
  49. ^ a b Molon & Diederichsen 2007, p. 73.
  50. ^ Auslander 2006, pp. 55, 86, 179.
  51. ^ Curtis 1987, p. 263.
  52. ^ Cavna, Michael. "Across the music: How David Bowie was ane of our smartest visual artists". The Washington Postal service . Retrieved March 14, 2016.
  53. ^ Jones, Jonathan (March 15, 2013). "David Bowie and the sexual stamina of Dorothy Iannones – the week in art". The Guardian . Retrieved March v, 2016.
  54. ^ Walker, John. (1987) "Bryan Ferry : music + fine art school". Cross-Overs: Fine art into Pop, Pop into Fine art.
  55. ^ Shanken, Edward (2002). "Cybernetics and Fine art: Cultural Convergence in the 1960s" (PDF). responsivelandscapes.com.
  56. ^ Frith & Horne 2016, p. 117.
  57. ^ a b c Frith & Horne 2016, p. 116.
  58. ^ Heller, Jason (June fourteen, 2012). "Getting started with Brian Eno, glam icon and fine art-pop pioneer". The A.V. Lodge. Chicago. Retrieved July 17, 2013.
  59. ^ Landy 2013, p. 167.
  60. ^ Fisher 2014, p. 36.
  61. ^ a b Sparham, Maddy (March 31, 2013). "Duran Duran Versus Japan: The Substance Of Style". The Quietus. Retrieved Jan viii, 2017.
  62. ^ Rojek 2011, p. 28.
  63. ^ Anindya Bhattacharyya. "Simon Reynolds interview: Pop, politics, hip-hop and postpunk" Socialist Worker. Issue 2053, May 2007.
  64. ^ a b Reynolds 2006, p. xxxi.
  65. ^ Reynolds 2006, p. 7.
  66. ^ Reynolds 2006, p. 29.
  67. ^ a b Cashen, Calvin (March eight, 2016). "Top art popular albums of the '80s". The Corncordian.
  68. ^ a b Reynolds, Simon (Baronial 21, 2014). "Kate Bush-league, the queen of art-popular who defied her critics". The Guardian . Retrieved March 5, 2016.
  69. ^ Hermes, Will (Jan 23, 2015). "Vulnicura Anthology Review". Rolling Stone. Wenner Publishing. Archived from the original on March 25, 2016. Retrieved March six, 2016.
  70. ^ "Björk's Been ARTPOP Since Before Gaga Was Born This Way". The Huffington Post. July 17, 2013. Retrieved Jan 2, 2016.
  71. ^ Hunter, James (October 1997). "Björk – Homogenic". Spin. Vol. xiii, no. 7. Spin Media. ISSN 0886-3032. Retrieved March 6, 2016.
  72. ^ Farago, Jason (March 4, 2015). "Björk review – a strangely unambitious hotchpotch". theguardian.com. Retrieved March four, 2015.
  73. ^ Greenburg, Zack O'Malley. "Kanye Westward Makes His Own Artpop On Yeezus Bout". Forbes . Retrieved July 25, 2016.
  74. ^ Walters, Barry. "Dev Hynes Wants To Know What It Feels Like To Be Free". NPR . Retrieved August 22, 2016.
  75. ^ Shepherd, Julianne Escobedo. "Popular for Art'due south Sake Goes Varoom!". Spin Magazine . Retrieved July 25, 2016.
  76. ^ Twells, John (June 18, 2010). "Drake: Thank Me After". Fact Magazine . Retrieved July 25, 2016.
  77. ^ Caraminica, Joe (June 11, 2013). "Behind Kanye'south Mask". The New York Times.
  78. ^ O'Mara, Jamie. "Grimes's star shines online". Montreal Gazette . Retrieved March 12, 2016.
  79. ^ Simpson, Paul. "Biography". AllMusic . Retrieved July iv, 2016.
  80. ^ Beks, Ash. "Vaporwave is not expressionless". The Essential. The Essential. Archived from the original on December 10, 2015. Retrieved Dec 8, 2015.

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  • Molon, Dominic; Diederichsen, Diedrich (2007). Sympathy for the Devil: Art and Rock and Roll Since 1967. Yale University Press. ISBN978-0-300-13426-1.
  • Edmondson, Jacqueline, ed. (2013). Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped our Culture. ABC-CLIO. ISBN978-0-313-39348-8.
  • Fisher, Mark (2014). "'Merely When I Think I'g Winning'". Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures. Zero Books. ISBN978-1-78099-226-6.
  • Frith, Simon (1989). Facing the Music: A Pantheon Guide to Popular Culture . Pantheon Books. ISBN0-394-55849-9.
  • Frith, Simon; Horne, Howard (2016) [Beginning published 1988]. Art Into Pop. Routledge. ISBN978-1-317-22803-5.
  • Holm-Hudson, Kevin, ed. (2013). Progressive Stone Reconsidered. Routledge. ISBN978-ane-135-71022-four.
  • Landy, Leigh (2013). What's the Matter with Today'southward Experimental Music. Routledge. ISBN978-3-7186-5168-ix.
  • MacDonald, Ian (2005). Revolution in the Head: The Beatles' Records and the Sixties (tertiary ed.). Chicago Review Press. ISBN978-1-55652-733-3.
  • Johnson, Michael (2009). Pop Music Theory. Lulu.com. ISBN978-0-578-03539-0. [ cocky-published source ]
  • Julien, Oliver (2008). Julien, Olivier (ed.). Sgt. Pepper and the Beatles: It Was Forty Years Ago Today. Ashgate. ISBN978-0-7546-6708-7.
  • Moore, Allan F. (2016). Song Ways: Analysing and Interpreting Recorded Pop Song. Routledge. ISBN978-one-317-05265-4.
  • Reynolds, Simon (2006). Rip It Upward and Outset Again: Postpunk 1978–1984. Penguin Publishing Group. ISBN978-1-101-20105-3.
  • Rojek, Chris (2011). Popular Music, Pop Culture . Polity. ISBN978-0-7456-4263-5.
  • Williams, Richard (2003). Phil Spector: Out of His Head. Music Sales Group. ISBN978-0-7119-9864-three.

Further reading [edit]

  • Gendron, Bernard (2002). Between Montmartre and the Mudd Club: Popular Music and the Advanced. University of Chicago Press. ISBN978-0-226-28737-9.
  • Harron, Mary (1980). "Popular Art/Art Pop: The Andy Warhol Connection". In Hoskyns, Barney (ed.). The Sound and the Fury: 40 Years of Classic Rock Journalism: A Rock'south Backpages Reader. Bloomsbury USA (published 2003). ISBN978-1-58234-282-five. (subscription required)
  • Waterman, Bryan (2011). Television's Marquee Moon. Bloomsbury Publishing. ISBN978-ane-4411-4529-1.

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Source: https://en.wikipedia.org/wiki/Art_pop

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