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I'm Not Like Everybody Else

Biopolitics, Neoliberalism, and American Popular Music. Provocations

By (author) Jeffrey T. Nealon
Format: Paperback / softback
Publisher: University of Nebraska Press, Lincoln, United States
Published: 1st Oct 2018
Dimensions: w 127mm h 203mm d 9mm
Weight: 170g
ISBN-10: 149620865X
ISBN-13: 9781496208651
Barcode No: 9781496208651
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Synopsis
Despite the presence of the Flaming Lips in a commercial for a copier and Iggy Pop's music in luxury cruise advertisements, Jeffrey T. Nealon argues that popular music has not exactly been co-opted in the American capitalist present. Contemporary neoliberal capitalism has, in fact, found a central organizing use for the values of twentieth-century popular music: being authentic, being your own person, and being free. In short, not being like everybody else. Through a consideration of the shift in dominant modes of power in the American twentieth and twenty-first centuries, from what Michel Foucault calls a dominant "disciplinary" mode of power to a "biopolitical" mode, Nealon argues that the modes of musical "resistance" need to be completely rethought and that a commitment to musical authenticity or meaning-saying "no" to the mainstream-is no longer primarily where we might look for music to function against the grain. Rather, it is in the technological revolutions that allow biopolitical subjects to deploy music within an everyday set of practices (MP3 listening on smartphones and iPods, streaming and downloading on the internet, the background music that plays nearly everywhere) that one might find a kind of ambient or ubiquitous answer to the "attention capitalism" that has come to organize neoliberalism in the American present. In short, Nealon stages the final confrontation between "keepin' it real" and "sellin' out."

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"Nealon is right that musical discourse must change. It must recognize the way that music is listened to now and how it is used."-Barry Shank, Cultural Critique "This project clears a path through the stalemate of the 'authenticity' (an enduring watchword of most popular musicological scholarship) debate and boldly goes where few others have dared to go. As the new musicology moves to make sense of its relation to sound studies, this kinky little book is likely to emerge as an important, if vexed, touchstone."-John Mowitt, leadership chair in the critical humanities at the University of Leeds and author of Sounds: The Ambient Humanities