Very little research has been conducted on how madness is represented in popular music. In an effort to redress this imbalance, Nicola Spelman identifies links between the anti-psychiatry movement and representations of madness in popular music of the 1960s and 1970s, analysing the various ways in which ideas critical of institutional psychiatry are embodied both verbally and musically in specific songs by David Bowie, Lou Reed, Pink Floyd, Alice Cooper, The Beatles, and Elton John.
Very little research has been conducted on how madness is represented in popular music. In an effort to redress this imbalance, Nicola Spelman identifies links between the anti-psychiatry movement and representations of madness in popular music of the 1960s and 1970s, analysing the various ways in which ideas critical of institutional psychiatry are embodied both verbally and musically in specific songs by David Bowie, Lou Reed, Pink Floyd, Alice Cooper, The Beatles, and Elton John.
Nicola Spelman is a Senior Lecturer at the University of Salford where she teaches popular music composition and musicology. Her research interests surround issues of representation within popular music and she is currently working on her second book, this time exploring women musicians and their challenge to the 'myths of madness'.
Inhaltsangabe
Introduction; Chapter 1 'All the Madmen': Denouncing the Psychiatric Establishment and Supposedly 'Sane' Through the Art of Role Play; Chapter 2 'Kill Your Sons': Lou Reed's Verification of Psychiatry's Covert Social Function; Chapter 3 Reversing Us and Them: Anti-Psychiatry and Pink Floyd's The Dark Side of the Moon; Chapter 4 'The Ballad of Dwight Fry': Madness as Social Deviancy, and the Condemnation of Involuntary Confinement; Chapter 5 The Fool's Demise: Critiques of Social Exclusion Found in the Beatles' 'The Fool on the Hill' and Elton John's 'Madman Across the Water'; Chapter 6 Conclusion;
Introduction; Chapter 1 'All the Madmen': Denouncing the Psychiatric Establishment and Supposedly 'Sane' Through the Art of Role Play; Chapter 2 'Kill Your Sons': Lou Reed's Verification of Psychiatry's Covert Social Function; Chapter 3 Reversing Us and Them: Anti-Psychiatry and Pink Floyd's The Dark Side of the Moon; Chapter 4 'The Ballad of Dwight Fry': Madness as Social Deviancy, and the Condemnation of Involuntary Confinement; Chapter 5 The Fool's Demise: Critiques of Social Exclusion Found in the Beatles' 'The Fool on the Hill' and Elton John's 'Madman Across the Water'; Chapter 6 Conclusion;
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