Rock Concerts Research Articles

ROCK CONCERTS IN HUNGARY IN THE 1980s

In our study we analyse the characteristic features of rock concerts in Hungary during the last years of communist rule. We distinguish between `state rock', a trend similar to pop music, and `concert rock'. During the 1980s we carried out participant observation at rock concerts and conducted interviews with young concert goers. We view rock concerts as scenes from a musical subculture in our study. The effects of two types of rock concerts - hard-rock and underground - relating to the `voice of the rebel' and to the `voice of the conservative' (the revolt against authority manifested in concerts and its role in the socialisation of young people) are analysed, as is the role the concerts played in the lives of the fans. Hard-rock concerts socialised young males for the role of working-class man. Underground concerts, on the other hand, socialised young people for the roles of the intellectual, artist and bourgeois. On the basis of the above findings, we conclude that rock music played a politically progressive role under communism through its function of retaining the values of different social strata.

Global culture, local politics

A number of local authorities have, in the last ten years, built or subsidized venues for rock and pop concerts. Previously, such ventures were left to the private sector. This article explores the reasons for this local state involvement, and draws attention to its importance for the study of leisure in general, and popular music in particular. It argues that local authorities have moved into popular music provision to meet new political and economic goals, but that such moves can only be explained fully by changes in popular culture itself. Accounting for direct political support of ‘commercial’ entertainment highlights a key fact about leisure: that its politics are located in both its organization and its enjoyment.

Change Where You Might Least Expect It: Accounting Education

E ^^^^L-mmm^^^^M ^^^^L-mmm^^^^M very one knows what classes in the first accounting course are like: endless replications of number crunches based on rules that have little to do with any reality other than the course grade. The class is highly subscribed because accounting graduates get good jobs, because it is a prerequisite for other courses, or because parents think it is a good idea. It is rarely described by students as interesting or fun. Right? Not for the students in Dick Dietrich's Accountancy 201 class at the University of Illinois. Instead of getting a syllabus with strings of exercise numbers, they are introduced to Sandy, a recent graduate who has a sudden opportunity to promote a rock concert (see box). Working in groups, the participants take Sandy's place planning the concert. They grapple with selecting performers, negotiating contracts, and reporting on their progress to Sandy's very generous grandparents. From the other side of the instructional divide, Professor Dietrich and his colleagues Anita Feller and Larry Tomassini portray the agents for the bands, arena management, and ticket sellers in simulated negotiations with the student groups.

Prolegomena to Any Aesthetics of Rock Music

In this chapter, the author tries to get at the nature of those differences, and in so doing, if only in a negative way, the route that aesthetics of rock music might take. He initially make the contrast between rock and European concert music as strong and sharp as possible, which will lead to some one-sided and simplistic distinctions between the two genres. The materiality of tone, or more accurately, of the performance of tones, is only one important material element of rock music. Classical aesthetics of music explicitly excludes questions concerning how music feels or sounds, and the emotional reactions music provokes, from considerations of musical beauty. Part of the intensity of rock performance has to do with an aspect of rock that is often held against it: the sheer volume or loudness of the music. In rock music, the voice had always been the main vehicle of expression, and the factor that could make or break a song.

Open air rock concert: an organised disaster.

To describe the planning and implementation of health care provision at a mass gathering, and to describe the conditions treated at such an event. When approximately 93,000 fans gathered outdoors in Sydney's Centennial Park, a natural reserve, for Australasia's largest ever outdoor rock concert, there was an obvious potential for medical disaster. At most disasters or mass gatherings, accurate patient numbers and details are not available, but an organised patient data collection system allowed the case load at this event to be clearly defined. This showed that 450 patients were attended to by the first aid teams. Triage identified 36 of these as having conditions serious enough to require admission to the medical area. Seven of these patients were ultimately transferred to hospital. A brief practical outline is provided of the medical planning for the concert, detailing the staff and equipment, how to avoid potential problems, the use of voluntary organisations, and specific site organisation. Key points in the medical planning, organisation and practicalities, especially those which are vital to any disaster response, are highlighted. Solutions to recurrent problems experienced by medical personnel involved with mass gatherings or disasters are suggested. The lack of practice in implementing a multiple casualty or disaster plan may be remedied by organised responses to mass events.

Hearing: the effects of noise.

We live in a noisy world. The clamor and din of modern society has increased in variety, if not in prevalence and intensity, in the past decades, making noise America's most widespread nuisance. Excessive noise exposure annoys individuals, produces stress, impairs the ability to communicate, interferes with work and play activities, and, in high enough doses, produces permanent damage to the auditory system, which leads to significant hearing loss. Noise exposure associated with the workplace has been known to produce hearing loss for centuries. More than 20 years ago the U.S. Department of Labor promulgated regulations designed to protect the hearing of employees who work in noisy environments. However, these regulations failed to consider noise exposures outside the workplace, and recent evidence suggests that these exposures are potentially hazardous for millions of Americans. The most important sources of nonoccupational noise exposure are hunting and target shooting, listening to amplified music through headphones, and attendance at rock concerts. For each source, an assessment of risk of hearing loss is made.

Noise exposure in children and youths.

Over the past several years there has been an increasing concern about excessive noise exposure in children and youths. Noise-induced hearing loss, once considered to be an occupational hazard, can be caused by any acoustic environment with sufficient energy to damage the cochlea. This presentation reviews available data on exposure levels and patterns from the most common sources of nonoccupational noise in children: Impulse noise from toy cap pistols and firecrackers in children and small-caliber firearms in youths, attendance at rock concerts, listening to amplified music through stereo headphones; and noisy school and leisure activities. For each exposure, consideration is given to the ‘‘dose’’ of noise experienced by the typical consumer, and the distribution of ‘‘doses’’ across users. The risk of each noisy activity causing or contributing to noise-induced hearing loss is determined by considering these factors and the prevalence of the activity in children and youths. Strategies are proposed to educate young consumers about the potential hazards to hearing from these exposures. [Work supported by NIOSH.]

Power and restraint: the moral dimension of police work

Preface Introduction Standards of Police Ethics The Moral Dimensions of Police Work A Social Contract Perspective on the Police Role Moral Standards for Police Work Applying the Standards to Cases Rock Concert Dispute over a Bicycle Calling in a Favor Child Molester Conclusion Bibliography Index

Stone alone: the story of a rock 'n' roll band

For 25 years Bill Wyman was silent Stone, the quiet bass player in one of the world's greatest rock and roll bands. Whilst maintaining an unassuming image both on and off stage, Wyman also kept a diary; the resultant autobiography represents a note by note rendition of the Rolling Stones' tumultuous years. From the outset the Stones were cast as the bad boys of rock. Wyman recalls the Stones' years of apprenticeship as they evolved their tough sound under the leadership of R and B devotee Brian Jones, and describes in the hair-raising chaos and violence of their early tours. He is frank when describing the wildness and intricacies of the Stones' personal affairs, the dynamics of the musicians in and out of the studio, their scandalous legal problems, financial and management crises, conflicts over songwriting credits, the effects of drugs on their music and lives, and the circumstances leading up to Brian Jones' tragic death on the eve of the Stones' and Britain's biggest ever rock concert.

An Interview with Edward Sanders

Born in Kansas City on August 17, 1939, Ed Sanders migrated to New York's Greenwich Village as a young man. From this point on, as voracious reader and tireless literary artiste, he became a full-fledged writer (of poetry, fiction, and investigative journalism), editor, Peace Eye Bookstore owner, musician (founding member of Fugs), and antiwar activist. appearance of Poem from Jail from City Lights Books in 1963 was followed by a steady stream of poetry collections, many of which are excerpted in Sanders's collected poems, Thirsting for Peace in a Raging Century (Coffee House Press, 1987). Sanders's work, despite its variety of intonations, has always remained committed to idea promulgated by his Investigative Poetry (City Lights Books, 1975): poetry should again assume responsibility for description of history. As Charles Olson once noted, Sanders's work advances in a direction of production which probably isn't even guessed at. In 1975 edition of Contemporary Poets, Don Byrd remarked that in Sanders's poetry the raw energy of a 1960s-style peace march, a rock concert, and an orgy impels a fine intelligence. Many of his poems can be read as political protest; some may be read, by a reader intent upon it, as pornography. This last possibility may explain why Sanders's work, soundly planted in his enthusiastic, scholarly study of classics, Egyptology, political philosophy, and English romantics, is not as widely circulated as it should be. In 1979, in an essay introducing John Clarke's End of This Side, The Clarke-Boat, O-Boat, and Bard-Boat, Sanders described modern poet's role as a perpetuation of Noah's task. He argues that the establishment of mythic poetry and National Epic,

Effect of crowd size on patient volume at a large, multipurpose, indoor stadium

A prediction of patient volume expected at “mass gatherings” is desirable in order to provide optimal on-site emergency medical care. While several methods of predicting patient loads have been suggested, a reliable technique has not been established. This study examines the frequency of medical emergencies at the Syracuse University Carrier Dome, a 50,500-seat indoor stadium. Patient volume and level of care at collegiate basketball and football games as well as rock concerts, over a 7-year period were examined and tabulated. This information was analyzed using simple regression and nonparametric statistical methods to determine level of correlation between crowd size and patient volume. These analyses demonstrated no statistically significant increase in patient volume for increasing crowd size for basketball and football events. There was a small but statistically significant increase in patient volume for increasing crowd size for concerts. A comparison of similar crowd size for each of the three events showed that patient frequency is greatest for concerts and smallest for basketball. The study suggests that crowd size alone has only a minor influence on patient volume at any given event. Structuring medical services based solely on expected crowd size and not considering other influences such as event type and duration may give poor results.

The Accidental Tourist: Medical Emergencies in the Air

Each year 550 million air travelers pass through the 25 busiest airports in the United States.¹More people enplane, deplane, and transfer through Chicago's O'Hare International Airport annually than live in Australia, New Zealand, Sweden, Finland, Norway, Denmark, Switzerland, Ireland, Greece, and the Congo combined. With such large congregations of people in unusual conditions, both in the air and on the ground, one might expect some unusual occurrences of medical emergencies. In this issue ofThe Journal, Cummins and Schubach²report on their survey of emergency medical responses at one large air terminal, the Seattle-Tacoma International Airport. In the 1-year prospective study, they found that the frequency of emergency calls was relatively low, approximately 1 per 20 000 traveling passengers. This incidence is probably similar to or smaller than what is seen at a football game, rock concert, or any other large gathering of reasonably healthy people. Interestingly,

Notes on Popular Theatre ... / 2: Now More Than Ever

As we find ourselves living in what Theodor Adorno called a “fully administered” society, and macro-control units such as television, rock concerts and Maclean’s magazine reduce our human experience to pastiche and comic book characters, theatre is one possibility for artists and the public to engage in social research, to celebrate common rituals, to provide a form of community therapy or to allow catharsis in the face of unsolvable dilemmas of human existence.

Panic and the Breakdown of Social Order: Popular Myth, Social Theory, Empirical Evidence

(1987). Panic and the Breakdown of Social Order: Popular Myth, Social Theory, Empirical Evidence. Sociological Focus: Vol. 20, No. 3, pp. 171-183.

A Superconductivity Happening

A Superconductivity Happening

Computer analysis of sound at a rock concert

Computer analysis of sound at a rock concert

ロックコンサート聴取に関する聴覚的検討

ロックコンサート聴取に関する聴覚的検討

Investigation of auditory effect of a rock concert

Investigation of auditory effect of a rock concert

Marijuana use among middle-class adolescents.

One hundred sixty-two adolescents being seen for sick or well visits at two suburban private pediatric practices completed an anonymous, written questionnaire about drug habits. The respondents' ages ranged from 14 to 17 years; all were white and from middle-class or upper-middle-class families. The adolescents reported high self-esteem, good general health, and few psychologic problems. The majority of respondents stated that they and their good friends never used drugs. Seven adolescents (4%), however, reported having used marijuana during the previous week, and 13 (8%) during the previous month. When asked about the frequency of marijuana use by their good friends, 13 respondents (8%) said their friends had smoked marijuana 51 to 100 times, and another ten (6%) replied 21 to 50 times. The most frequently cited source of drugs was another student at school, whereas places drugs were commonly used included parties, rock concerts, and friends' houses. Even among a population of middle-class adolescents having follow-up in a suburban pediatric practice, use of marijuana and other drugs may constitute a serious health and psychologic problem. Physicians caring for adolescents must be aware of patterns of drug availability and use in their community, and should be prepared to recognize and remediate drug-related problems occurring in their patients.

Temporary threshold shifts from attendance at a rock concert

The relation between exposure level and hearing loss in rock concert attendees was studied. Six volunteer subjects, ages 16–44, participated. All except the 44‐year‐old had normal hearing sensitivity, as revealed by audiometric evaluations made immediately before the concert. They attended a Bruce Springsteen concert at the St. Louis Arena and returned to CID for another hearing test within 30 min following the concert. Noise exposure was assessed by having two subjects, seated at different locations in the arena, wear calibrated dosimeters during the event. Sixteen hours after the concert all subjects returned for a final audiometric evaluation. Results indicated that the average exposure level was 100–100.6 dBA during the 412‐h concert. Five of the six attendees had significant threshold shifts (< 50 dB) predominately in the 4‐kHz region. Measures made 16 h after the concert and thereafter indicated that hearing returned to normal in all subjects. Although no PTS was observed, comparison of these data with studies of hearing loss and cochlear damage in animal models suggests that these subjects may have sustained some sensory cell loss from this exposure. [Work supported by NIOSH and NINCDS.]