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Gang of Four's Entertainment!

Subjects

Artists:

Gang of Four

Content Type:

33 1/3 Books

Music Genres:

New Wave, Post-Punk

Periods:

1970s

Related Content

Gang of Four's Entertainment!

Kevin J. H. Dettmar

Kevin J. H. Dettmar is W. M. Keck Professor of English at Pomona College. He is the author of Is Rock Dead?, editor of The Cambridge Companion to Bob Dylan, and co-editor of Reading Rock & Roll: Authenticity, Appropriation, Aesthetics. Author affiliation details are correct at time of print publication.

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  • DOI:
    10.5040/9781501396908
  • ISBN:
    978-1-6235-6065-2 (paperback)

    978-1-6235-6285-4 (epdf)

    978-1-6235-6286-1 (epub)

    978-1-5013-9690-8 (online)
  • Date of Publication:
    2014
  • Published Online:
    2017
  • Place of Publication:
    London
  • Printer/Publisher:
    Bloomsbury Academic
  • Series Title:
    33 1/3
  • Edition:
    First Edition
Gang of Four's Entertainment!
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Following hard on the explosion of British punk, in 1979 Gang of Four produced post-punk’ smartest record, Entertainment! For the first time, a band wedded punk’s angry energy to funk’s propulsive beats-and used that music to put across lyrics that brought a heady mixture of Marxist theory and situationism to exposing the cultural politics of everyday life.

But for an American college student from the suburbs-and, one expects, for many, many others, including British youth-Jon King’s and Andy Gill’s mumbled lyrics were often all but unintelligible. Political rock ‘n’ roll is always something of an oxymoron: rock audiences by and large don’t tune in to be lectured to. But what can it mean that a band that made pop songs as political theory actively resisted making that theory legible?

Coming to terms with the impact of Entertainment! requires us to take the mondegreen-the misunderstood lyric-seriously. The old joke has it that the title of R.E.M.’s debut album should have been not Murmur, but Mumble: true, so far as it goes. But that’s the title, too, of rock ‘n’ roll's Greatest Hits compilation-and that strategic inarticulateness itself, which creates such an important role for the listener, has an important politics.