sgt. pepper's lonely hearts club band deluxe edition vol. three pc-153

I presume, thus, with my own analysis that once one goes beyond mythology, a missed encounter is readily apparent. The Missed Encounter, for me, is a heuristic, a point-of-departure. As against the more commonly theorized Popular Front and Punk eras which I stipulate as consummated encounters, the sixties, aesthetically and politically – did not coalesce in the same sense.

I engage what could have taken place, that is to say, if the implicit metaphysical and practical connection between rock music culture and the Left had been consummated, by examining why this could not have taken place, why there was a missed encounter. To continue this engagement, I have deployed what I have called a theory of the missed encounter. From this project’s standpoint, it was the Left that missed an encounter with the counterculture, not the counterculture that missed an encounter with the Left. In engaging this debate, I use canonical figures of the era as my primary case studies as well as what I call my excursions – miniature analyses that capture the broader point I am making in my cognitive mapping of the cultural production of the long sixties. Rock music was neither a direct instantiation of the times, as Anderson implies, nor was it an entirely new form that must be schematized sui generis with a new set of axioms, as suggested by Fernbach. Within this methodological debate we see inscribed the misunderstanding the sixties New Left had of the sixties counterculture, and thus the conditions of possibility for a missed encounter.

The debate was in the first instance methodological, formal/technical vs. This dissertation engages an unresolved debate on the ‘rock aesthetic’ in New Left Review, between Perry Anderson and David Fernbach while pointing toward a new dialectical social theory with which to analyze cultural form in general and music in particular.

Sgt. pepper's lonely hearts club band deluxe edition vol. three pc-153