This interdisciplinary volume explores the girl's voice and the construction of girlhood in contemporary popular music, visiting girls as musicians, activists, and performers through topics that range from female vocal development during adolescence to girls' online media culture. While girls' voices are more prominent than ever in popular music culture, the specific sonic character of the young female voice is routinely denied authority. Decades old cliches of girls as frivolous, silly, and deserving of contempt prevail in mainstream popular image and sound. Nevertheless, girls find ways to raise their voices and make themselves heard. This volume explores the contemporary girl's voice to illuminate the way ideals of girlhood are historically specific, and the way adults frame and construct girlhood to both valorize and vilify girls and women. Interrogating popular music, childhood, and gender, it analyzes the history of the all-girl band from the Runaways to the present; the changing anatomy of a girl's voice throughout adolescence; girl's participatory culture via youtube and rock camps, and representations of the girl's voice in other media like audiobooks, film, and television. Essays consider girl performers like Jackie Evancho and Lorde, and all-girl bands like Sleater Kinney, The Slits and Warpaint, as well as performative 'girlishness' in the voices of female vocalists like Joni Mitchell, Beyonce, Miley Cyrus, Taylor Swift, Kathleen Hanna, and Rebecca Black. Participating in girl studies within and beyond the field of music, this book unites scholarly perspectives from disciplines such as musicology, ethnomusicology, comparative literature, women's and gender studies, media studies, and education to investigate the importance of girls' voices in popular music, and to help unravel the complexities bound up in music and girlhood in the contemporary contexts of North America and the United Kingdom.

This book examines do-it-yourself (DIY) approaches to the collection, preservation, and display of popular music heritage being undertaken by volunteers in community archives, museums and halls of fame globally. DIY institutions of popular music heritage are much more than 'unofficial' versions of 'official' institutions; rather, they invoke a complex network of affect and sociality, and are sites where interested people - often enthusiasts - are able to assemble around shared goals related to the preservation of and ownership over the material histories of popular music culture. Drawing on interviews and observations with founders, volunteers and heritage workers in 23 DIY institutions in Australasia, Europe and North America, the book highlights the potentialities of bottom-up, community-based interventions into the archiving and preservation of popular music's material history. It reveals the kinds of collections being housed in these archives, how they are managed and maintained, and explores their relationship to mainstream heritage institutions. The study also considers the cultural labor of volunteers in the DIY institution, arguing that while these are places concerned with heritage management and the preservation of artefacts, they are also extensions of musical communities in the present in which activities around popular music preservation have personal, cultural, community and heritage benefits. By looking at volunteers' everyday interventions in the archiving and curating of popular music's material past, the book highlights how DIY institutions build upon national heritage strategies at the community level and have the capacity to contribute to the democratization of popular music heritage. This book will have a broad appeal to a range of scholars in the fields of popular music studies, musicology, ethnomusicology, archive studies and archival science, museum studies, critical heritage studies, cultural studies, cultural sociology and media studies.

When Music Migrates uses rich material to examine the ways that music has crossed racial faultlines that have developed in the post-Second World War era as a consequence of the movement of previously colonized peoples to the countries that colonized them. This development, which can be thought of in terms of diaspora, can also be thought of as postmodern in that it reverses the modern flow which took colonizers, and sometimes settlers, from European countries to other places in the world. Stratton explores the concept of 'song careers', referring to how a song is picked up and then transformed by being revisioned by different artists and in different cultural contexts. The idea of the song career extends the descriptive term 'cover' in order to examine the transformations a song undergoes from artist to artist and cultural context to cultural context. Stratton focuses on the British faultline between the post-war African-Caribbean settlers and the white Britons. Central to the book is the question of identity. For example, how African-Caribbean people have constructed their identity in Britain can be considered through an examination of when 'Police on My Back' was written and how it has been revisioned by Lethal Bizzle in its most recent iteration. At the same time, this song, written by the Guyanese migrant Eddy Grant for his mixed-race group The Equals, crossed the racial faultline when it was picked up by the punk-rock group, The Clash. Conversely, 'Johnny Reggae', originally a pop-ska track written about a skinhead by Jonathan King and performed by a group of studio artists whom King named The Piglets, was revisioned by a Jamaican studio group called The Roosevelt Singers. After this, the character of Johnny Reggae takes on a life of his own and appears in tracks by Jamaican toasters as a Rastafarian. Johnny's identity is, then, totally transformed. It is this migration of music that will appeal not only to those studying popular music, but

This book bridges a gap in existing scholarship by foregrounding the contribution of women to the nineteenth-century Lied. Building on the pioneering work of scholars in recent years, it consolidates recent research on women's achievements in the genre, and develops an alternative narrative of the Lied that embraces an understanding of the contributions of women, and of the contexts of their engagement with German song and related genres. Lieder composers including Fanny Hensel, Clara Schumann, Pauline Viardot-Garcia and Josephine Lang are considered with a stimulating variety of analytical approaches. In addition to the focus on composers associated with history and theory of the Lied, the various chapters explore the cultural and sociological background to the Lied's musical environment, as well as engaging with gender studies and discussing performance and pedagogical contexts. The range of subject matter reflects the interdisciplinary nature of current research in the field, and the energy it generates among scholars and performers. Women and the Nineteenth-Century Lied aims to widen readers' perception of the genre and help promote awareness of women's contribution to nineteenth-century musical life through critical appraisal of the cultural context of the Lied, encouraging acquaintance with the voices of women composers, and the variety of their contributions to the repertoire.

Listening according to mood is likely to be what most people do when they listen to music. We want to take part in, or even be part of, the emerging world of the musical work. Using the sources of musical history and philosophy, Erik Wallrup explores this extremely vague and elusive phenomenon, which is held to be fundamental to musical hearing. Wallrup unfolds the untold musical history of the German word for 'mood', Stimmung, which in the 19th century was abundant in the musical aesthetics of the German-Austrian sphere. Martin Heidegger's much-discussed philosophy of Stimmung is introduced into the field of music, allowing Wallrup to realise fully the potential of the concept. Mood in music, or, to be more precise, musical attunement, should not be seen as a peculiar kind of emotionality, but that which constitutes fundamentally the relationship between listener and music. Exploring mood, or attunement, is indispensable for a thorough understanding of the act of listening to music.

Founding member of Megadeth and former Metallica guitarist Dave Mustaine tells a never-before-heard story of the lifetime he has spent in rock 'n' roll. But this extraordinary tale, riddled with his own personal ups and downs, is also the inside account of two of the most influential heavy metal bands in the world. Here, for the first time ever, Dave Mustaine tells the tale of two of the biggest metal bands in history; a story yet to be told from the inside. Metallica, the pioneers of the thrash metal genre, rocketed to international fame in the 1980s, selling over 90 million records worldwide, making it the most successful band of its kind - ever. Megadeth, the second most successful thrash metal band ever, have sold more than 20 million albums worldwide, including six consecutive platinum albums. Despite their enormous success together, Dave and Metallica have bad blood by the bucket-load. In April of 1983, due in part to alcoholism and in part to personality clashes with founding members Hetfield and Ulrich, Dave was unceremoniously fired from the band, dumped at a Greyhound bus station in Rochester, NY with a single ticket back to LA. How did such an abrupt end come about? How did he pick himself back up, recover his dignity, and go on to send another band into the dizzying heights of rock stardom? The time has come to set the record straight. From the early, crazy days of Metallica to his split with the band, and to his glorious reign with Megadeth, Dave has seen and experienced life's extremities. This startlingly candid, refreshingly in-your-face memoir tells it all.

**WINNER OF BEST JAZZ PUBLICATION AT THE 2020 PRESTO MUSIC AWARDS** The Faber Music Jazz Piano Anthology is a timeless collection of some of the best Jazz music ever written, beautifully presented in progressive order and specially arranged for the intermediate pianist. Featuring Jazz favourites such as Ev'ry Time We Say Goodbye, My Baby Just Cares For Me, I Got Rhythm, My Funny Valentine and many more.

This book explores the trend of retro and nostalgia within contemporary popular music culture. Using empirical evidence obtained from a case study of fans' engagement with older music, the book argues that retro culture is the result of an inseparable mix of cultural and technological changes, namely, the rise of a new generation and cultural mood along with the encouragement of new technologies. Retro culture has become a hot topic in recent years but this is the first time the subject has been explored from an academic perspective and from the fans' perspective. As such, this book promises to provide concrete answers about why retro culture dominates in contemporary society. For the first time ever, this book provides an empirically grounded theory of popular music, retro culture and its intergenerational audience in the twenty-first century. It will appeal to advanced students of popular music studies, cultural studies, media studies, sociology and music.

The dramatic and spectacular story of an American music icon--the immortal Tina Turner!

From Nutbush, Tennessee, to Hollywood stardom; from Ike's Kings of Rhythm to onstage with Mick Jagger and the Stones; and from the lowest lows to the highest highs, Tina Turner has seen it, done it, suffered it, and survived it all. In her monumental bestseller "I, Tina"--the basis for the Academy Award-nominated motion picture "What's Love Got to Do with It"--she tells it like it really was . . . and really is. This book is a superstar's honest and intimate account of struggle and pain, love and abuse, glory and tragedy, and one of the greatest comebacks in music history.

It's Gwar v.s Gwar in this multiverse spanning graphic novel from Z2 Comics! What can be more horrifying and terror-inducing than GWAR? The moment they must face the vomitous incarnations of themselves from a filthy alternate dimension! They've penetrated our world by rupturing the membrane which protected our very existence from these walking horrors. Unleashed in our universe, these dark mirror incarnations are bent on dominating and subjugating all of humanity to the will of The Master. Now... it is GWAR's throbbing, messy duty to save us all before it's too late!

Radiohead and the Journey Beyond Genre traces the uses and transgressions of genre in the music of Radiohead and studies the band's varied reception in online and offline media. Radiohead's work combines traditional rock sounds with a unique and experimental approach towards genre that sets the band apart from the contemporary mainstream. A play with diverse styles and audience expectations has shaped Radiohead's musical output and opened up debates about genre amongst critics, fans, and academics alike. Interpretations speak of a music that is referential of the past but also alludes to the future. Applying both music- and discourse-analytical methods, the book discusses how genre manifests in Radiohead's work and how it is interpreted amongst different audience groups. It explores how genre and generic flexibility affect the listeners' search for musical meaning and ways of discussion. This results in the development of a theoretical framework for the study of genre in individual popular music oeuvres that explores the equal validity of widely differing forms of reception as a multidimensional network of meaning. While Radiohead's music is the product of an eclectic mixture of musical influences and styles, the book also shows how the band's experimental stance has increasingly fostered debates about Radiohead's generic novelty and independence. It asks what remains of genre in light of its past or imminent transgression. Offering new perspectives on popular music genre, transgression, and the music and reception of Radiohead, the book will appeal to academics, students, and those interested in Radiohead and matters of genre. It contributes to scholarship in musicology, popular music, media, and cultural studies.

Explore the fascinating history of the Muscle Shoals Sound.

'I was spotty, wore an anorak, had biro-engraved flared blue jeans with "purple" and "Sabbath" written on the thighs, and rode an ear-splittingly uncool moped. Oh yes, and I wanted to be a drummer...' Bruce Dickinson - Iron Maiden's legendary front man - is one of the world's most iconic singers and songwriters. But there are many strings to Bruce's bow, of which larger-than-life lead vocalist is just one. He is also an airline captain, aviation entrepreneur, motivational speaker, beer brewer, novelist, radio presenter, film scriptwriter and an international fencer: truly one of the most unique and interesting men in the world. In What Does this Button Do? Bruce contemplates the rollercoaster of life. He recounts - in his uniquely anarchic voice - the explosive exploits of his eccentric British childhood, the meteoric rise of Maiden, summoning the powers of darkness, the philosophy of fencing, brutishly beautiful Boeings and firmly dismissing cancer like an uninvited guest. Bold, honest, intelligent and funny, this long-awaited memoir captures the life, heart and mind of a true rock icon, and is guaranteed to inspire curious souls and hard-core fans alike.

The achievements of Elvis Presley and Buddy Holly have been extensively documented, but until now little if anything has been known about the many ways in which their lives were interconnected. For the first time anywhere, rock & roll expert Alan Mann takes a detailed look at each artist's early years, comparing their backgrounds and influences, chronicling all their meetings and examining the many amazing parallels in their lives, careers and tragic deaths. Contains many rare and previously unpublished photographs. A fascinating, thought-provoking insight into two of the greatest popular musical figures of the Twentieth Century.

'My favourite moment is when I finish a song, that is the moment I cherish.' - Rod Temperton The Invisible Man tells the remarkable story of how Rod Temperton worked his way up from a Grimsby fish factory to become one of the most successful songwriters of all time. Born in Cleethorpes in 1949, Temperton embarked on a career in music with the funk band Heatwave, for whom he wrote the international hits 'Boogie Nights' and 'Always and Forever', before his songwriting talent caught the attention of Michael Jackson's legendary producer, Quincy Jones. For Jackson's Off the Wall album, Temperton penned both the hit 'Rock with You' and the album's title track. Three years later, he started work on what would become the best-selling album of all time - Michael Jackson's Thriller - writing three songs, including the now legendary title track. And yet despite collaborating with some of music's biggest stars, including Donna Summer and Michael McDonald, Temperton was famously reclusive and seldom gave interviews. Having enjoyed unprecedented access to the great man for his Sony Award-winning radio documentary on Temperton, Jed Pitman presents the fully updated, definitive story of one of music's most talented individuals.

The story of a fanatical Marc Bolan fan who took his obsession to a completely different level This is an amazing journey of one man's ambition and determination to bring to the people the sounds, the performance, the songs, the stage craft, and the imagery of his lifetime musical hero: The 1970s Glam Rock superstar Marc Bolan of T.Rex, who died in an untimely car accident on 16th September 1977 at only 29 years old. Danielz, the founder member of T.Rextasy, writes honestly and memorably from his teenage years as a Bolan fan watching T.Rex in concert. Then later striving to make it with his own original material. Recording with members of Gary Numan's band, Alex Harvey's, Ozzy Osbourne's, Iron Maiden, and others, through to his years in the most successful, credible, and endorsed live tribute band dedicated to Marc Bolan, recognised as the world's only official Marc Bolan tribute - T.REXTASY. Read about his exploits; the gigs, the countries, and the people he has met along the way: Slade, The Sweet, Ian Hunter (Mott The Hoople), Cockney Rebel, Ray Dorset (Mungo Jerry), Marc Almond (Soft Cell), Clem Burke (Blondie), Alvin Stardust, Linda Lewis, The Damned, Shakin' Stevens, and of course, T.Rex, Tony Visconti, Gloria Jones & Rolan Bolan. Danielz story is also interwoven with fascinating tales about the very man who inspired him - Marc Bolan. Throughout the book stories are regaled by those who were close to Bolan and in turn have become associated with Danielz. He also writes about his acquisition of the Bolan master tapes and the subsequent releases of previously unissued Bolan recordings. With forewords by Tony Visconti, Rolan Bolan & Marc Almond, this is an essential read for T.Rextasy and Bolan fans alike.

Popular Music Theory and Analysis: A Research and Information Guide uncovers the wealth of scholarly works dealing with the theory and analysis of popular music. This annotated bibliography is an exhaustive catalog of music-theoretical and musicological works that is searchable by subject, genre, and song title. It will support emerging scholarship and inquiry for future research on popular music.

Queen are unique among the great rock bands. It is nearly twenty years since frontman Freddie Mercury' s death brought the band to an end - yet their fanbase remains massive. They appeal equally to men and women. Their fans are just as likely to be teenagers too young to have been born when the band were still touring and making records (thanks not least to the huge success of the musical We Will Rock You). And their musical history is one of constant reinvention - from heavy metal and prog rock to disco pop, stadium anthems and even jazz influences. Now, Mark Blake, the experienced Mojo journalist who wrote Aurum' s bestselling book on Pink Floyd, has written the definitive history. Having already interviewed the surviving band members over the years, he has now tracked down dozens and dozens of new interviewees, from Queen' s first long-forgotten bass players to Freddie Mercury' s schoolmates in Isleworth, Middlesex, to trace Queen' s long career from their very first gawky performances in St Helens through their sensational stage-stealing appearance on Live Aid to the band' s collaboration with Paul Rodgers at the beginning of the century. Full of fascinating new revelations - especially about the improbable transformation of a shy Asian schoolboy called Bulsara into the outrageous-living hedonist that was Freddie Mercury - this is a book every Queen fan will want to have.

The double bass - the preferred bass instrument in popular music during the 1960s - was challenged and subsequently superseded by the advent of a new electric bass instrument. From the mid-1960s and throughout the 1970s, a melismatic and inconsistent approach towards the bass role ensued, which contributed to a major change in how the electric bass was used in performance and perceived in the sonic landscape of mainstream popular music. Investigating the performance practice of the new, melodic role of the electric bass as it appeared (and disappeared) in the 1960s and 1970s, the book turns to the number one songs of the American Billboard Hot 100 charts between 1951 and 1982 as a prime source. Through interviews with players from this era, numerous transcriptions - elaborations of twenty bass related features - are presented. These are juxtaposed with a critical study of four key players, who provide the case-studies for examining the performance practice of the melodic electric bass. This highly original book will be of interest not only to bass players, but also to popular musicologists looking for a way to instigate methodological and theoretical discussions on how to develop popular music analysis.

HONK! A Street Band Renaissance of Music and Activism explores a fast-growing and transnational movement of street bands-particularly brass and percussion ensembles-and examines how this exciting phenomenon mobilizes communities to reimagine public spaces, protest injustice, and assert their activism. Through the joy of participatory music making, HONK! bands foster active musical engagement in street protests while encouraging grassroots organization, representing a manifestation of cultural activity that exists at the intersections of community, activism, and music. This collection of twenty essays considers the parallels between the diversity of these movements and the diversity of the musical repertoire these bands play and share. In five parts, musicians, activists, and scholars voiced in various local contexts cover a range of themes and topics: History and Scope Repertoire, Pedagogy, and Performance Inclusion and Organization Festival Organization and Politics On the Front Lines of Protest The HONK! Festival of Activist Street Bands began in Somerville, Massachusetts in 2006 as an independent, non-commercial, street festival. It has since spread to four continents. HONK! A Street Band Renaissance of Music and Activism explores the phenomenon that inspires street bands and musicians to change the world and provide musical, social, and political alternatives in contemporary times. Visit the companion webiste: http://www.honkrenaissance.net/

This book is the first to explore style and spectacle in glam popular music performance from the 1970s to the present day, and from an international perspective. Focus is given to a number of representative artists, bands, and movements, as well as national, regional, and cultural contexts from around the globe. Approaching glam music performance and style broadly, and using the glam/glitter rock genre of the early 1970s as a foundation for case studies and comparisons, the volume engages with subjects that help in defining the glam phenomenon in its many manifestations and contexts. Glam rock, in its original, term-defining inception, had its birth in the UK in 1970/71, and featured at its forefront acts such as David Bowie, T. Rex, Slade, and Roxy Music. Termed "glitter rock" in the US, stateside artists included Alice Cooper, Suzi Quatro, The New York Dolls, and Kiss. In a global context, glam is represented in many other cultures, where the influences of early glam rock can be seen clearly. In this book, glam exists at the intersections of glam rock and other styles (e.g., punk, metal, disco, goth). Its performers are characterized by their flamboyant and theatrical appearance (clothes, costumes, makeup, hairstyles), they often challenge gender stereotypes and sexuality (androgyny), and they create spectacle in popular music performance, fandom, and fashion. The essays in this collection comprise theoretically-informed contributions that address the diversity of the world's popular music via artists, bands, and movements, with special attention given to the ways glam has been influential not only as a music genre, but also in fashion, design, and other visual culture.

Voices Found: Free Jazz and Singing contributes to a wave of voice studies scholarship with the first book-length study of free jazz voice. It pieces together a history of free jazz voice that spans from sound poetry and scat in the 1950s to the more recent wave of free jazz choirs. The author traces the developments and offers a theory, derived from interviews with many of the most important singers in the history of free jazz voice, of how listeners have experienced and evaluated the often unconventional vocal sounds these vocalists employed. This theory explains that even audiences willing to enjoy harsh sounds from saxophones or guitars often resist when voices make sounds that audiences understand as not-human. Experimental poetry and scat were combined and transformed in free jazz spaces in the 1960s and 1970s by vocalists like Yoko Ono (in solo work and her work with Ornette Coleman and John Stevens), Jeanne Lee (in her solo work and her work with Archie Shepp and Gunter Hampel), Leon Thomas (in his solo work as well as his work with Pharoah Sanders and Carlos Santana), and Phil Minton and Maggie Nicols (who devoted much of their energy to creating unaccompanied free jazz vocal music). By studying free jazz voice we can learn important lessons about what we expect from the voice and what happens when those expectations are violated. This book doesn't only trace histories of free jazz voice, it makes an attempt to understand why this story hasn't been told before, with an impressive breadth of scope in terms of the artists covered, drawing on research from the US, Canada, Wales, Scotland, France, The Netherlands, and Japan.

Featuring 666 standout metal songs from 1960 to the present day and illustrated with sleeves, flyers, posters and magazine ads, this is a feast for fans who love it loud. 666 Songs to Make You Bang Your Head Until You Die delves into the dark corners of hard rock and metal, unearthing hidden treasures and shining fresh light on old favourites. From pioneers like Black Sabbath and Led Zeppelin, through million-sellers like Van Halen and AC/DC, to skull-crushers like Pantera and The Prodigy, and young bucks like Bring Me The Horizon and Paramore, the selection charts the evolution of the genre over the last 60 years. Each entry is packed with reviews from contemporary musicians, quotes from bandmates and fascinating trivia. Written in an informed, entertaining and irreverent style, 666 Songs to Make You Bang Your Head Until You Die is a must-have for metal lovers.

The music industry often paints a glamorous picture of its stars' lives and achievements, but what is life really like behind the gloss? How does it feel to have a No.1 record, or to live on the road for over 300 days a year? And what happens after the hits stop? The answers to these and many other questions are contained within the pages of this book, as twenty-six major American hitmakers of the Fifties and Sixties reveal their own fascinating stories. Includes previously unpublished interviews with Gary 'US' Bonds, Pat Boone, Freddy Cannon, Crickets Jerry Allison, Sonny Curtis and Joe B. Mauldin, Bo Diddley, Dion, Fats Domino, Duane Eddy, Frankie Ford, Charlie Gracie, Brian Hyland, Marv Johnson, Ben E. King, Brenda Lee, Little Eva, Chris Montez, Johnny Moore (Drifters), Gene Pitney, Johnny Preston, Tommy Roe, Del Shannon, Edwin Starr, Johnny Tillotson and Bobby Vee. Over 150 illustrations including previously unpublished recent portraits as well as vintage ads, record sleeves, label shots, sheet music covers, etc.