The New York Dolls played an integral role in laying the foundations of punk rock. By taking the flamboyant sass of Jagger and Richards to outrageous extremes and combining it with down-and-dirty rock 'n' roll, the Dolls -- fronted by icons David Johansen and Sylvan Sylvain -- brought the punk scene to a fever pitch and inspired both fans and musicians like the Sex Pistols and Marilyn Manson. From their origins in the street gangs of New York's outer boroughs, through their recent rebirth and the untimely death of bassist Arthur Kane, "Trash! offers a comprehensive look at these gender-bending scenesters.
Featuring first-hand reminiscences, interviews with band members, revealing tour anecdotes, archival material, and 75 black-and-white photos, "Trash! covers every leopard-clad inch of these glamsters' heyday. Set mostly in the chaotic and creative maelstrom of the mid-'70s New York scene, the book also profiles the individual band members' post-Dolls careers.

Pianists will delight in this updated songbook, in which the piano/vocal arrangements have been notably improved (compared to older published sheet music renditions) to accurately reflect what was played on the band's original hit recordings. Basic guitar chord grids are also included. (A note-for-note guitar tablature edition is also available; sold separately.) Titles: Only the Young * Don't Stop Believin' * Wheel in the Sky * Faithfully * I'll Be Alright Without You * Any Way You Want It * Ask the Lonely * Who's Crying Now * Separate Ways (Worlds Apart) * Lights * Lovin', Touchin', Squeezin' * Open Arms * Girl Can't Help It * Send Her My Love * Be Good to Yourself.

This book is a more personal history than has ever before been written by or about Marianne Faithfull. Anecdotal, conversational, intimate and revealing, this is her no-holds-barred account of her life, her friends, her triumphs and mistakes.

A decade after the publication of Faithfull, one of the most acclaimed rock autobiographies of all time, Marianne Faithfull is back, vowing periodically leave her wicked ways behind and grow up, but finding that somehow strange things keep happening.

A wry observer of her slightly off-kilter world, Marianne muses nostalgically about afternoons languishing on Moroccan cushions at George and Pattie's, getting high and listening to new songs. She fondly recalls the outlandish antics of her Beat friends Allen Ginsberg and William Burroughs; is frequently baffled at her image in the press (opening the paper to read of her own demise: 'Sixties Star in Death Plunge'); terrified by the curse sent by Kenneth Anger; mortified by her history of reckless behaviour; not to mention her near-death experience in Singapore while looking for an opium den.

Marianne peoples her anecdotal memoir with legendary characters one can imagine only Marianne assembling around her, both the eccentric and the beautiful, from Henrietta Moraes and Donatella Versace to Sofia Coppola, Juliette Greco, and Yves St. Laurent's dog. Here is Marianne on the dark side of the sixties and the bright side of the nineties, which saw her collaborating with the likes of Blur and Jarvis Cocker; compelling recollections of an unconventional childhood in her father's orgiastic literary commune to a hilariously decadent few days at Lady Caroline Blackwood's deathbed. Here she is her blossoming movie career, on her records as subliminal autobiography. This is as intimate a portrait as we've ever had of Marianne, as she meditates on sex and drugs, confronts her alter-ego, the Fabulous Beast, and faces her own mortality in her battle with breast cancer.

Since her last book Marianne has, in her own words, 'made quite a few records, gone on many tours, tried to play it straight, and Well, the rest is the subject of this book.'"

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.

Since her late-1990s debut as a member of the R&B trio Destiny's Child, Beyonce Knowles has garnered both praise and criticism. While some consider her an icon of female empowerment, others see her as detrimental to feminism and representing a negative image of women of color. Her music has a decidedly pop aesthetic, yet her power-house vocals and lyrics focused on issues like feminine independence, healthy sexuality and post partum depression give her songs dimension and substance beyond typical pop fare. This collection of new essays presents a detailed study of the music and persona of Beyonce-arguably the world's biggest pop star. Topics include: the body politics of respectability; feminism, empowerment and gender in Beyonce's lyrics; black female pleasure; and the changing face of celebrity motherhood.

Drawing on interviews with stars and musicians, producers and photographers, stylists, writers and celebrity fans, this book chronicles the glam era from its origins in 1970, through its 1972/73 heyday to its mid-seventies collapse and the death of Marc Bolan in September 1977. Fully illustrated throughout, the book includes a wealth of visual material, be it band shots, record sleeves and pin-up posters, or the era's best clobber, magazines and assorted memorabilia.

The role of motion pictures in the popularity of rock music became increasingly significant in the latter twentieth century. Rock music and its interaction with film is the subject of this significant book that re-examines and extends Serge Denisoff's pioneering observations of this relationship. Prior to Saturday Night Fever rock music had a limited role in the motion picture business. That movie's success, and the success of its soundtrack, began to change the silver screen. In 1983, with Flashdance, the situation drastically evolved and by 1984, ten soundtracks, many in the pop/rock genre, were certified platinum. Choosing which rock scores to discuss in this book was a challenging task. The authors made selections from seminal films such as The Graduate, Easy Rider, American Graffiti, Saturday Night Fever, Help!, and Dirty Dancing. However, many productions of the period are significant not because of their success, but because of their box office and record store failures. Risky Business chronicles the interaction of two major mediums of mass culture in the latter twentieth century. This book is essential for those interested in communications, popular culture, and social change.

The New York Times bestseller and the definitive portrait of Kurt Cobain--as relevant as ever, as we remember the impact of Cobain on our culture twenty-five years after his death--now with a new preface and an additional final chapter from acclaimed author Charles R. Cross. It has been twenty-five years since Kurt Cobain died by his own hand in April 1994; it was an act of will that typified his short, angry, inspired life. Veteran music journalist Charles R. Cross fuses his intimate knowledge of the Seattle music scene with his deep compassion for his subject in this extraordinary story of artistic brilliance and the pain that extinguished it. Based on more than four hundred interviews; four years of research; exclusive access to Cobain's unpublished diaries, lyrics, and family photos; and a wealth of documentation, Heavier Than Heaven traces Cobain's life from his early days in a double-wide trailer outside of Aberdeen, Washington, to his rise to fame, success, and the adulation of a generation. Charles Cross has written a new preface for this edition, giving readers context for the time in which the book was written, six years after Kurt's death, and reminding everyone how fresh that cultural experience was when the interviews for the book were done. The new final chapter will update the story since, regarding investigations into Cobain's death, Nirvana's induction into the Rock N Roll Hall of Fame, and how their place in rock history has only risen over the decades.

This book considers the history of Do It Yourself art, music and publishing, demonstrating how DIY strategies have transitioned from being marginal, to emergent, to embedded. Through secondary research, observation and 30 original interviews, each chapter analyses one of 15 creative cities (San Francisco, Los Angeles, Dusseldorf, New York, London, Manchester, Cologne, Washington DC, Detroit, Berlin, Glasgow, Olympia (Washington), Portland (Oregon), Moscow and Istanbul) and assesses the contemporary situation in each in the post-subcultural era of digital and internet technologies. The book challenges existing subcultural histories by examining less well-known scenes as well as exploring DIY "best practices" to trace a template of best approaches for sustainable, independent, locally owned creative enterprises.

This book is a comprehensive guide to a career in the music industry. Offering advice as to how to get into the business, it explains the main features of a wide range of jobs, such as management, production, promotion and merchandise through to the working lives of recording artists and session musicians.

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.

It has taken Liverpool almost half a century to come to terms with the musical, cultural and now economic legacy of the Beatles and popular music. At times the group was negatively associated with sex and drugs images surrounding rock music: deemed unacceptable by the city fathers, and unworthy of their support. Liverpudlian musicians believe that the musical legacy of the Beatles can be a burden, especially when the British music industry continues to brand the latest (white) male group to emerge from Liverpool as 'the next Beatles'. Furthermore, Liverpudlians of perhaps differing ethnicities find images of 'four white boys with guitars and drums' not only problematic in a 'musical roots' sense, but for them culturally devoid of meaning and musically generic. The musical and cultural legacy of the Beatles remains complex. In a post-industrial setting in which both popular and traditional heritage tourism have emerged as providers of regular employment on Merseyside, major players in what might be described as a Beatles music tourism industry have constructed new interpretations of the past and placed these in such an order as to re-confirm, re-create and re-work the city as a symbolic place that both authentically and contextually represents the Beatles.

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.

The Singer-Songwriter in Europe is the first book to explore and compare the multifaceted discourses and practices of this figure within and across linguistic spaces in Europe and in dialogue with spaces beyond continental borders. The concept of the singer-songwriter is significant and much-debated for a variety of reasons. Many such musicians possess large and zealous followings, their output often esteemed politically and usually held up as the nearest popular music gets to high art, such facets often yielding sizeable economic benefits. Yet this figure, per se, has been the object of scant critical discussion, with individual practitioners celebrated for their isolated achievements instead. In response to this lack of critical knowledge, this volume identifies and interrogates the musical, linguistic, social and ideological elements that configure the singer-songwriter and its various equivalents in Europe, such as the French auteur-compositeur-interprete and the Italian cantautore, since the late 1940s. Particular attention is paid to the emergence of this figure in the post-war period, how and why its contours have changed over time and space subsequently, cross-cultural influences, and the transformative agency of this figure as regards party and identity politics in lyrics and music, often by means of individual case studies. The book's polycentric approach endeavours to redress the hitherto Anglophone bias in scholarship on the singer-songwriter in the English-speaking world, drawing on the knowledge of scholars from across Europe and from a variety of academic disciplines, including modern language studies, musicology, sociology, literary studies and history.

Now in paperback, the national bestselling biography of American musical icon Jimi Hendrix It has been more than thirty-five years since Jimi Hendrix died, but his music and spirit are still very much alive for his fans everywhere. Charles R. Cross vividly recounts the life of Hendrix, from his difficult childhood and adolescence in Seattle through his incredible rise to celebrity in London's swinging sixties. It is the story of an outrageous life--with legendary tales of sex, drugs, and excess--while it also reveals a man who struggled to accept his role as idol and who privately craved the kind of normal family life he never had. Using never-before-seen documents and private letters, and based on hundreds of interviews with those who knew Hendrix--many of whom had never before agreed to be interviewed--Room Full of Mirrors unlocks the vast mystery of one of music's most enduring legends.

Divided into three sections, Linda Phyllis Austern collects eighteen, cross-disciplinary essays written by some of the most important names in the field to look at this stimulating topic. The first section focuses on the cultural and scientific ways in which music and the sense of hearing work directly on the mind and body. Part Two investigates how music works on the socially constructed, representational or sexualized body as a means of healing, beautifying and maintaining a balance between the mental and physical. Finally, the book explores the action of music as it is heard and sensed by wider social units, such as the body politic, mass communication, from print to sound recording, and broadcast technologies.

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.

Elvis Presley and Richard Nixon are two of the most important and controversial figures of the twentieth century. Although fame came to them in very different ways, they rose from very similar backgrounds of poverty to seek the American Dream. These two remarkable men both had to face falls from grace, but while Nixon rebounded from Watergate to regain a reputation as a distinguished elder statesman, Elvis was destroyed by the pressures of fame, only to have his image restored after his death. Here, for the first time, the remarkable parallels in their lives are examined, balanced on the point of their historic December 21, 1970, meeting. Their similarities and differences as American icons are analyzed, and numerous photographs, including all those taken during their meeting, are included. Together, the stories of these two men form part of the essence of American culture.

For generations, "chitlin' circuit" has meant second tier brash performers in raucous nightspots far from the big-city limelight. Now, music journalist Preston Lauterbach combines terrific firsthand reportage with deep historical research to offer a groundbreaking account of the birth of rock 'n' roll in black America."

This book investigates the phenomenon of queering in popular music and video, interpreting the music of numerous pop artists, styles, and idioms. The focus falls on artists, such as Lady Gaga, Madonna, Boy George, Diana Ross, Rufus Wainwright, David Bowie, Azealia Banks, Zebra Katz, Freddie Mercury, the Pet Shop Boys, George Michael, and many others. Hawkins builds his concept of queerness upon existing theories of opacity and temporality, which involves a creative interdisciplinary approach to musical interpretation. He advocates a model of analysis that involves both temporal-specific listening and biographic-oriented viewing. Music analysis is woven into this, illuminating aspects of parody, nostalgia, camp, naivety, masquerade, irony, and mimesis in pop music. One of the principal aims is to uncover the subversive strategies of pop artists through a wide range of audiovisual texts that situate the debates on gender and sexuality within an aesthetic context that is highly stylized and ritualized. Queerness in Pop Music also addresses the playfulness of much pop music, offering insights into how discourses of resistance are mediated through pleasure. Given that pop artists, songwriters, producers, directors, choreographers, and engineers all contribute to the final composite of the pop recording, it is argued that the staging of any pop act is a collective project. The implications of this are addressed through structures of gender, ethnicity, nationality, class, and sexuality. Ultimately, Hawkins contends that queerness is a performative force that connotes futurity and utopian promise.

The spread of UK music festivals has exploded since 2000. In this major contribution to cultural studies, the lid is lifted on the contemporary festival scene. Gone are the days of a handful of formulaic, large events dominating the market place. Across the country, hundreds of 'boutique' gatherings have popped up, drawing hundreds of thousands of festival-goers into the fields. Why has this happened? What has led to this change? In her richly detailed study, industry insider Dr Roxy Robinson uncovers the dynamics that have led to the formation and evolution of the modern festival scene. Tracing the history of the culture as far back as the fifties, this book examines the tensions between authenticity and commerce as festivals grew into a widespread, professionalized industry. Setting the scene as a fragmented, yet highly competitive market, Music Festivals and the Politics of Participation examines the emergence of key trends with a focus on surrealist production and popular theatricality. For the first time, the transatlantic relationship between British promoters and the social experiment-come-festival Burning Man is documented, uncovering its role in promoting a politics of participation that has dramatically altered the festival experience. Taking an in-depth approach to examining key events, including the fastest growing independent music festival in recent years (Hampshire's BoomTown Fair) the UK market is shown to have produced a scene that champions co-production and the democratization of festival space. This is a vital text for anyone interested in British culture.

This biography reveals the life story, musical style, personality, lyrics, and fashion of Katy Perry-the elements that have catapulted her to stardom and made her a 21st-century pop music icon. Katy Perry: A Biography examines who the young woman behind the hit songs, explicit lyrics, racy album covers, unconventional dress, and sometimes odd behavior really is. Through this nine-chapter narration of Perry's life, readers will gain insight into all stages of her development as a person and as a performer, from her early childhood, to her attempts to break out within the Christian music genre, to her pop music stardom and acting career. The book can be used as both a source of information for an essay or report, and as an easy-to-use guide to find answers to specific questions. It will also be of great interest to any reader who appreciates pop music and wants to know more about Katy Perry-where she came from, who she is today, and the fascinating journey and inspirational tale of her rise to becoming one of the hottest female pop stars of the 21st century. A timeline of events pinpoints the specific dates of successes and moments in Perry's life Photographs depict some of Perry's most memorable concerts or events An extensive bibliography will help readers find more information and quotes about this 21st-century pop music icon A comprehensive list of Perry's awards and award nominations collects information for researchers

From bestselling biographer Sean Smith comes the fascinating and tumultuous true story behind Sir Tom Jones, the nation's treasure, sage of The Voice and living music legend. Celebrating his 75th birthday this year, Tom Jones' life has been an unforgettable rollercoaster ride. From starting out in a little Welsh mining town where he married his sweetheart at just 16, who could have known that seven years later he would go on to become a major musical hit that would propel him to Bel Air? Through intimate interviews, Smith uncovers all this and more, including the years Tom spent as little more than a Vegas lounge singer, before being rediscovered in the late '80s and becoming a maestro on the music scene once again. As revealing as it is entertaining, this is the definitive story of a great talent who is showing no signs of slowing down.

'I will always believe in the strength we have as women.' As the queen of pop music since the glory days of Destiny's Child to her incredible solo career, Beyonce is one of the most inspiring and powerful women in music. The Little Book of Queen Bey is a collection of the most iconic quotes from a woman who needs no introduction. When it comes to self-love, empowerment and sisterhood, Beyonce has more wisdom than anybody. From how to be an independent woman to positive affirmations that will give you hope, The Little Book of Queen Bey is the perfect gift for fans of the goddess of pop. Prepare to be inspired.

Years after its release, Neutral Milk Hotel's In the Aeroplane Over the Sea remains one of the most beloved and best-selling albums in all of indie music, hailed as a classic so influential as to be almost synonymous with the ongoing vinyl revival. But despite its outsized impact, a question looms even larger: why did frontman Jeff Mangum, just as the record propelled him to the brink of music superstardom, choose instead to disappear entirely? The mystery has perplexed listeners for decades-until now. In barely two years, Neutral Milk Hotel rose from house show obscurity in Athens, Georgia, to widespread hype and critical acclaim, selling out rock clubs across the country and gracing the tops of numerous year-end best-of lists. But just as his band was reaching the escape velocity necessary to ascend from indie rock success to mainstream superstar, Mangum hit the eject button. After the 1998 release of Aeroplane and a worldwide tour to support it, Mangum stopped playing shows, releasing new music, or even doing interviews. He never explained why, not even to his friends or colleagues, but thanks to both the strength of Aeroplane and his vexing decision to walk away from rock stardom, Neutral Milk Hotel's impact only grew from there. In Endless Endless, Adam Clair finds the answer to indie rock's biggest mystery, which turns out to be much more complicated and fascinating than the myths or popular speculation would have you believe. To understand Mangum and Neutral Milk Hotel and Aeroplane requires a deep dive into the unconventional inner workings of the mercurial collective from which they emerged, the legendary Elephant 6 Recording Company. Endless Endless details the rise and fall of this radical music scene, the lives and relationships of the and the colossal influence that still radiates from it, centered around the collective's accidental figurehead, one of the most idolized and misunderstood artists in the world, presenting Mangum and his collaborators in vividly human detail and shining a light into the secret world of these extraordinary and aggressively bizarre artists. Endless Endless offers unprecedented access to this notoriously mysterious collective, featuring more than 100 new interviews and dozens of forgotten old ones, along with never-before-seen photos, answering questions that have persisted for decades while also provoking new ones. In this deeply researched account, Endless Endless examines not just how the Elephant 6 came to be so much more than the sum of its parts, but how community can foster art-and how art can build community.