When he emerged from the nightclubs of Greenwich Village, Bob Dylan was often identified as a "protest" singer. As early as 1962, however, Dylan was already protesting the label: "I don't write no protest songs," he told his audience on the night he debuted "Blowin' in the Wind." "Protest" music is largely perceived as an unsubtle art form, a topical brand of songwriting that preaches to the converted. But popular music of all types has long given listeners food for thought. Fifty years before Vietnam, before the United States entered World War I, some of the most popular sheet music in the country featured anti-war tunes. The labor movement of the early decades of the century was fueled by its communal "songbook." The Civil Rights movement was soundtracked not just by the gorgeous melodies of "Strange Fruit" and "A Change Is Gonna Come," but hundreds of other gospel-tinged ballads and blues. In Which Side Are You On, author James Sullivan delivers a lively anecdotal history of the progressive movements that have shaped the growth of the United States, and the songs that have accompanied and defined them. Covering one hundred years of social conflict and progress across the twentieth century and into the early years of the twenty-first, this book reveals how protest songs have given voice to the needs and challenges of a nation and asked its citizens to take a stand - asking the question "Which side are you on?"

When the world's greatest pop band played their final public concert, in January 1969, there were no tickets or posters printed. When John Lennon, Paul McCartney, George Harrison, and Ringo Starr emerged at lunchtime from the headquarters of their own company, Apple, five storeys above London's Savile Row, only a select group of people knew what the hell was happening.The rooftop concert was one of the Beatles' most spontaneous acts. Beatles on the Roof studies the rooftop concert in penetrating detail, uncovering new truths and debunking old myths about the event. Nobody knew it yet - not even the band - but this was the last time they would play live to the public.

(Play It Like It Is). This matching folio showcases Satriani's chilling guitar technique. Ten songs in all, including: Always With Me, Always With You * Satch Boogie * and more.

There is simply no one like Cher. A mix of street smart, intelligence, talent and beauty, she's the celebrities' favourite celebrity and if you're not a Dolly Parton person, there's no doubt you're Cher obsessed. With six decades of No.1 hits, from Sonny and Cher days to her latest album (number 26) the Gold Dancing Queen in 2018, she's reinvented herself again and again. Turning her hand to serious acting in Silkwood, Mask, Moonstruck, The Witches of Eastwick and more, the multi-talented star had new award-winning film career in the 1980s, but yet again emerged as the 'Goddess of Pop' with dance-oriented pop-rock - and gaining a dedicated tribe of gay followers as a result. From LGBTQ rights to politics, from saving elephants to kitchen discos on TikTok, she's as engaged, relevant and controversial as she ever was - and she has a LOT to say for herself. Here is a collection of the funniest, sharpest, most deadpan quotes you'd expect from this authentic one-of-a-kind star who Time magazine named as 'Twitter's most outspoken (and beloved) commentator'. SAMPLE QUOTE: 'The trouble with some women is that they get all excited about nothing - and then marry him.' - BCC Observer, February 2005

From the ragtime one-step of the early twentieth century to the contemporary practices of youth club cultures, popular dance and music are inextricably linked. This collection reveals the intimate connections between the corporeal and the sonic in the creation, transmission and reception of popular dance and music, which is imagined here as 'bodies of sound'. The volume provokes a wide-ranging, interdisciplinary conversation that includes scholarship from Asia, Europe and the United States, which explores topics from the nineteenth century through to the present day and engages with practices at local, national and transnational levels. In Part I: Constructing the Popular, the authors explore how categories of popular music and dance are constructed and de-stabilized, and their proclivity to appropriate and re-imagine cultural forms and meanings. In Part II: Authenticity, Revival and Reinvention, the authors examine how popular forms produce and manipulate identities and meanings through their attraction to and departure from cultural traditions. In Part III: (Re)Framing Value, the authors interrogate how values are inscribed, silenced, rearticulated and capitalized through popular music and dance. And in Part IV: Politics of the Popular, the authors read the popular as a site of political negotiation and transformation.

Mute Records is one of the most influential, commercially successful, and long-lasting of the British independent record labels formed in the wake of the late-1970's punk explosion. Yet, in comparison with contemporaries such as Rough Trade or Stiff, its legacy remains under-explored. This edited collection addresses Mute's wide-ranging impact. Drawing from disciplines such as popular music studies, musicology, and fan studies, it takes a distinctive, artist-led approach, outlining the history of the label by focusing each chapter on one of its acts. The book covers key moments in the company's evolution, from the first releases by The Normal and Fad Gadget to recent work by Arca and Dirty Electronics. It shines new light on the most successful Mute artists, including Depeche Mode, Nick Cave, Erasure, Moby, and Goldfrapp, while also exploring the label's avant-garde innovators, such as Throbbing Gristle, Mark Stewart, Labaich, Ut, and Swans. Mute Records examines the business and aesthetics of independence through the lens of the label's artists.

The Music Documentary offers a wide-range of approaches, across key moments in the history of popular music, in order to define and interrogate this prominent genre of film-making. The writers in this volume argue persuasively that the music documentary must be considered as an essential cultural artefact in documenting stars and icons, and musicians and their times - particularly for those figures whose fame was achieved posthumously. In this collection of fifteen essays, the reader will find comprehensive discussions of the history of music documentaries, insights in their production and promotion, close studies of documentaries relating to favourite bands or performers, and approaches to questions of music documentary and form, from the celluloid to the digital age.

The Music Documentary offers a wide-range of approaches, across key moments in the history of popular music, in order to define and interrogate this prominent genre of film-making. The writers in this volume argue persuasively that the music documentary must be considered as an essential cultural artefact in documenting stars and icons, and musicians and their times - particularly for those figures whose fame was achieved posthumously. In this collection of fifteen essays, the reader will find comprehensive discussions of the history of music documentaries, insights in their production and promotion, close studies of documentaries relating to favourite bands or performers, and approaches to questions of music documentary and form, from the celluloid to the digital age.

Despite their central role in many forms of music-making, drummers have been largely neglected in the scholarly literature on music and education. But kit drummers are increasingly difficult to ignore. While exponents of the drum kit are frequently mocked in popular culture, they are also widely acknowledged to be central to the musical success and aesthetic appeal of any musical ensemble in which they are found. Drummers are also making their presence felt in music education, with increasing opportunities to learn their craft in formal contexts. Drawing on data collected from in-depth interviews and questionnaires, Gareth Dylan Smith explores the identities, practices and learning of teenage and adult kit drummers in and around London. As a London-based drummer and teacher of drummers, Smith uses his own identity as participant-researcher to inform and interpret other drummers' accounts of their experiences. Drummers learn in multi-modal ways, usually with a keen awareness of exemplars of their art and craft. The world of kit drumming is highly masculine, which presents opportunities and challenges to drummers of both sexes. Smith proposes a new model of the 'Snowball Self', which incorporates the constructs of identity realization, learning realization, meta-identities and contextual identities. Kit drummers' identities, practices and learning are found to be intertwined, as drummers exist in a web of interdependence. Drummers drum; therefore they are, they do, and they learn - in a rich tapestry of means and contexts.

This collection of essays, documented by an international and interdisciplinary array of scholars, represents the first academically focused volume exploring the creative idiolect of Frank Zappa. Several of the authors are known for contributing significantly to areas such as popular music, cultural, and translation studies, with expertise and interests ranging from musicology to poetics. The publication presents the reader with an understanding of the ontological depth of Zappa's legacy by relating the artist and his texts to a range of cultural, social, technological and musicological factors, as encapsulated in the book's title - Frank Zappa and the And. Zappa's interface with religion, horror, death, movies, modernism, satire, freaks, technology, resistance, censorship and the avant-garde are brought together analytically for the first time, and approached non chronologically, something that strongly complies with the non linear perspective of time Zappa highlights in both his autobiography and recordings. The book employs a variety of analytical approaches, ranging from literary and performance theory, 'horrality' and musicology, to post modern and textually determined readings, and serves as a unique and invaluable guide to Zappa's legacy and creative force.

One of the earliest documented Scottish song collectors actually to go 'into the field' to gather his specimens, was the Highlander Joseph Macdonald. Macdonald emigrated in 1760 - contemporaneously with the start of James Macpherson's famous but much disputed Ossian project - and it fell to the Revd. Patrick Macdonald to finish and subsequently publish his younger brother's collection. Karen McAulay traces the complex history of Scottish song collecting, and the publication of major Highland and Lowland collections, over the ensuing 130 years. Looking at sources, authenticity, collecting methodology and format, McAulay places these collections in their cultural context and traces links with contemporary attitudes towards such wide-ranging topics as the embryonic tourism and travel industry; cultural nationalism; fakery and forgery; literary and musical creativity; and the move from antiquarianism and dilettantism towards an increasingly scholarly and didactic tone in the mid-to-late Victorian collections. Attention is given to some of the performance issues raised, either in correspondence or in the paratexts of published collections; and the narrative is interlaced with references to contemporary literary, social and even political history as it affected the collectors themselves. Most significantly, this study demonstrates a resurgence of cultural nationalism in the late nineteenth century.

Redefining Mainstream Popular Music is a collection of seventeen essays that critically examines the idea of the "mainstream" in and across a variety of popular music styles and contexts. Notions of what is popular vary across generations and cultures - what may have been considered alternative to one group may be perceived as mainstream to another. Incorporating a wide range of popular music texts, genres, scenes, practices and technologies from the United Kingdom, North America, Australia and New Zealand, the authors theoretically challenge and augment our understanding of how the mainstream is understood and functions in the overlapping worlds of popular music production, consumption and scholarship. Spanning the local and the global, the historic and contemporary, the iconic and the everyday, the book covers a broad range of genres, from punk to grunge to hip-hop, while also considering popular music through other mediums, including mash-ups and the music of everyday work life. Redefining Mainstream Popular Music provides readers with an innovative and nuanced perspective of what it means to be mainstream.

Drawing on methodologies and approaches from media and cultural studies, sociology, social history and the study of popular music, this book outlines the development of the study of men and masculinities, and explores the role of cultural texts in bringing about social change. It is against this backdrop that The Beatles, as a cultural phenomenon, are set, and their four live action films, spanning the years 1964-1970, are examined as texts through which to read changing representations of men and masculinity in 'the Sixties'. Dr Martin King considers ideas about a male revolt predating second-wave feminism, The Beatles as inheritors of the possibilities of the 1950s and The Beatles' emergence as men of ideas: a global cultural phenomenon that transgressed boundaries and changed expectations about the role of popular artists in society. King further explores the chosen Beatle texts to examine discourses of masculinity at work within them. What emerges is the discovery of discourses around resistance, non-conformity, feminized appearance, pre-metrosexuality, the male star as object of desire, and the emergence of The Beatles themselves as a text that reflected the radical diversity of a period of rapid social change. King draws valuable conclusions about the legacy of these discourses and their impact in subsequent decades.

From the late-1970s to the late-1980s rock music in Yugoslavia had an important social and political purpose of providing a popular cultural outlet for the unique forms of socio-cultural critique that engaged with the realities and problems of life in Yugoslav society. The three music movements that emerged in this period - New Wave, New Primitives, and New Partisans - employed the understanding of rock music as the 'music of commitment' (i.e. as socio-cultural praxis premised on committed social engagement) to articulate the critiques of the country's 'new socialist culture', with the purpose of helping to eliminate the disconnect between the ideal and the reality of socialist Yugoslavia. This book offers an analysis of the three music movements and their particular brand of 'poetics of the present' in order to explore the movements' specific forms of socio-cultural engagement with Yugoslavia's 'new socialist culture' and demonstrate that their cultural praxis was oriented towards the goal of realizing the genuine Yugoslav socialist-humanist community 'in the true measure of man'. Thus, the book's principal argument is that the driving force behind the music of commitment was, although critical, a fundamentally constructive disposition towards the progressive ideal of socialist Yugoslavia.

An electrifying collection of the finest, most entertaining, and illuminating writing on and from the rock and roll scene--from its earliest days to the present, from the brightest moments of the biggest stars to obscure but compellingly significant treasures. The crazy, exhilarating, endlessly creative world of rock and roll has fascinated us--and some of our best writers--since the earliest days of the genre. William McKeen has assembled in this book the writing of those who played the music and pushed it to new limits, as well as those who were on the scene to witness and celebrate its magic. The story of rock and roll music and the rock and roll life lifts from these pages with marvelous immediacy, in selections ranging from Bruce Springsteen on his experience of backing up Chuck Berry, to Joan Didion sitting in on a Doors recording session, to Henry Rollins on Madonna, to Roddy Doyle's The Commitments. Tom Wolfe, Patti Smith, Don DeLillo, John Lennon, Frank Zappa, Nick Hornby, and many others contribute to this portrait of the music and its culture from its ancestors in the blues to its latest variants beyond grunge and rap. The book is organized into sections that create provocative and eye-opening juxtapositions, from "Superstardom" to "Weirdness," from "Present at the Creation" to "Soul." A section on rock critics shows how these writers matched the music with their own sharp rhythm, while "Tributes" rounds off the volume by remembering in their glory some of the greats who are making noise in the hereafter.

Popular music has long understood that human rights, if attainable at all, involve a struggle without end. The right to imagine an individual will, the right to some form of self-determination and the right to self-legislation have long been at the forefront of popular music's approach to human rights. At a time of such uncertainty and confusion, with human rights currently being violated all over the world, a new and sustained examination of cultural responses to such issues is warranted. In this respect music, which is always produced in a social context, is an extremely useful medium; in its immediacy music has a potency of expression whose reach is long and wide. Contributors to this significant volume cover artists and topics such as Billy Bragg, punk, Fun-da-Mental, Willie King and the Liberators, Hedwig and the Angry Inch, the Anti-Death Penalty movement, benefit concerts, benefit albums, Gil Scott-Heron, Bruce Springsteen, Wounded Knee and Native American political resistance, Tori Amos, Joni Mitchell, as well as human rights in relation to feminism. A second volume covers World Music.

Queer Tracks describes motifs in popular music that deviate from heterosexual orientation, the binary gender system and fixed identities. This exciting cutting-edge work deals with the key concepts of current gender politics and queer theory in rock and pop music, including irony, parody, camp, mask/masquerade, mimesis/mimicry, cyborg, transsexuality, and dildo. Based on a constructivist concept of gender, Leibetseder asks: 'Which queer-feminist strategies are used in rock and pop music?' 'How do they function?' 'Where do they occur?' Leibetseder's methodological process is to discover subversive strategies in queer theory, which are also used in rock and pop music, without assuming that these tactics were first invented in theory. Furthermore, this book explains where exactly the subversiveness is situated in those strategies and in popular music. With the help of a new kind of knowledge transfer the author combines sociological and cultural theories with practical examples of rock and pop music. The subversive character of these queer motifs is shown in the work of contemporary popular musicians and is at the same time related to classical discourses of the humanities. Queer Tracks is a revised translation of Queere Tracks. Subversive Strategien in Rock- und Popmusik, originally published in German.

In 1994 punk rock trio Green Day were on top of the world with DOOKIE, their massive hit album. They were loud, fast, bratty, pissed off, hopeless, truthful, drunk, maybe high, and somehow, absolutely massive. It was glorious. But by 2004, the hoopla seemed to be over. The band were still respected by up-and-coming bands, but their album sales were down. And then, in October 04, came a new album, AMERICAN IDIOT. A furious and impassioned reaction against American politics - and in particular George W. Bush - AMERICAN IDIOT spoke directly to millions of people around the globe. Once again Green Day were reaching legions of disaffected teenagers as well as millions of older fans. Few bands achieve Green Day's early success, and even fewer come back for an even more explosive second act. Highly respected rock journalist Marc Spitz has interviewed the band many times, and has won their respect. His book will be the definitive history of the band, charting their transformation from snotty-nosed mall rats into the ultimate punk rock protest band - The Clash for the 21st century.

* GORGEOUSLY ILLUSTRATED: Each of the 40 cards in this oracle deck is vibrantly illustrated with original artwork; let The Snake Charmer (of VMAs fame) inspire you to face your fears, or the The Ringleader (of the "Circus" video) lead you to call the shots-these and many more Britney oracles in this one-of-a-kind set celebrate the superstar in her greatest moments from her music videos, stage performances, and more * DELUXE SET: This set includes 40 full-color illustrated cards (3 x 5 inches), shrink wrapped in an interior travel case; an 88-page, full-color illustrated paperback book (3 x 5 inches); and a keepsake magnetic closure box; cards and travel case are embedded in an interior tray * FULLY ILLUSTRATED ORACLE GUIDEBOOK: This set includes a full-color illustrated companion book to the card deck, providing the back story of each oracle and a dose of inspiration * PERFECT GIFT: This joyful, beautiful oracle deck and book set is an ideal gift for the most fabulous people in your life, for birthdays, Mother's Day, graduation, or any occasion at all * OFFICIALLY LICENSED: Set is officially licensed with Britney Brands, Inc A note on packaging: In order to help honor our planet and reduce waste, we have only shrink wrapped the interior cards, rather than the keepsake box. Please feel confident that your product is not defective or used.

For female pop stars, whose star bodies and star performances are undisputedly the objects of a sexualized external gaze, the process of ageing in public poses particular challenges. Taking a broadly feminist perspective, 'Rock On': women, ageing and popular music shifts popular music studies in a new direction. Focussing on British, American and Latina women performers and ageing, the collection investigates the cultural work performed by artists such as Shirley Bassey, Petula Clark, Madonna, Celia Cruz, Grace Jones and Courtney Love. The study crosses generations of performers and audiences enabling an examination of changing socio-historical contexts and an exploration of the relationships at play between performance strategies, star persona and the popular music press. For instance, the strategies employed by Madonna and Grace Jones to engage with the processes and issues related to public ageing are not the same as those employed by Courtney Love or Celia Cruz. The essays in this insightful collection reflect on the ways that artists and fans destabilise both the linear trajectories and the compelling weight of expectations regarding ageing by employing different modalities of resistance through persona re-invention, nostalgia, postmodern intertextuality and even early death as the ultimate denial of age.

WITH AN INTRODUCTION BY CRAIG BROWN, BESTSELLING AUTHOR OF ONE TWO THREE FOUR Everybody knows the Beatles: John, Paul, George, Ringo ... and Brian. The Fab Four's meteoric rise is one of the most famous rags-to-riches stories ever told. And behind it all was Brian Epstein, the 'fifth Beatle' and legendary manager, who transformed the group from a small-time club band into global superstars. What was his secret? How did one man lead these scruffy Liverpool lads to change the world of popular music forever? A Cellarful of Noise is Brian Epstein's original 1964 memoir of a life spent making music history. It includes thirty contemporary photographs which offer a glimpse of Brian and the Beatles on their way to phenomenal success. Eye-opening, moving and constantly entertaining, this is essential reading for every Beatles fan.

Since his arrival in New York in 1961, Bob Dylan has always been something of a mystery. He has worn a variety of masks that have delighted, puzzled, amused, and angered his many audiences. He has been poet, rocker, preacher, trickster, and prophet, and he has filled all these personas with songs and different voices. Nonetheless, Dylan has always been perceived as an authentic artist. Andrea Cossu brings the making of Bob Dylan to center stage in this new book, which offers a strikingly fresh explanation of Dylan and the changes he made throughout his career. Cossu s enjoyable descriptions of key Dylan performances show us how Dylan created his authenticity through performance, and how the many attempts to make Bob Dylan have often involved the interaction between the artist, his public image, and his many audiences.Touching on four different periods and tours from his first days in Greenwich Village to his electric turn at Newport, from the Rolling Thunder Revue and Dylan s born-again years to his late career the book offers a striking vision of how Dylan built his image and learned to live with its burden, painting a unique and coherent new portrait of the artist. A select number of books were printed with the incorrect index. We apologize for this mistake and have posted the final index for your convenience."

Since his arrival in New York in 1961, Bob Dylan has always been something of a mystery. He has worn a variety of masks that have delighted, puzzled, amused, and angered his many audiences. He has been poet, rocker, preacher, trickster, and prophet, and he has filled all these personas with songs and different voices. Nonetheless, Dylan has always been perceived as an authentic artist. Andrea Cossu brings the making of Bob Dylan to center stage in this new book, which offers a strikingly fresh explanation of Dylan and the changes he made throughout his career. Cossu s enjoyable descriptions of key Dylan performances show us how Dylan created his authenticity through performance, and how the many attempts to make Bob Dylan have often involved the interaction between the artist, his public image, and his many audiences.Touching on four different periods and tours from his first days in Greenwich Village to his electric turn at Newport, from the Rolling Thunder Revue and Dylan s born-again years to his late career the book offers a striking vision of how Dylan built his image and learned to live with its burden, painting a unique and coherent new portrait of the artist. A select number of books were printed with the incorrect index. We apologize for this mistake and have posted the final index for your convenience."

Turkish Metal journeys deep into the heart of the Turkish heavy metal scene, uncovering the emergence, evolution, and especially the social implications of this controversial musical genre in a Muslim society. The book applies an ethnographic approach in order to study social and cultural change in a Muslim society that is stricken with conflict over the, by turns, religious or secular nature of the state. Turkish Metal explores how Turkish metalheads, against all odds, manage to successfully claim public spaces of their own, thereby transforming the public face of the city. The book raises the question of how and why the young dare to rebel against the prevalent social and moral restrictions in Turkish society; and it examines whether they succeed in asserting their individual freedom in a society that is still well-known for sanctioning any kind of behaviour deviating from the norm. Above all, the book investigates the Turkish metal scene's potential for contesting Islamic concepts of morality, its relevance within the field of female emancipation, and its capacity to foster social relations that cut across national, religious and ethnic boundaries.

Music has been used as a cure for disease since as far back as King David's lyre, but the notion that it might be a serious cause of mental and physical illness was rare until the late eighteenth century. At that time, physicians started to argue that excessive music, or the wrong kind of music, could over-stimulate a vulnerable nervous system, leading to illness, immorality and even death. Since then there have been successive waves of moral panics about supposed epidemics of musical nervousness, caused by everything from Wagner to jazz and rock 'n' roll. It was this medical and critical debate that provided the psychiatric rhetoric of "degenerate music" that was the rationale for the persecution of musicians in Nazi Germany and the Soviet Union. By the 1950s, the focus of medical anxiety about music shifted to the idea that "musical brainwashing" and "subliminal messages" could strain the nerves and lead to mind control, mental illness and suicide. More recently, the prevalence of sonic weapons and the use of music in torture in the so-called War on Terror have both made the subject of music that is bad for the health worryingly topical. This book outlines and explains the development of this idea of pathological music from the Enlightenment until the present day, providing an original contribution to the history of medicine, music and the body.