The Rolling Stones: Sociological Perspectives, edited by Helmut Staubmann, draws from a broad spectrum of sociological perspectives to contribute both to the understanding of the phenomenon of the Rolling Stones and to an in-depth analysis of contemporary society and culture that takes The Stones a starting point. Contributors approach The Rolling Stones from a range of social science perspectives including cultural studies, communication and film studies, gender studies, and the sociology of popular music. The essays in this volume focus on the question of how the worldwide success of The Rolling Stones over the course of more than half a century reflects society and the transformation of popular culture.

Sprung from the roots of 70s hard rock, Metallica defined the look and sound of 1980s heavy metal, just as Led Zeppelin had for hard rock and the Sex Pistols for punk before them. Inventors of thrash metal--Slayer, Anthrax and Megadeth followed--it was always Metallica who led the way, who pushed to another level, who became the last of the superstar rockers.

Though plagued by adversities, including the death of their bassist in a bus crash, infighting and substance abuse, they survived to became the biggest-selling band in the world. With 100 million records sold worldwide, their music has extended its reach beyond rock and metal, and into the pop mainstream, as they went from speed metal to MTV with their hit single "Enter Sandman." Until now there hasn't been a critical, authoritative, in-depth portrait of the band. Mick Wall's thoroughly researched, insightful work is enriched by his interviews with band members, record company execs, roadies, and fellow musicians. He tells the story of how a tennis-playing, music-loving Danish immigrant named Lars Ulrich created a band with singer James Hetfield and made his dreams a reality. "Enter Night" delves into the various incarnations of the band, and the personalities of all key members, past and present--especially Ulrich and Hetfield--to produce the definitive word on the biggest metal band on the planet

Sing Us a Song, Piano Woman: Female Fans and the Music of Tori Amos explores the many-layered relationships female fans build with feminist musicians in general and with Tori Amos, in particular. Using original interview research with more than forty fans of Tori Amos, multiple observer-participant experiences at Amos's concerts, and critical content analysis of Amos's lyrics and larger body of work, Adrienne Trier-Bieniek utilizes a combination of gender, emotions, music, and activism to unravel the typecasts plaguing female fans. Trier-Bieniek aggressively challenges the popular culture stereotypes that have painted all female fans as screaming, crying teenage girls who are unable to control themselves when a favorite (generally male) performer occupies the stage. In stunning contrast, admirers of Tori Amos comprise a more introspective category of fan. Sing Us a Song, Piano Woman examines the wide range of stories from these listeners, exploring how Amos's female fans are unique because Amos places the experiences of women at the center of her music. Tori Amos's fan base is considered devoted because of the deeply emotional, often healing, connection they have to her music, an aspect that has been overlooked, particularly in sociological and cultural research on gender, emotions and music. Tori Amos's female fans as a social phenomenon are vital for understanding the multi-layered relationships women can have with female singer/songwriters. At a time when superficial women dominate public media presentations, from the Kardashians to the "Real Housewives," the relationship between Tori Amos and her fans illustrates the continuous search by women for female performers who challenge patriarchal standards in popular culture. Trier-Bieniek's research serves as a springboard for further study of women in pop culture whose purpose is to empower and provoke their fans, as well as change society.

The Rolling Stones: Sociological Perspectives, edited by Helmut Staubmann, draws from a broad spectrum of sociological perspectives to contribute both to the understanding of the phenomenon Rolling Stones and to an in-depth analysis of contemporary society and culture that takes The Stones a starting point. Contributors approach The Rolling Stones from a range of social science perspectives including cultural studies, communication and film studies, gender studies, and the sociology of popular music. The essays in this volume focus on the question of how the worldwide success of The Rolling Stones over the course of more than half a century reflects society and the transformation of popular culture.

Despite the musical and social roles they play in many parts of the world, wind bands have not attracted much interest from sociologists. The Sociology of Wind Bands seeks to fill this gap in research by providing a sociological account of this musical universe as it stands now. Based on a qualitative and quantitative survey conducted in northeastern France, the authors present a vivid description of the orchestras, the backgrounds and practices of their musicians, and the repertoires they play. Their multi-level analysis, ranging from the cultural field to the wind music subfield and to everyday life relationships within bands and local communities, sheds new light on the social organisation, meanings and functions of a type of music that is all too often taken for granted. Yet they go further than merely portraying a musical genre. As wind music is routinely neglected and socially defined in terms of its poor musical quality or even bad taste, the book addresses the thorny issue of the effects of cultural hierarchy and domination. It proposes an imaginative and balanced framework which, beyond the specific case of wind music, is an innovative contribution to the sociology of lowbrow culture.

Global Jazz: A Research and Information Guide is an annotated bibliography that explores the global impact of jazz, detailing the evolution of the African American musical tradition as it has been absorbed, transformed, and expanded across the world's historical, political, and social landscapes. With more than 1,300 annotated entries, this vast compilation covers a broad range of subjects, people, and geographic regions as they relate to interdisciplinary research in jazz studies. The result is a vivid demonstration of how cultures from every corner of the globe have situated jazz-often regarded as America's classical music-within and beyond their own musical traditions, creating new artistic forms in the process. Global Jazz: A Research and Information Guide presents jazz as a common musical language in a global landscape of diverse artistic expression.

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.

Song & Social Change in Latin America offers seven essays from a diverse group of scholars on the topic of music as a reflection of the many social-political upheavals throughout Latin America from the 20th century to the present. Topics covered include: the Tropicalia movement in Brazil, the Nueva Cancion in Central America, Rock in Mexico, Argentina, Chile and Peru, the Vallenato in Colombia, Trova in Cuba, and urban music of Puerto Rico in the mid-20th century. The collection also includes five interviews from prominent and up-and-coming musicians -Ruben Blades, Roy Brown, Habana Abierta, Ana Tijoux, and Mare- representing a variety of musical genres and political issues in Central America, the Caribbean, South America, and Mexico.

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.

More than fifteen years since the death of lead guitarist and singer Jerry Garcia, the Grateful Dead stand as a symbol of the unresolved cultural clashes of the 1960s. The band's thirty-year odyssey is a testament to the American imagination, with thousands of live concert recordings by fans and the band itself, preserved alongside an impressive array of images, artwork, and paraphernalia. Most recently, the Grateful Dead have released from their vault their entire 1972 European tour, one of the largest boxed sets of live music-seventy-three compact discs-ever released. This publicly available archive of recorded music lays the groundwork for David Malvinni's exploration of the band's musical signature as the ultimate jam band in Grateful Dead and the Art of Rock Improvisation. Malvinni considers a select group of songs from the Dead's early repertoire, from its unique covers of "Viola Lee Blues," "Midnight Hour," and "Love Light" to original masterpieces like "Dark Star." Marrying basic music analysis to philosophical frames offered by improvisatory musings of Heidegger, Derrida, and Deleuze, Malvinni presents the core aesthetic underlying the Dead's musical styling. In tracing the evolution of the band's unique jam style, Malvinni outlines the Dead's gift as gatherers and inventors of old and new soundscapes in their multifaceted improvisations. Like no other band, the Dead brought together a variety of styles from roots and folk to country and modal jazz to postmodern European art music. Devoted Deadheads reveled in the band's polyglot, risk-filled approach to playing live and the joint band-audience quest to reach a type of sonic cosmic ecstasy, commonly described as the "X factor." Although fans and scholars alike recognize the Grateful Dead as icons of psychedelic music, the band's improvisatory approach still remains an enigma to the uninitiated. In Grateful Dead and the Art of Rock Improvisation, Malvinni unravels this mystery, walking readers through the band's musical decision-making process. Written for rock music fans with little to no background in music theory, as well as scholars and students of popular music culture, the book reveals the method behind the seeming chaos of America's greatest jam band.

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.

From One of the Greatest Bands in History Comes a Reminder to Never Give Up Hope. In this long-awaited memoir, complete with color photographs, songwriter and keyboardist Jonathan Cain takes us on an odyssey from center stage with Journey when all America was listening to songs like "Don't Stop Believin'," "Faithfully," and "Open Arms," to his hope and faith today. He tells of the thrilling moments when the music came together and offers an inside look at why Steve Perry left and the extraordinary story of their gifted new vocalist, Arnel Pineda. When Jonathan Cain and the iconic band Journey were inducted into the Rock and Roll Hall of Fame, Cain could say he had finally arrived. But Cain's journey wasn't always easy - and his true arrival in life had more to do with faith than fame. As a child, Cain survived a horrific school fire that killed nearly 100 of his classmates. His experience formed a resilience that would carry him through both tragedy and success. Moving from Chicago to Sunset Boulevard, Cain never let go of his dreams, eventually getting his big break with Journey - and writing the songs that would become the soundtrack of a generation. Don't Stop Believin' is an epic story of one man's dream that takes you from playing old-country songs at an Italian Deli in Chicago and his experiences with a warm, encouraging father who died too soon, to suddenly writing mega-bestselling songs with some of the most talented musicians and performers ever to take the stage of some of the world's largest arenas. The song "Don't Stop Believin'" is the most downloaded song of all time, and is one that has been covered by major televisions shows and adopted by a whole new generation. Through a wonderful retrospective of music that takes us right to the present, Jonathan Cain reminds us of the melodies and lyrics that serve as milestones for our biggest dreams as they call us to never stop believing.

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.

"Music affects every person. It is the soundtrack of our happiness, zest for achievement and relationships to others. Music brings great ideas and feelings. It soothes the soul. It creates and sustains memories." - Hank Moore Pop Music Legends covers change and growth of the music recording industry. It is based on the Hank Moore's involvement in music over the years, interviews with hundreds of music stars and his knowledge of pop culture. It is the only book that encompasses a full-scope music perspective and is designed to have high appeal mass appeal, historical, entertainment and is applicable to a broad audience.

The Presley Family & Friends Cookbook is a special blend of recipes, memories and photographs compiled by the people who knew Elvis best: his personal cook, family, friends and fellow performers. Simmering with nearly 300 recipes, it contains an amazing variety of foods, from Elvis's All Shook Up Milkshake to his You Ain't Nothin' but a Hot Dog to the family's King Creole Lobster and Clam Bake, plus his favourite banana pudding and hamburger recipes. Also included are recipes from his favourite restaurants and Memphis juke joints. The Presley Family & Friends Cookbook contains more than 100 personal family photos - many of which have not been published - and provides personal reminiscences from Elvis's family and friends. Also included are dozens of fan-friendly sidebars and useful information about Elvis movies available on video, plus lists of his many hits and albums and when they appeared on the pop charts. Come and enjoy platter after platter of some the King's favourite foods, straight from the kitchens of some of his most beloved cooks.

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.

(FAQ). Jimi Hendrix left the world too soon at the age of twenty-seven, but, despite the brevity of his career, his body of work is as vital to 20th-century music as that of Louis Armstrong, the Beatles, and Miles Davis. Hundreds of hours of unreleased studio sessions and concert performances were his salvation. A modest man but highly competitive musician, Hendrix set the stage for many of the most significant musical movements to emerge between 1970 and 1999, including heavy metal, fusion, glam rock, and rap. Voodoo bluesman, sonic producer, the lyricist that out-Dylaned Dylan: these are what snatch our attention 40 years after his death, as do his "aw, shucks" smile in photos and the raw sexuality of his concert performances. It's hard to find the man under all the falsehoods told by friends, business associates, and even Jimi himself. Jimi Hendrix FAQ attempts to present the facts in a fast-moving, fan-friendly read.

This fascinating biography provides a detailed portrait of the high-energy, charismatic international superstar and frontman of the ever-popular band, Bon Jovi. The book charts Jon's relationship with the other band members who have their fair share of rock and roll stories - sex, booze, burnouts, health and women problems. Although rock music is Jon Bon Jovi's first love, he has more recently developed an interest in acting - starring in various hit TV shows such as Ally McBeal and Sex and the City and attracting critical acclaim for his role in World War II hit film, U-571. He has also scored film music, with his score for Young Guns earning him an Oscar nomination. Bestselling writer Laura Jackson explores the personality, character, drive and the determination that have taken him from playing New Jersey clubs through all the groupie excess and glamorous indulgence to where the band is today. Two new chapters in this updated edition detail his recent work for charity, his involvement in politics and football and also give an update on the band's new albums and tours.

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.

Rock 'n' roll infuses the everyday life of the American adult, but for the first, complete generation of rock 'n' roll fans-baby boomers born between 1946 and 1964-it holds a special kind of value, playing a social personality-defining role that is unique to this group. Based on 18 years of sociological research and 52 years of rock 'n' roll fandom, Baby Boomer Rock 'n' Roll Fans: The Music Never Ends draws on data collected from participant observations and interviews with artists, fans, and producers to explore our aging rock culture through the filter of symbolic interactionist theory. As author Joseph Kotarba notes, the "purpose in writing this book is to describe sociologically the many ways people in our society who were raised on rock'n'roll music and its cultural baggage have continued to use the rock'n'roll idiom to make sense of, celebrate, and master everyday life-through adulthood and for the rest of their lives." Sociological concepts of the "self" are the key organizing feature of this book, as each chapter engages with sociological ideas to explain how baby boomers use popular music to explore, sculpt, fulfill, and ultimately make sense of who they are in different contexts. Kotarba looks at baby boomers as individuals and parents, as political actors and religious adherents, social beings and aging members of American society, detailing throughout how rock 'n' roll provides a groundwork for establishing and maintaining both private and public sense of self. Baby Boomer Rock 'n' Roll Fans will interest scholars and students of music and sociology and American popular culture.

An essential work for rock fans and scholars, Before Elvis: The Prehistory of Rock 'n' Roll surveys the origins of rock 'n' roll from the minstrel era to the emergence of Bill Haley and Elvis Presley. Unlike other histories of rock, Before Elvis offers a far broader and deeper analysis of the influences on rock music. Dispelling common misconceptions, it examines rock's origins in hokum songs and big-band boogies as well as Delta blues, detailing the embrace by white artists of African-American styles long before rock 'n' roll appeared. This unique study ranges far and wide, highlighting not only the contributions of obscure but key precursors like Hardrock Gunter and Sam Theard but also the influence of celebrity performers like Gene Autry and Ella Fitzgerald. Too often, rock historians treat the genesis of rock 'n' roll as a bolt from the blue, an overnight revolution provoked by the bland pop music that immediately preceded it and created through the white appropriation of music till then played only by and for black audiences. In Before Elvis, Birnbaum daringly argues a more complicated history of rock's evolution from a heady mix of ragtime, boogie-woogie, swing, country music, mainstream pop, and rhythm-and-blues-a melange that influenced one another along the way, from the absorption of blues and boogies into jazz and pop to the integration of country and Caribbean music into rhythm-and-blues. Written in an easy style, Before Elvis presents a bold argument about rock's origins and required reading for fans and scholars of rock 'n' roll history.

Finding Fogerty: Interdisciplinary Readings of John Fogerty and Creedence Clearwater Revival, edited by Thomas M. Kitts, begins to correct the scholarly neglect of John Fogerty, one of America's great songwriters, one of the rock era's great vocalists, and one of its underrated guitarists and producers. This essential collection pulls together scholars from a wide range of disciplines and approaches to assess Fogerty's fifty-year career and to argue for his musical and cultural significance. The composer of American classics like "Proud Mary," "Fortunate Son," "Green River," "Who'll Stop the Rain," and "Centerfield," Fogerty first achieved commercial success with the release of Creedence Clearwater Revival in 1968. As the band's songwriter, lead singer, lead guitarist, and producer, Fogerty led CCR in a blistering output of 10 top-ten singles and seven gold albums before disbanding CCR in 1972. Divided into four sections ("Born on the Bayou," "Run Through the Jungle," "Centerfield, "and "Keep on Chooglin'"), Finding Fogerty investigates Fogerty's songs, life, and legacy, and stands as a tribute to one of America's most treasured musical legends.