The plane crash of 3 February 1959 which claimed the life of Buddy Holly was both a human tragedy, and a tragedy for rock'n'roll. In a little under two years, Holly and his band -- the Crickets -- had become major stars, thanks to their high standard of musicianship and a string of memorable hits including 'That'll Be The Day', 'Rave On', 'Peggy Sue', 'Oh Boy!' and 'Heartbeat', only for their career to be cruelly cut short. After his death, Holly's records continued to sell in quantity for many years -- a testament to his massive influence and the lasting popularity of his music. It may sound strange now, but in those monochrome, pre-Internet days very little was actually known about the singer with the unusual name and the hiccup in his voice -- a situation that persisted until the appearance of John Goldrosen's pioneering biography in 1975. Since then, much more information has been uncovered, thanks to decades of research by dedicated fans. This book draws together a mass of Holly facts and info from a variety of published sources, as well as the author's own original research, and presents them in an easy-to-use encyclopaedic format. Now in its third edition, it has proved to be a popular and valuable reference work on this seminal rock'n'roller. This is a book that every Holly fan will want to keep at his fingertips. A book about a musical genius who will never be forgotten.

A collection of Joni Mitchell's finest songs, arranged for piano, voice and guitar.

The International Who's Who in Popular Music 2018 gives biographical information and contact details for some of the most talented and influential artists and individuals from the world of popular music. Now in its nineteenth edition, there are over 7,000 biographies charting the careers and achievements of artists in pop, rock, folk, jazz, dance, world, country music and much more. Key Features: - each entry includes full biographical information: principal career details, recordings and compositions, honours and contact information where available - each entrant is given the opportunity to update his or her information - spans the full range of the popular music industry, from rock to jazz and dance to country - provides information on established names as well as up-and-coming artists - a directory section provides details of music festivals, awards, organizations within the industry, and digital music sources - for ease of reference, the book includes an index of music group members. In one accessible volume this title offers users a vast collection of information on the most famous and influential people in the popular music industry.

This book is the playful and romantic approach to gourmet dining for newlyweds. It includes elegant, yet easy, recipes to launch newlyweds' life together with fun and style. The book is designed to put a nice multiple course meal on the table, picture fine China.

Marc Bolan was the very first superstar of the Seventies. As the seductive focus of "T Rex", he revelled in fame and fortune, released a string of classic records, but then lost his way, bingeing on cocaine and booze and apparently heading for obscurity. But the fatal 1977 car crash that cut short his planned comeback as a punk rocker was also to fix him forever as the classic icon of Glam Rock. Today, almost 30 years after his death, the legend of Marc Bolan lives on and not just for the image. His music and chameleonic style were to influence many future bands. Mod, Beatnik, Hippie, Glam and Punk Rocker - Bolan's numerous guises offer a fascinating glimpse into the man himself as well as British pop history. This classic biography of a pop obsessive draws from interviews with many friends and colleagues including the late John Peel, brother Harry and band members Mickey Finn and Bill Legend.

Popular music is not simply a series of musicians, moments, genres or recordings. Audiences matter; and the most ardent audience members are the fans. To be a fan is to feel a connection with music. The study of fandom has begun to emerge as a vital strand of academic research, one that offers a fresh perspective on the nature of music culture. Fan Identities and Practices in Context investigates fan identities and practices in different contexts and in relation to different bands and artists. Through a series of empirical case studies the book reflects a diverse array of objects and perspectives associated with this vibrant new field of study. Contributors examine how fans negotiate their identities and actively pursue their particular interests, touching on a range of issues including cultural capital, generational memory, gender, fan fiction and the use of new media. This book was originally published as two special issues of Popular Music and Society.

Many people know that Jimi Hendrix (1942-1970) was a pioneering guitarist and songwriter whose electric playing and performances were at the heart of Sixties pop culture. What, perhaps, they don't know is that he trained as a paratrooper in the Army; that his first guitar cost only $5, while the guitar he set light to at the Monterey Pop Festival later sold for $380,000; that the Jimi Hendrix Experience recorded only 3 studio albums; and that he is one of many rock stars to have died at the age of 27. This book presents an instant impression of his life, work and fame, with an array of irresistible facts and figures converted into infographics to reveal the artist behind the music.

Popular music is with us constantly. Not only do we listen to music in our homes and at live performances, but also as a sonic background in cars, bars, aeroplanes, restaurants and shopping malls. This book provides a comprehensive study of the international industry which produces, markets and distributes popular music. It considers the industry at a time of great change: facing up to the concentration of ownership and market share in the hands of the "big six" multinational companies, and adapting to technological innovations which are transforming the ways in which music is produced and consumed.;The author examines how the industry is responding to the need to produce global stars and global product for an ever-growing international audience. He discusses the effect of new media technologies and means of communication, including digitalization, satellite broadcasting and the Internet, and considers the role of the largest and single most important market for commercial music, the United States.

Contents:
Preface List of Tables List of Figures 1.INTRODUCTION 2. MUSIC AND THE ENTERTAINMENT INDUSTRY 3.MUSIC AS POPULAR CULTURE 4.THE MUSIC INDUSTRY IN TRANSITION 5.THE PRODUCTION OF POPULAR MUSIC 6.THE CONSUMPTION OF POPULAR MUSIC 7.THE AMERICAN EXAMPLE 8.THE SWEDISH EXAMPLE 9.FUTURE SOUNDS: TOWARDS A GLOBAL JUKEBOX ? Appendix 1 Internet WWW music sites Bibliography

The origin story of a groundbreaking album The 1971 Allman Brothers Band album At Fillmore East was a musical manifesto years in the making. In Play All Night!, Bob Beatty dives deep into the motivations and musical background of band founder Duane Allman to tell the story of what made this album not just a smash hit, but one of the most important live rock albums in history. Featuring insights from bootleg tapes, radio ads, early reviews, never-before-published photos, and the memories of band members, fans, and friends, Beatty chronicles how Allman rejected the traditional route of music business success-hit singles and record sales-and built a band that was at its best jamming live on stage, feeding off the crowd's energy, and pushing each other to new heights of virtuosic improvisation. Every challenge, from recruiting a group of relatively unknown but established musicians like Jaimoe and Dickey Betts, touring the American South as an interracial band, and the failure of their first two studio albums, sharpened Allman's determination to pursue the band's truly unique sound. He made a bold choice-to record their next album live at Bill Graham's famous concert hall in New York's Lower East Side, a gamble that launched a new strand of American music to the top of the charts. Four days after the album went gold, Duane Allman was killed in a motorcycle accident. He was 24. This book explores how At Fillmore East cemented Allman's legacy as a strong-willed, self-taught visionary, giving fans of Southern rock and all readers interested in the role of rock music in American popular culture a new appreciation for this pathbreaking album.

Although musical tributes play a significant role within contemporary culture and despite their relative longevity as a form of entertainment, little serious research has been published on the subject. This book makes an important contribution to the understanding of the phenomenon of the tribute band by linking it to other types of imitative entertainment such as 'ghost', cover and parody bands. It also demonstrates the impact of a changing cultural Zeitgeist on the evolution of popular music tributes, showing how music tributes can be related to other examples of retrospection. These influences are linked to the impact of new technology in making the art of paying tribute possible, showing how certain developments have created the musical equipment and apparatus for self-promotion, marketing and communication with fans. Whilst critical opinion on this type of entertainment remains divided, the author challenges negative responses through an interrogation of critiques of imitative cultural practices within a broader historical and cultural framework. The diversity of the homage industry is highlighted and the book avoids concentrating solely on well-known tributes, looking too, at the work of those operating in the 'alternative' tribute scene. The book explores the working life of musicians involved in the 'bargain basement' end of the live music industry, using interviews and first hand observations to show the trials and tribulations of paying homage. Finally, through an examination of the audience at tribute events, fandom and associated social and psychological aspects of participation are explored.

Bob Dylan: All the Songs focuses on Dylan's creative process and his organic, unencumbered style of recording. It is the only book to tell the stories, many unfamiliar even to his most fervent fans, behind the more than 500 songs he has released over the span of his career. Organized chronologically by album, and updated to include all of his most recent work including the 2020 release of his 39th album, Rough and Rowdy Ways, Margotin and Guesdon detail the origins of his melodies and lyrics, his process in the recording studio, the instruments he used, and the contribution of a myriad of musicians and producers to his canon.

This book, first published in 1987, was the first major survey of the links between the visual arts and pop music over the last thirty years. It brings to light the ideas, styles and people who have influenced both the look of pop and the shape of art. It examines how pop uses art movements like Dada, Futurism and Surrealism in everything from the design of album covers to the creation of a group's look, stage act and video; how art uses pop, as a subject for painting, sculpture and design; the vital role of the British art school connection; and collaborations and cross-overs - between the visual arts and groups, musicians and movements.

When rock 'n' roll began its ascendancy in the 1950s the older generation saw it as dangerous, renegade, threatening the moral stability of a nation. Young people saw it as freedom, and most importantly, as their music. The teenage revolution was here, This book, first published in 1982, traces the roots of this cultural transformation, its emergence in rock 'n' roll and other media, and shows just how violent the confrontation was by looking at contemporary newspaper reports.

In this lively examination of youth and their relationship to music, first published in 1994, contributors cover issues ranging from the place of music in urban subculture and what music tells us about adolescent views on love and sex, to the political status of youth and youth culture.

This is a comprehensive guide to popular music literature, first published in 1986. Its main focus is on American and British works, but it includes significant works from other countries, making it truly international in scope.

The approach of this book, first published in 1982, is multi-disciplinary. Popular music, it is argued, is not only a musical but also a social phenomenon; the criteria needed to assess it are different from those used in the appreciation of 'classical' music. The first section of this guide is devoted to setting out just what those criteria should be. A second section puts forward bases for course construction that are detailed and flexible. A final section provides a list of further resources.

The legion of fans who refuse to believe that Elvis Presley died August 16, 1977 has been a major force behind the ever-expanding, elusive, and enduring Elvis myth during the past seventeen years. This network of fervent true believers engages in activities that include a melange of sightings and conspiracy theories. Mass media coverage of these phenomena has evolved from the underground grass-roots level to widespread publicity with social, religious, commercial, and ideological underpinnings. In True Disbelievers, R. Serge Denisoff and George Plasketes examine the implications of various accounts and several perspectives on Elvis Presley's death and transfiguration.

Denisoff and Plasketes also analyze the various media that those who doubt Elvis's death use to popularize their positions, including television, magazines, and books. They review the work of others who have written on the subject, such as Gail Brewer-Giorgio and Major Bill Smith, and raise provocative, yet valid questions about the phenomenon they describe. True Disbelievers takes a pointed look at the music industry as well, and how it has used and commercially benefitted by the continuing belief that Elvis lives. They examine common strands in the many reports of Elvis sightings since Presley's reported death.

Denisoff and Plasketes describe the Elvis phenomenon in serious, objective as well as empathetic terms, placing it in the context of studies of cult figures and their followers. True Disbelievers contains a great deal of fascinating information about America's popular culture and the power and influence of the media in modern society. It will be of significant interest to communication studiesscholars, sociologists, professionals in the music and media industries, and those interested in popular culture.

Seeking to understand youth culture through its visual and musical expression, "In Garageland" presents a pioneering ethnographc study of rock bands and their fans.
The authors explore the functions of rock playing within three socially different peer groups, investigating how their activities relate to the external demands and resources of a postmodern world. Presented in the "dialogic" format--the authorial text juxtaposed on the page with the remarks of those interviewed--the authors analyze the objective, social, symbolic and subjective sources and meanings of rock playing, relating these to theories on modernity, social groups and the production and reception of cultural symbols.
Topics include class as well as sexual conflicts; mainstream and deviant subcultures, and the complex social, psychological and ethical relationships which exist within youth culture. "In Garageland" develops the notion of youth culture research as a way of mirroring our grown-up identities and of staking out the limits of late modern culture in general.

Fans constitute a very special kind of audience. They have been marginalized, ridiculed and stigmatized, yet at the same time they seem to represent the vanguard of new relationships with and within the media. 'Participatory culture' has become the new normative standard. Concepts derived from early fan studies, such as transmedial storytelling and co-creation, are now the standard fare of journalism and marketing text books alike. Indeed, usage of the word fan has become ubiquitous. The Ashgate Research Companion to Fan Cultures problematizes this exaltation of fans and offers a comprehensive examination of the current state of the field. Bringing together the latest international research, it explores the conceptualization of 'the fan' and the significance of relationships between fans and producers, with particular attention to the intersection between online spaces and offline places. The twenty-two chapters of this volume elucidate the key themes of the fan studies vernacular. As the contributing authors draw from recent empirical work around the globe, the book provides fresh insights and innovative angles on the latest developments within fan cultures, both online and offline. Because the volume is specifically set up as companion for researchers, the chapters include recommendations for the further study of fan cultures. As such, it represents an essential reference volume for researchers and scholars in the fields of cultural and media studies, communication, cultural geography and the sociology of culture.

Terry Rawling's book perfectly captures the look and soul of Mod. Tracing its roots back to London's Soho of the Forties, he unearths every impulse and expression of the only surviving British youth movemebt that can be looked back on 'without embarrassment'. Includes exclusive interviews and audiences with some of the Mod scene's main movers past and present, including Richard Barnes, Johnny Moke, Graham Hughes, Peter Stringfellow, Kenney Jones, Bobby Gillespie and 'Mani' Mounfield, Eddie Piller and Gary Crowley. With chapters on the origins of Mod, its music, scooters, clothes and fashions, the beach riots and for the first time, the story of the Mod revivals of the late Seventies and beyond. Features hundreds of pictures, many gleaned from private collections and never published before.

Made in the Low Countries: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology, and musicology of twentieth and twenty-first century popular music of the Dutch-speaking region comprising the Netherlands and Flanders as a region of federal Belgium. The volume consists of essays by leading scholars and publicists in this field, and covers the major issues, genres, and contexts of popular music. Each essay provides adequate context so readers understand why the issue or genre under discussion is of lasting significance to this transnational region. The book first presents a general description of the history and background of popular music made in the region, followed by essays that are organized into four thematic sections: I: Framing and Facilitating; II: Creation and Curation; III: Close Encounters; IV: Changes and Choices.

The study of pre-existing film music is now a well-established part of Film Studies, covering 'classical' music and popular music. Generally, these broad musical types are studied in isolation. This anthology brings them together in twelve focused case studies by a range of scholars, including Claudia Gorbman, Jeongwon Joe, Raymond Knapp, and Timothy Warner. The first section explores art music, both instrumental and operatic; it revolves around the debate on the relation between the aural and visual tracks, and whether pre-existing music has an integrative function or not. The second section is devoted to popular music in film, and shows how very similar the functions of popular music in film are to the supposedly more 'elite' classical music and opera. Case studies in part 1: Eyes Wide Shut, Raging Bull, Brief Encounter, Detective, The Godfather Part III, three versions of the Carmen story (DeMille's, Preminger's and Rosi's), Amadeus, The Birth of a Nation, M: Eine Stadt sucht einen MArder, Needful Things, Rat Race. Case studies in part 2: various films by AlmodA(3)var, Young Frankenstein, Pulp Fiction, Trainspotting, Amelie, High Fidelity, Ghost World, Heavenly Creatures, The Virgin Suicides, and the video Timber by Coldcut.

Originally published in 1995. This book's collection of key essays presents a coherent overview of touchstone statements and issues in the study of Anglo-American popular ballad traditions and suggests ways this panoramic view affords us a look at Euro-American scholarship's questions, concerns and methods. The study of ballads in English began early in the eighteenth century with Joseph Addison's discussions which marked the onset of an aesthetic and scholarly interest in popular traditions. Therefore the collection begins with him and then chronologically includes scholars whose views mark pivotal moments which taken together tell a story that does not emerge through an examination of the ballads themselves. The book addresses debates in tradition, orality, performance and community as well as national genealogies and connections to contexts. Each selected piece is pre-empted by an introductory section on its importance and relevance.

An explanation of types of jobs, and organizations within the rock and pop music business by the former publicist of the Beatles and music journalist and broadcaster. The jobs are related to each other so that a full picture of the music industry is developed on both the creative and administrative side - useful for those following music related courses who wish to work in the industry or perform in it. Ways into the industry are indicated with a full directory listing of useful contact names and addresses.