'In what is the most comprehensive biography of the group to date, Browne compiles a fun and fast-paced music history.... an authoritative chronicle.' --Publishers Weekly The first and most complete narrative biography of Crosby, Stills, Nash and Young, by acclaimed music journalist and Rolling Stone senior writer David Browne Even in the larger-than-life world of rock and roll, it was hard to imagine four more different men. David Crosby, the opinionated hippie guru. Stephen Stills, the perpetually driven musician. Graham Nash, the tactful pop craftsman. Neil Young, the creatively restless loner. But together, few groups were as in sync with their times as Crosby, Stills, Nash and Young. Starting with the original trio's landmark 1969 debut album, the group embodied much about its era: communal musicmaking, protest songs that took on the establishment and Richard Nixon, and liberal attitudes toward partners and lifestyles. Their group or individual songs--'Wooden Ships,' 'Suite: Judy Blue Eyes,' 'After the Gold Rush,' 'For What It's Worth' (with Stills and Young's Buffalo Springfield), 'Love the One You're With,' 'Long Time Gone,' 'Just a Song Before I Go,' 'Southern Cross'--became the soundtrack of a generation. But their story would rarely be as harmonious as their legendary and influential vocal blend. In the years that followed, these four volatile men would continually break up, reunite, and disband again--all against a backdrop of social and musical change, recurring disagreements and jealousies, and self-destructive tendencies that threatened to cripple them both as a group and as individuals. In Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup, longtime music journalist and Rolling Stone writer David Browne presents the ultimate deep dive into rock and roll's most musical and turbulent brotherhood on the occasion of its 50th anniversary. Featuring exclusive interviews with David Crosby and Graham Nash along with band members, colleagues, fellow superstars, former managers, employees, and lovers-and with access to unreleased music and documents--Browne takes readers backstage and onstage, into the musicians' homes, recording studios, and psyches, to chronicle the creative and psychological ties that have bound these men together--and sometimes torn them apart. This is the sweeping story of rock's longest-running, most dysfunctional, yet pre-eminent musical family, delivered with the epic feel their story rightly deserves.

A longstanding, successful and frequently controversial career spanning more than four decades establishes David Bowie as charged with contemporary cultural relevance. That David Bowie has influenced many lives is undeniable to his fans. He requisitions and challenges his audiences, through frequently indirect lyrics and images, to critically question sanity, identity and essentially what it means to be 'us' and why we are here. Enchanting David Bowie explores David Bowie as an anti-temporal figure and argues that we need to understand him across the many media platforms and art spaces he intersects with including theatre, film, television, the web, exhibition, installation, music, lyrics, video, and fashion. This exciting collection is organized according to the key themes of space, time, body, and memory - themes that literally and metaphorically address the key questions and intensities of his output.

Rock 'N' Film presents a cultural history of films about US and British rock music during the period when biracial popular music was fundamental to progressive social movements on both sides of the Atlantic. Considering the music's capacity for utopian popular cultural empowerment and its usefulness for the capitalist media industries, Rock 'N' Film explores how its contradictory potentials were reproduced in various kinds of cinema, including major studio productions, minor studios' exploitation projects, independent documentaries, and avant-garde works. These include Rock Around the Clock (Fred F. Sears, 1956) and other 1950s jukebox musicals; Elvis's King Creole (Michael Curtiz, 1958) and other important films he made before being drafted as well as the formulaic musical comedies in which Hollywood abused his genius in the 1960s; early documentaries such as The T.A.M.I. Show (Steve Binder, 1964) that presented James Brown and the Rolling Stones as core of a black-white, US-UK cultural commonality; A Hard Day's Night (Richard Lester, 1964) that precipitated the British Invasion, Dont Look Back (1967), Monterey Pop (1968), and other Direct Cinema documentaries about the music of the counterculture by D. A. Pennebaker; Woodstock (1970); avant-garde documentaries about the Rolling Stones by Jean-Luc Godard, Kenneth Anger, Robert Frank, and others. After the turn of the decade, notably Gimme Shelter (1970) in which Charlotte Zwerin edited David and Albert Maysles's footage of the Altamont free concert so as to portray the Stone's complicity in the Hells Angels' murder of a young man, the 60s' utopian biracial music-and films about it-reverted to separate black and white traditions based respectively on soul and country. These produced Blaxploitation and Lady Sings the Blues (Sidney J. Furie, 1972) on the one hand, and bigoted representations of the Southern culture in Nashville (Robert Altman, 1975) on the other. Both these last two films ended with the deaths of their stars, and it seemed that rock 'n' roll had died or even, as David Bowie proclaimed, that it had committed suicide. But in another documentary about Bowie's concert, Ziggy Stardust and the Spiders from Mars (1973), D.A. Pennebaker triumphantly re-affirmed the community of musicians and fans in glam rock. In analyzing this history, David James adapts the methodology of histories of the classic musical to rock 'n' roll to show how the rock 'n' roll film both displaced and recreated the film musical.

WINNER OF THE PENDERYN MUSIC PRIZE A GUARDIAN MUSIC BOOK OF THE YEAR, 2015 FEATURING A NEW FOREWORD BY DAVID MITCHELL Award-winning, Sunday Times bestselling author Jon Savage's monument to the year that shaped the future of global pop cultural history. 'One of Britain's most trusted cultural historians.' THE FACE In America, in London, in Amsterdam, in Paris, revolutionary ideas fomenting since the late 1950s reached boiling point, culminating in a year in which the transient pop moment burst forth. Exploring the canonical figures, from The Beatles and Boty to Warhol and Reagan, 1966 delves deep into the social and cultural heart of the decade through masterfully compiled archival primary sources. 'A marvel of hisotrical reconstruction and pop insight.' OBSERVER 'Absorbing . . . this is not only fine pop writing, but social history of a high order.' GUARDIAN 'Savage is rightly regarded as one of the finest cultural critics of the past 40 years . . . an enthralling, exhiliarting read.' IRISH TIMES 'Exceptional.' MOJO (This book is part of a reissue of Jon Savage's seminal works: 1966, Teenage, and England's Dreaming)

The Life and Music of Harry Styles is written in an enthusiastic tone and fan-focused style, richly illustrated with photographs of the heartthrob and charts the evolution of Styles's career - from his discovery on the X Factor to his rise to a global super star and the next step: conquering the world as a solo artist and actor in 2017's Dunkirk, 2021's Eternals and landing the starring role in 2022's Don't Worry Darling. Having been a leading member of One Direction - possibly the most successful boyband of this century - Harry Styles has embarked on his solo career, not only managing to escape that shadow, but has thrived and become equally successful on his own. Harry Styles debuted at Number One all over the world, and his legions of fans were ecstatic with the first solo offering from the pop phenomenon.

Too Much Too Young investigates how age and gender have shaped the careers and images of pop music stars, examining the role of youth and youthfulness in pop music through a series of themed case studies. Sheila Whiteley begins by investigating the exploitation of child stars such as Brenda Lee and Michael Jackson, offering a psychoanalytic reading of the relationship between child star and oppressive manager, and looks at the current glut of boy- and girl- bands and stars in the mold of Britney Spears to examine the continuing fatal attraction of stardom for adolescents.
Whiteley then considers the star images of female singer-songwriters Kate Bush, Tori Amos, and Bjork, whose 'little girl' voices and characterization by the media suggests a girlish feminitity which is often at odds with the intentions of their musical output. She then moves on to explore the rock/pop divide as it affects the image of male performers, considering why male stars usually fall into the category of 'wild boys' such as Kurt Cobain or Jim Morrison, or 'nice boys', like Cliff Richard, The Monkees, and Wham!. Whiteley ends by asking what happens to stars who set so much store by manipulations of youthfulness when they begin to age, and points to stars like Robbie Williams, Kylie Minogue and Cher to demonstrate that it is possible to achieve iconic pop status even without dying young.

In Jimi Hendrix: The Stories Behind the Songs, music journalist and author David Stubbs provides the definitive companion to Hendrix's recorded output, from the early years, including 'Hey Joe' and 'Purple Haze' through to his posthumously released trilogy that concluded with Both Sides Of The Sky. Quite possibly the greatest solo rock artist of all time, Jimi Hendrix was the supreme physical and musical emblem of rock music. And although he was an immense guitarist, he also connected with audiences as a performer and a songwriter. Songs like 'Voodoo Chile' and 'Third Stone From The Sun' were the brilliant products of a dazed yet expanded consciousness, full of casual epithets which illuminated the era: 'May you never hear surf music again'; ''Scuse me while I kiss the sky'; 'Gonna raise my freak flag high'. Each one of them is explored, dissected and celebrated.

As soon as Bill Wyman was given a camera as a young boy, he quickly developed a passion for photography. After joining what would become the world's greatest rock 'n' roll band, Wyman continued his hobby. When he didn't have his bass, he had his camera. The result is an arresting, insightful and often poignant collection of photographs, showing his exclusive inside view of the band. From travelling to relaxing, backstage and on, Stones From the Inside is a unique view captured by a man who was there, every step of the way. Along with the images of the band at work and play, Wyman includes remarkable images of those along for the ride, from John Lennon, Eric Clapton, David Bowie and Iggy Pop to John Belushi and Dan Aykroyd. To accompany his photographs, Wyman offers up wonderful insights, anecdotes and behind-the-photo stories, giving all us a front-row seat and backstage pass to what it was like to be there, as music history was made as a member of The Rolling Stones. Limited to just 300 copies, this slipcased edition is accompanied by a print.

From the early days of The Rolling Stones, with a relatively baby-faced 'Keef' sporting a hounds-tooth jacket, to his heroic piratical look of the present day, rock's indestructible hero has been photographed by many people over half a century. Featuring more than 300 photographs in colour and black-and-white.Among those who took the pictures in this book are legendary photographers Jim Marshall, Terry O'Neill, Deborah Feingold, Neil Preston and Mark Seliger.If many of Keith Richards' adventures have passed into folklore, never before has there been quite such a comprehensive collection of portraits and candid shots collected to match the passing moments: police busts, global superstardom, a legendary Glastonbury set, a satisfying appearance in the Pirates Of The Caribbean movie franchise and an unlikely 2008 advertising stint as a lifestyle icon for Louis Vuitton, as photographed by Annie Leibowitz.Beautifully produced and elegantly designed, Keith Richards: A Life In Pictures is simply the must-have book of the year.

Writing in Manchester in the years 1992-93, in a context in which the depression of social marginalisation was palliated by a culture of radical hedonism and belligerence, Noel Gallagher composed a series of songs that distilled the spirit of the age far better than the more usually celebrated Kurt Cobain. Gallagher's lyrics on Definitely Maybe offered a message of affirmation and hope that was couched in language of remarkable clarity and directness. As Gallagher would later put it, Cobain had everything, and was miserable about it. And we had fuck-all, and I still thought that getting up in the morning was the greatest fucking thing ever, because you didn't know where you'd end up at night. In an era in which deconstructive cynicism was threatening the very existence of the counterculture and the mainstream Left, Oasis offered a radical, anomalous vision of positivity. And the fact this was indisputably a working-class vision founded in solidarity and fraternity was incredibly important.To a post-Thatcherite Britain that had just undergone the most debilitating period of social upheaval in a century, Gallagher ventriloquised slogans of burning communitarian optimism through the mouth of his brother Liam and the playing of the other Oasis everymen, Paul McGuigan, Paul Arthurs, and Tony McCarroll. The sheer elemental energy of Gallagher's idealism was breathtaking. Alex Niven charts the astonishing rise of Oasis in 1993 and 1994 and celebrates the life-affirming, communal force of songs such as Live Forever, Supersonic, and Cigarettes & Alcohol, and in doing so, he seeks to reposition Oasis in relation to their Britpop peers.

The Complete Annotated Grateful Dead Lyricsis an authoritative text, providing standard versions of all the original songs you thought you knew forwards and backwards. These are some of the best-loved songs in the modern American songbook. They are hummed and spoken among thousands as counterculture code and recorded by musicians of all stripes for their inimitable singability and obscure accessibility. How do they do all this? To provide a context for this formidable body of work, of which his part is primary, Robert Hunter has written a foreword that goes to the heart of the matter. And the annotations on sources provide a gloss on the lyrics, which goes to the roots of Western culture as they are incorporated into them. An avid Grateful Dead concertgoer for more than two decades, David Dodd is a librarian who brings to the work a detective's love of following a clue as far as it will take him. Including essays by Dead lyricists Robert Hunter and John Perry and Jim Carpenter's original illustrations, whimsical elements in the lyrics are brought to light, showcasing the American legend that is present in so many songs. A gorgeous keepsake edition of the Dead's official annotated lyrics,The Complete Annotated Grateful Dead Lyricsis an absolute must-have for the fiftieth anniversary-you won't think of this cultural icon the same way again. In fact, founding band member Bob Weir said: "This book is great. Now I'll never have to explain myself."

In 1982, aged twenty-three, Simon Parkes paid GBP1 for a virtually derelict building in Brixton. Over the next fifteen years he turned it into Britain's most iconic music venue. And now he's telling his story: full of fond - and wild - reminiscences of the famous musicians who played at the venue, including Robert Plant and Jimmy Page, Lou Reed, The Ramones, New Order, the Beastie Boys and The Smiths. This is about one man's burning desire for success against the odds, his passion for live music and the excitement of those wilderness years, a far cry from the corporate world that controls the scene today. From rock-star debauchery and mixing it up with Brixton gangsters to putting on the first legal raves in the UK and countless backroom business deals, this is the story of how to succeed in business with no experience and fulfil your teenage fantasies.

Has there ever been a more charismatic and intriguing rock star than David Bowie? In Starman, Paul Trynka has painted the definitive portrait of a great artist. From Bowie's early years in post-war, bombed-out Brixton to the decadent glamour of Ziggy Stardust to the controversial but vital Berlin period, this essential biography is a celebration of Bowie's brilliance and a timely reminder of how great music is made - now with an update on the making and release of The Next Day.

Bob Dylan's impact on popular music has been incalculable. Having transformed staid folk music into a vehicle for coruscating social commentary, he then swept away the romantic platitudes of rock 'n' roll with his searing intellect. From the zeitgeist-encapsulating protest of 'Blowin' in the Wind' to the streetwise venom of 'Like a Rolling Stone', and from the stunning mid-sixties trilogy of albums - Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde - to Time Out of Mind, his stunning if world-weary comeback at the age of 56, Dylan's genius has endured, underpinned by the dazzling turn of phrase that has made him the pre-eminent poet of popular music. Because Dylan's achievements have no equal, his career is the most chronicled in rock history. Here, Sean Egan presents a selection of the best writing on Dylan, both praise and criticism. Interviews, essays, features and reviews from Dylan intimates and scholars such as John Bauldie, Michael Gray, Nat Hentoff and Jules Siegel are interspersed with new narrative and reviews of every single album to create a comprehensive picture of the artist whose chimes of freedom still resound.

From Sia to Elton John, Dusty Springfield to Little Richard, LGBT voices have changed the course of modern music. But in a world before they gained understanding and a place in the mainstream, how did the queer musicians of yesteryear fight to build foundations for those who came after? Pulling back the curtain on the colourful world that shaped our musical and cultural landscape, Darryl W. Bullock reveals the inspiring and often heartbreaking stories of internationally renowned stars, as well as lesser-known names, who have led the revolution from all corners of the globe. David Bowie Made Me Gay is a treasure trove of moving and provocative stories that emphasise the right to be heard and the need to keep up the fight for equality in the spotlight.

This extensively revised and expanded fifth edition of Understanding Popular Music Culture provides an accessible and comprehensive introduction to the production, distribution, consumption and meaning of popular music, and the debates that surround popular culture and popular music. Reflecting the continued proliferation of popular music studies, the new music industry in a digital age, and the emergence of new stars, this new edition has been reorganized and extensively updated throughout, making for a more coherent and sequenced coverage of the field. These updates include: two new chapters entitled 'The Real Thing': Authenticity, covers and the canon and 'Time Will Pass You By': Histories and popular memory new case studies on artists including The Rolling Stones, Lorde, One Direction and Taylor Swift further examples of musical texts, genres, and performers throughout including additional coverage of Electronic Dance Music expanded coverage on the importance of the back catalogue and the box set; reality television and the music biopic greater attention to the role and impact of the internet and digital developments in relation to production, dissemination, mediation and consumption; including the role of social network sites and streaming services each chapter now has its own set of expanded references to facilitate further investigation. Additional resources for students and teachers can also be found on the companion website (www.routledge.com/cw/shuker), which includes additional case studies, links to relevant websites and a discography of popular music metagenres.

From Korn's legendary bassist comes a no-holds-barred look at the extreme highs and drug-and-booze-fueled lows of the biggest heavy metal band of our era.

What have you got when you got the life?

From the time he was an infant, music was in Fieldy's bones. Leaving his small California town after high school with a guitar and little else, he joined Brian "Head" Welch, James "Munky" Shaffer, drummer David Silveria, and Jonathan Davis in L.A. and together they formed a band with a completely new sound. When Korn exploded, skyrocketing to the top and fronting the nu-metal phenomenon, Fieldy became a rock star and acted like one--as notorious for his hard-partying, womanizing, drug-abusing, bad-boy behavior as he was for his one-of-a-kind bass lines. He was unfaithful, abusive, mean, sometimes violent. Fieldy had the life. But it took the death of his father, a born-again Christian, from a mysterious illness to save the son from total destruction. Fieldy found God . . . and the best part of himself.

With never-before-seen photos, and never-before-heard stories, Got the Life is raw, candid, and inspiring--the ultimate story of rock and redemption.

Free were formed in 1968 towards the end of the British blues boom. After two critically acclaimed albums, the release of 'All Right Now' and the album Fire and Water in 1970 brought them major success. Musical and personal differences took their toll and they split after the comparative failure of their next album and single. After starting new bands that never took off they reformed, but following further dissension and guitarist Paul Kossoff's drug problems they disbanded for good in 1973. Vocalist Paul Rodgers and drummer Simon Kirke then formed Bad Company, who became one of the hottest bands on both sides of the Atlantic, maintaining a stable line-up with ex-Mott The Hoople guitarist Mick Ralphs and ex-King Crimson bassist Boz Burrell for the rest of the decade. Each member later pursued outside ventures, although they regrouped at intervals, recruiting new members after Ralphs' retirement and Burrell's death. This book examines both bands' work and career from 1968 to 1980, plus the Kossoff, Kirke, Tetsu, Rabbit album, Kossoff's solo work and Back Street Crawler, with a chapter on their later history, notably Rodgers' three years with Queen.

Chuck Berry is an icon in the history of rock and roll; among the first inductees to the Rock and Roll Hall of Fame, among many other honours, he continues to be an influential - and controversial - figure in the pop music scene. Yet Berry's life has never been fully documented; his own autobiography skipped over many key events , and papered over others. Bruce Pegg has interviewed scores of Berry's friends, family, and business associates to give a truer picture of the man and the music world. Drawing on trial transcripts, documents and other rare material, Pegg has produced a complex, fascinating picture of the father of rock and roll.

Acting in Musical Theatre remains the only complete course in approaching a role in a musical. It covers fundamental skills for novice actors, practical insights for professionals, and even tips to help veteran musical performers refine their craft. Educators will find the clear structure ideal for use with multiple courses and programs.

Updates in this expanded and revised third edition include:

A comprehensive revision of the book’s companion website into a fully online "Resource Guide" that includes abundant teaching materials and syllabi for a range of short- and long-form courses, PowerPoint slide decks and printable handouts for every chapter.

Updated examples, illustrations, and exercises from more recent musical styles and productions such as Hamilton,Waitress, and Dear Evan Hansen.

Revision of rehearsal and performance guidelines to help students and teachers at all levels thrive.

Updated and expanded reading/listening/viewing lists for specific-subject areas, to guide readers through their own studies and enhance the classroom experience.

New notes in the "The Profession" chapters to reflect the latest trends in casting, self-promotion, and audition practice.

Acting in Musical Theatre’s chapters divide into easy-to-reference units, each containing group and solo exercises, making it the definitive textbook for students and practitioners alike.

Table of Contents

Introduction Part One: Fundamentals of Acting in Musical Theatre 1. Acting Basics – The Foundation 2. Acting Basics – Step-by-Step 3. Making It Matter Part Two: Score and Libretto Analysis and Structure 4. Musical Analysis – Listening for Clues 5. Working with Words – The Language of the Lyric and Libretto 6. Elements of storytelling 7. Character Analysis Part Three: The Journey of the Song 8. The Journey Begins 9. Working with Relationships 10. Intensifiers Part Four: Making it a Performance 11. Discovering Your Phrasing 12. Staging Your Song 13. Rehearsal into Performance Part Five: Style in Musical Theatre 14. What is style? 15. Style Tags 16. Style Overviews Part Six: The Profession 17. Do You Have the Stuff? 18. Auditioning 19. A Winning Attitude

The full story of the band, their key concerts and all their recordings. Nirvana were known as the kings of grunge while singer songwriter Kurt Cobain became a cultural icon who spoke to an entire generation and they were for many years the worlds most important rock act. They had instantaneous success with 'Smells Like Teen Spirit', which stormed the charts. In Utero, was the last studio recording released by Nirvana. The demons that made Cobain's writing so powerful took their toll; he took his own life after only five albums. Nirvana's influence is certain to be felt for many years to come. The unique status this band occupies, as representatives of the time and as timeless songwriters, is revealed through interviews with those close to the band, coupled with intensive archive research.

The first in-depth study of David Bowie’s music videos across a sustained period takes on interweaving storyworlds of an iconic career. Remarkable for their capacity to conjure elaborate imagery, Bowie’s videos provide fascinating exemplars of the artistry and remediation of music video. When their construction is examined across several years, they appear as time-travelling vessels, transporting kooky characters and strange story-world components across time and space. By charting Bowie’s creative and collaborative process across five distinct phases, David Bowie and the Art of Music Video shows how he played a vital role in establishing music video as an artform. Filling a gap in the existing literature, this book shines a light on the significant contributions of directors such as Mick Rock, Stanley Dorfman and David Mallet, each of whom taught Bowie much about how to use the form. By examining Bowie's collaborative process, his use of surrealist strategies and his integration of avant-garde art with popular music and media, the book provides a history of music video in relation to the broader fields of audiovisual media, visual music and art.

Over and Done is a celebration of the classic Quo line-up of Rossi, Parfitt, Lancaster and Coghlan and is built around a huge selection of mainly, unpublished on and off stage photos from the seventies, alongside those from the 2013/14 reunion. Words come from long-standing, devoted Quo fan Alan Stutz who has seen the band in excess of one hundred times since 1976, including every London show the classic line-up played in the seventies plus the very last show performed in Dublin. This unique book encapsulates the excitement of the ultimate Quo line-up in all its glory and is topped off with a foreword by John Coghlan. With the sad passing of Rick Parfitt in 2016 and Alan Lancaster in 2021, the 2013/14 reunion proved to be the last chance to witness the legendary four on stage. This book will help bring back some of the excitement and memories that every Quo fan who witnessed the classic band will have. This is a beautiful memento of moments in Quo history that sadly are now truly over and done.

The analysis of popular music forces us to rethink the assumptions that underpin our approaches to the study of Western music. Not least, it brings to the fore an idea that many musicologists still find uncomfortable - that commercial production and consumption can be aligned with artistic authenticity. Reading pop texts takes place through dialogue on many levels, which, as Stan Hawkins argues, deals with how musical events are shaped by personal alliances between the artist and the recipient. The need for a critical approach to evaluating popular music lies at the heart of this book. Hawkins explores the relationships that exist between music, spectatorship and aesthetics through a series of case studies of pop artists from the 1980s and 1990s. Madonna, Morrissey, Annie Lennox, the Pet Shop Boys and Prince represent the diversity of cultures, identities and sexualities that characterised the start of the MTV boom. Through the interpretation of aspects of the compositional design and musical structures of songs by these pop artists, Hawkins suggests ways in which stylistic and technical elements of the music relate to identity formation and its political motivations. Settling the Pop Score examines the role of irony and empathy, the question of gender, race and sexuality, and the relevance of textual analysis to the study of popular music. Interpreting pop music within the framework of musicology, Hawkins helps us to understand the pleasure so many people derive from these songs.