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.

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."

Religion and Hip Hop brings together the category of religion, Hip Hop cultural modalities and the demographic of youth. Bringing postmodern theory and critical approaches in the study of religion to bear on Hip Hop cultural practices, this book examines how scholars in religious and theological studies have deployed and approached religion when analyzing Hip Hop data. Using existing empirical studies on youth and religion to the cultural criticism of the Humanities, Religion and Hip Hop argues that common among existing scholarship is a thin interrogation of the category of religion. As such, Miller calls for a redescription of religion in popular cultural analysis - a challenge she further explores and advances through various materialist engagements. Going beyond the traditional and more common approach of analyzing rap lyrics, from film, dance, to virtual reality, Religion and Hip Hop takes a fresh approach to exploring the paranoid posture of the religious in popular cultural forms, by going beyond what "is" religious about Hip Hop culture. Rather, Miller explores what rhetorical uses of religion in Hip Hop culture accomplish for various and often competing social and cultural interests.

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.

For more than three decades, a punk underground has repeatedly insisted that 'anyone can do it'. This underground punk movement has evolved via several micro-traditions, each offering distinct and novel presentations of what punk is, isn't, or should be. Underlying all these punk micro-traditions is a politics of empowerment that claims to be anarchistic in character, in the sense that it is contingent upon a spontaneous will to liberty (anyone can do it - in theory). How valid, though, is punk's faith in anarchistic empowerment? Exploring theories from Derrida and Marx, Anyone Can Do It: Empowerment, Tradition and the Punk Underground examines the cultural history and politics of punk. In its political resistance, punk bears an ideological relationship to the folk movement, but punk's faith in novelty and spontaneous liberty distinguish it from folk: where punk's traditions, from the 1970s onwards, have tended to search for an anarchistic 'new-sense', folk singers have more often been socialist/Marxist traditionalists, especially during the 1950s and 60s. Detailed case studies show the continuities and differences between four micro-traditions of punk: anarcho-punk, cutie/'C86', riot grrrl and math rock, thus surveying UK and US punk-related scenes of the 1980s, 1990s and beyond.

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.

In Crossing Traditions: American Popular Music in Local and Global Contexts, a wide range of scholarly contributions on the local and global significance of American popular music examines the connections between selected American blues, rock and roll, and hip-hop music and their equivalents from Senegal, Nigeria, England, India, and Mexico. Contributors show how American popular music promotes local and global awareness of such key issues as economic inequality and social marginalization while inspiring cross-cultural and interethnic influences among regional and transnational communities. Specifically, Crossing Traditions highlights the impact of American popular music on the spread of sounds, rhythms, styles, and ideas about freedom, justice, love, and sexuality among local and global communities, all of which share the same desires, hopes, and concerns despite geographic differences. Contributors look at the local contexts of Chicago blues, early rock and roll, white Christian rap, and Frank Zappa alongside the global influence of Mahalia Jackson on Senegalese blues, the transatlantic character of the British Invasion's relationship to African American rock, and the impact of Latin house music, global hip-hop, and Bhangra in cross-cultural settings. Essays also draw on a broad range of disciplines in their analyses: American studies, popular culture studies, transnational studies, history, musicology, ethnic studies, literature and media studies, and critical theory. Crossing Traditions will appeal to a wide range of readers, including college and university professors, undergraduate and graduate students, and music scholars in general.

Music, Sexuality and the Enlightenment explains how Mozart's music for Le nozze di Figaro, Don Giovanni and CosA fan tutte 'sounds' the intentions of Da Ponte's characters and their relationships with one another. Mozart, by way of the infinitely generative and beautiful logic of the sonata principle, did not merely interpret Da Ponte's characterizations but lent them temporal, musical forms. Charles Ford's analytic interpretation of these musical forms concerns processes and structures in detail and at medium- to long-term levels. He addresses the music of a wide range of arias and ensembles, and develops original ways to interpret the two largely overlooked operatic genres of secco recitative and finales. Moreover, Ford presents a new method by which to relate musical details directly to philosophical concepts, and thereby, the music of the operas to the inwardly contradictory thinking of the European Enlightenment. This involves close readings of late eighteenth-century understandings of 'man' and nature, self and other, morality and transgression, and gendered identities and sexuality, with particular reference to contemporary writers, especially Goethe, Kant, Laclos, Rousseau, Sade, Schiller, Sterne and Wollstonecraft. The concluding discussion of the implied futures of the operas argues that their divided sexualities, which are those of the Enlightenment as a whole, have come to form our own unquestioned assumptions about gender differences and sexuality. This, along with the elegant and eloquent precision of Mozart's music, is why Figaro, Giovanni and CosA still maintain their vital immediacy for audiences today.

Susan Burney (1755-1800) was the third daughter of the music historian Charles Burney and the younger sister of the novelist Frances (Fanny) Burney. She grew up in London, where she was able to observe at close quarters the musical life of the capital and to meet the many musicians, men of letters, and artists who visited the family home. After her marriage in 1782 to Molesworth Phillips, a Royal Marines officer who served with Captain Cook on his last voyage, she lived in Surrey and later in rural Ireland. Burney was a knowledgeable enthusiast for music, and particularly for opera, with discriminating tastes and the ability to capture vividly musical life and the personalities involved in it. Her extensive journals and letters, a selection from which is presented here, provide a striking portrait of social, domestic and cultural life in London, the Home Counties and in Ireland in the late eighteenth century. They are of the greatest importance and interest to music and theatre historians, and also contain much that will be of significance and interest for Burney scholars, social historians of England and Ireland, women's historians and historians of the family.

Studies of opera, film, television, and literature have demonstrated how constructions of madness may be referenced in order to stigmatise but also liberate protagonists in ways that reinforce or challenge contemporaneous notions of normality. But to date very little research has been conducted on how madness is represented in popular music. In an effort to redress this imbalance, Nicola Spelman identifies links between the anti-psychiatry movement and representations of madness in popular music of the 1960s and 1970s, analysing the various ways in which ideas critical of institutional psychiatry are embodied both verbally and musically in specific songs by David Bowie, Lou Reed, Pink Floyd, Alice Cooper, The Beatles, and Elton John. She concentrates on meanings that may be made at the point of reception as a consequence of ideas about madness that were circulating at the time. These ideas are then linked to contemporary conventions of musical expression in order to illustrate certain interpretative possibilities. Supporting evidence comes from popular musicological analysis - incorporating discourse analysis and social semiotics - and investigation of socio-historical context. The uniqueness of the period in question is demonstrated by means of a more generalised overview of songs drawn from a variety of styles and eras that engage with the topic of madness in diverse and often conflicting ways. The conclusions drawn reveal the extent to which anti-psychiatric ideas filtered through into popular culture, offering insights into popular music's ability to question general suppositions about madness alongside its potential to bring issues of men's madness into the public arena as an often neglected topic for discussion.

Migrating Music considers the issues around music and cosmopolitanism in new ways. Whilst much of the existing literature on 'world music' questions the apparently world-disclosing nature of this genre - but says relatively little about migration and mobility - diaspora studies have much to say about the latter, yet little about the significance of music. In this context, this book affirms the centrality of music as a mode of translation and cosmopolitan mediation, whilst also pointing out the complexity of the processes at stake within it. Migrating music, it argues, represents perhaps the most salient mode of performance of otherness to mutual others, and as such its significance in socio-cultural change rivals - and even exceeds - literature, film, and other language and image-based cultural forms. This book will serve as a valuable reference tool for undergraduate and postgraduate students with research interests in cultural studies, sociology of culture, music, globalization, migration, and human geography.

Elisabeth Lutyens (1906-1983), Elizabeth Maconchy (1907-1994) and Grace Williams (1906-1977) were contemporaries at the Royal College of Music. The three composers' careers were launched with performances in the Macnaghten-Lemare Concerts in the 1930s - a time when, in Britain, as Williams noted, a woman composer was considered 'very odd indeed'. Even so, by the early 1940s all three had made remarkable advances in their work: Lutyens had become the first British composer to use 12-note technique, in her Chamber Concerto No. 1 (1939-40); Maconchy had composed four string quartets of outstanding quality and was busy rethinking the genre; and Williams had won recognition as a composer with great flair for orchestral writing with her Fantasia on Welsh Nursery Tunes (1940) and Sea Sketches (1944). In the following years, Lutyens, Maconchy and Williams went on to compose music of striking quality and to attain prominent positions within the British music scene. Their respective achievements broke through the 'sound ceiling', challenging many of the traditional assumptions which accompanied music by female composers. Rhiannon Mathias traces the development of these three important composers through analysis of selected works. The book draws upon previously unexplored material as well as radio and television interviews with the composers themselves and with their contemporaries. The musical analysis and contextual material lead to a re-evaluation of the composers' positions in the context of twentieth-century British music history.

Throughout the world, the number of festivals has grown exponentially in the last two decades, as people celebrate local and regional cultures, but perhaps more importantly as local councils and other groups seek to use festivals both to promote tourism and to stimulate rural development. However, most studies of festivals have tended to focus almost exclusively on the cultural and symbolic aspects, or on narrow modelling of economic multiplier impacts, rather than examining their long-term implications for rural change. This book therefore has an original focus. It is structured in two parts: the first discusses broad issues affecting music festivals globally, especially in the context of rural revitalisation. The second part looks in more detail at a range of types of festivals commonly found throughout North America, Europe and Australasia, such as country music, jazz, opera and alternative music festivals. The authors draw on in-depth research undertaken over the past five years in a range of Australian places, which traces the overall growth of festivals of various kinds, examines four of the more important and distinctive music festivals, and makes clear conclusions on their significance for rural and regional change.

This collection of original essays is in tribute to the work of Derek Scott on the occasion of his sixtieth birthday. As one of the leading lights in Critical Musicology, Scott has helped shape the epistemological direction for music research since the late 1980s. There is no doubt that the path taken by the critical musicologist has been a tricky one, leading to new conceptions, interactions, and heated debates during the past two decades. Changes in musicology during the closing decades of the twentieth century prompted the establishment of new sets of theoretical methods that probed at the social and cultural relevance of music, as much as its self-referentiality. All the scholars contributing to this book have played a role in the general paradigmatic shift that ensued in the wake of Kerman's call for change in the 1980s. Setting out to address a range of approaches to theorizing music and promulgating modes of analysis across a wide range of repertories, the essays in this collection can be read as a coming of age of critical musicology through its active dialogue with other disciplines such as sociology, feminism, ethnomusicology, history, anthropology, philosophy, cultural studies, aesthetics, media studies, film music studies, and gender studies. The volume provides music researchers and graduate students with an up-to-date authoritative reference to all matters dealing with the state of critical musicology today.

Explosive autobiography of Guns N' Roses and Velvet Revolver bass guitarist Duff McKagan Duff McKagan was a co-founder of Guns N' Roses, with a 13-year tenure on bass in what was at the time the biggest band on earth. As well as pulling together the classic line-up (Slash on guitar, Steven Adler on drums, rhythm guitarist Izzy Stradlin and vocalist Axl Rose), Duff was the unofficial musical director of the band and the most experienced musician, and played bass, drums and guitar, as well as co-writing many of the songs. Over the years, Guns N' Roses have broken many records in rock history - APPETITE FOR DESTRUCTION is the most successful debut album in the history of recorded music; the band's 1991 records, USE YOUR ILLUSION parts 1 and 2, debuted at one and two on the album charts, a feat never achieve before or since; and their 28-month ILLUSION world tour is still the longest running concert tour in history. Duff charts the rise of the group, and his own fall, as with success came heavy drinking and drug use, culminating in his hospitalisation for acute pancreatitis in 1994. Forced to sober up, Duff started taking an interest in business, eventually completing a degree in economics and making a killing on the stock market. He has since worked with Slash in another band, Velvet Revolver, and has continued to play with various artists over the last 15 years. IT'S SO EASY (AND OTHER LIES) is the explosive memoir of a great rock musician who, against the odds, has lived to tell the tale.

On the basis of a body of reggae songs from the 1970s and late 1990s, this book offers a sociological analysis of memory, hope and redemption in reggae music. From Dennis Brown to Sizzla, the way in which reggae music constructs a musical, religious and socio-political memory in rupture with dominant models is vividly illustrated by the lyrics themselves. How is the past remembered in the present? How does remembering the past allow for imagining the future? How does collective memory participate in the historical grounding of collective identity? What is the relationship between tradition and revolution, between the recollection of the past and the imagination of the future, between passivity and action? Ultimately, this case study of 'memory at work' opens up a theoretical problem: the conceptualization of time and its relationship with memory. -- .

International Who's Who in Popular Music 2012 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 fourteenth 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 the International Who's Who in Popular Music 2012 offers users a vast collection of information on the most famous and influential people in the popular music industry.

The Tastemaker charts the singular life of a man who has been at the beating heart of music's most iconic moments for over sixty years. 'This is a brilliant book by a brilliant man. A magician with perfect taste. Thank God I met him. He is gold dust!' ELTON JOHN Leaving school at the age of sixteen to start his career in the music industry at Decca Records, Tony King would soon find himself becoming a close friend and confidante to some of the world's biggest artists - a far cry from his childhood days in Eastbourne. He has worked with The Beatles, The Rolling Stones, The Ronettes, Elton John and many more, including Freddie Mercury, whom he spent time with in the Queen frontman's final days. Living in an era of seismic social, technological and cultural transformation, King experienced these defining moments as an influential figure in London and New York's gay scenes. Despite his heady life in showbusiness, however, he would soon learn that a glittering career couldn't shield him from heartbreak - witness to the AIDS crisis and the devastating consequences, his personal life was intermittently marked by tumult and turmoil. Suffused with Tony King's disarming warmth and unparalleled charisma - and at times profoundly moving - The Tastemaker paints an intimate portrait of a music legend and captures the unpredictable world he stamped his indelible mark upon.

Grunge has been perceived as the music that defined 'Generation X'. Twenty years after the height of the movement there is still considerable interest in its rise and fall, and its main figures such as Kurt Cobain and Courtney Love. As a form of 'retro' music it is even experiencing a resurgence, and Cobain remains an icon to many young music fans today. But what was grunge, and what has it become? This book explores how grunge has been remembered by the fans that grew up with it, and asks how memory is both formed by and forms popular culture. It looks at the relationship between media, memory and music fans and demonstrates how different groups can use and shape memory as part of an ongoing struggle for power in society. Grunge was the site of such a struggle, as popular music so often is, with the young people of the time asking questions about their place in the world and the way society is organized. This book examines what these questions were, and what has happened to them over time. It shows that although grunge challenged many social structures, the way it, and youth itself, are remembered often work to reinforce the status quo.

Richard Egues and Jose Fajardo are universally regarded as the leading exponents of charanga flute playing, an improvisatory style that crystallized in 1950s Cuba with the rise of the mambo and the chachacha. Despite the commercial success of their recordings with Orquesta Aragon and Fajardo y sus Estrellas and their influence not only on Cuban flute players but also on other Latin dance musicians, no in-depth analytical study of their flute solos exists. In Cuban Flute Style: Interpretation and Improvisation, Sue Miller-music historian, charanga flute player, and former student of Richard Egues-examines the early-twentieth-century decorative style of flute playing in the Cuban danzon and its links with the later soloistic style of the 1950s as exemplified by Fajardo and Egues. Transcriptions and analyses of recorded performances demonstrate the characteristic elements of the style as well as the styles of individual players. A combination of musicological analysis and ethnomusicological fieldwork reveals the polyrhythmic and melodic aspects of the Cuban flute style, with commentary from flutists Richard Egues, Joaquin Oliveros, Polo Tamayo, Eddy Zervigon, and other renowned players. Miller also covers techniques for flutists seeking to learn the style-including altissimo fingerings for the Boehm flute and fingerings for the five-key charanga flute-as well as guidance on articulation, phrasing, repertoire, practicing improvisation, and working with recordings. Cuban Flute Style will appeal to those working in the fields of Cuban music, improvisation, music analysis, ethnomusicology, performance and performance practice, popular music, and cultural theory.

From its roots in the black and white "under classes" through its clash with the broader culture to its multifaceted incarnation today, rock and roll has fostered and reflected a genuine cultural revolution which has gone on to influence the world. This critical text investigates rock music from a philosophical perspective, an approach rarely seen in the literature. Topics covered include a definition of rock music and a suggested typology; an examination of rock on radio and in television and film; and a depiction of what is to come. Of particular interest is how rock's shifting mores have mirrored the complex changes experienced by American society as it has undergone almost continuous turbulence.

She's So Fine explores the music, reception and cultural significance of 1960s girl singers and girl groups in the US and the UK. Using approaches from the fields of musicology, women's studies, film and media studies, and cultural studies, this volume is the first interdisciplinary work to link close musical readings with rigorous cultural analysis in the treatment of artists such as Martha and the Vandellas, The Crystals, The Blossoms, Brenda Lee, Dusty Springfield, Lulu, Tina Turner, and Marianne Faithfull. Currently available studies of 1960s girl groups/girl singers fall into one of three categories: industry-generated accounts of the music's production and sales, sociological commentaries, or omnibus chronologies/discographies. She's So Fine, by contrast, focuses on clearly defined themes via case studies of selected artists. Within this analytical rather than historically comprehensive framework, this book presents new research and original observations on the 60s girl group/girl singer phenomenon.

What does it mean to think of Western Art music - and the Austro-German contribution to that repertory - as a tradition? How are men and masculinities implicated in the shaping of that tradition? And how is the writing of the history (or histories) of that tradition shaped by men and masculinities? This book seeks to answer these and other questions by drawing both on a wide range of German-language writings on music, sound and listening from the so-called long nineteenth century (circa 1800-1918), and a range of critical-theoretical texts from the post-war continental philosophical and psychoanalytic traditions, including Lacan, Zizek, Serres, Derrida and Kittler. The book is focussed in particular on bringing the object of historical writing itself into scrutiny by engaging in what Zizek has called a 'historicity' or a way of writing about the past that not merely acknowledges the ahistorical kernel of historical writing, but brings that kernel into the light of day, takes account of it and puts it into play. The book is thus committed to a kind of historical writing that is open-ended - though not ideologically naA-ve - and that does not fix or stabilize the nature of the relationship between so-called 'primary' and 'secondary' texts. The book consists of an introduction, which places the study of classical music and the Austro-German tradition within broader debates about the value of that tradition, and four extensive case studies: an analysis of the cultural-historical category of listening around 1800; a close reading of A. B. Marx's Beethoven monograph of 1859; a consideration of Heinrich Schenker's attitudes to the mob and the vernacular more broadly and an examination, through Franz Kafka, of the figure of Mahler's body.

An updated reissue of what, along with England's Dreaming, has become the acknowledged seminal work on punk. Cain was at every major gig and interviewed all of the acts at the time. He was viewed as an 'insider' and his access was unrivalled. This book is a vibrant and fast-paced trip through an extraordinary year. Includes major new interviews with Sex Pistol Johnny Rotten, Strangler Hugh Cornwell and Rat Scabies of The Damned.