This book is a backstage pass to the ups, downs, and all-out craziness of arena rock-deep discussions with Rod Stewart, jamming with legends like Mick Jagger and Justin Timberlake, gaining groupies, and striking out solo. Stevie Salas was one of many boys coming of age in the 1980s-when the American dream was rock superstardom. As lead guitarist for a San Diego band, Salas played backyard parties and school dances and even scored the music for the cult classic Bill & Ted's Excellent Adventure. When he auditioned for Rod Stewart-where he was the youngest band member by a decade-Salas's life truly hit a turning point. Salas pulls no punches to describe the initial skepticism and hazing he faced as the youngest member of Stewart's band, the night he stood up for himself on the tour plane, and the emotional late-night talk with Rod Stewart that restored the frontman's faith in his young, untested guitar player and his new group that was struggling to find its groove. Yet they became a band of brothers and formed a camaraderie they share to this day. When We Were the Boys revolves around the year Salas began as an inexperienced musical prodigy and finished as a seasoned rock 'n' roll veteran-more mature as a man and musician.

" With a foreword by Jennifer Baumgardner and Amy Richards Chosen by the The Amelia Bloomer Project committee for their 2005 list of recommended feminist books for young readers. Girls Rock explores the many ways women have defined themselves as rock musicians in an industry once dominated and controlled by men. Integrating history, feminist analysis, and developmental theory, the authors describe how and why women have become rock musicians -- what inspires them to play and perform, how they write, what their music means to them, and what they hope their music means to listeners. As these musicians tell their stories, topics emerge that illuminate broader trends in rock's history. From Wanda Jackson's revolutionary act of picking up a guitar to the current success of independent artists such as Ani DiFranco, Girls Rock examines the shared threads of these performers' lives and the evolution of women's roles in rock music since its beginnings in the 1950s. This provocative investigation of women in rock is based on numerous interviews with a broad spectrum of women performers -- those who have achieved fame and those just starting bands, those playing at local coffeehouses and those selling out huge arenas. Girls Rock celebrates what female musicians have to teach about their experiences as women, artists, and rock musicians.

The social history of music in Britain since 1950 has long been the subject of nostalgic articles in newspapers and magazines, nostalgic programmes on radio and television and collective memories on music websites, but to date there has been no proper scholarly study. The three volumes of The History of Live Music in Britain address this gap, and do so from the unique perspective of the music promoter: the key theme is the changing nature of the live music industry. The books are focused upon popular music but cover all musical genres and the authors offer new insights into a variety of issues, including changes in musical fashions and tastes; the impact of developing technologies; the balance of power between live and recorded music businesses; the role of the state as regulator and promoter; the effects of demographic and other social changes on music culture; and the continuing importance of do-it-yourself enthusiasts. Drawing on archival research, a wide range of academic and non-academic secondary sources, participant observation and industry interviews, the books are likely to become landmark works within Popular Music Studies and broader cultural history.

Race and Gender in the Western Music History Survey: A Teacher's Guide provides concrete information and approaches that will help instructors include women and people of color in the typical music history survey course and the foundational music theory classes. This book provides a reconceptualization of the principles that shape the decisions instructors should make when crafting the syllabus. It offers new perspectives on canonical composers and pieces that take into account musical, cultural, and social contexts where women and people of color are present. Secondly, it suggests new topics of study and pieces by composers whose work fits into a more inclusive narrative of music history. A thematic approach parallels the traditional chronological sequencing in Western music history classes. Three themes include people and communities that suffer from various kinds of exclusion: Locales & Locations; Forms & Factions; Responses & Reception. Each theme is designed to uncover a different cultural facet that is often minimized in traditional music history classrooms but which, if explored, lead to topics in which other perspectives and people can be included organically in the curriculum, while not excluding canonical composers.

To tell the story of Morris Day is to tell the story of Prince. Not because they were inseparable or because their paths never diverged, but because, even when their paths did diverge, they always intersected again. Each artist lifted the other up, pushing one another to be something bigger and better than they thought themselves capable of. There was plenty of one-upmanship and some (un)healthy competition, but the respect Day and Prince had for one another never wavered, from the time they met in junior high until His Royal Badness's untimely death in 2016. In telling his own story and writing about Prince, Day turns Prince into the narrative's Greek chorus. Prince is there to protect his legacy, argue with Morris's interpretation of events, and continue the dialogue that started when both musicians were in their early teens. Because of their lifelong friendship emotional intimacy, the founder and still current leader of The Time is the one man who can pull this off, and in so doing shed a new light on Prince and the culture from which the Minneapolis funk scene was born. On Time recounts Day's fight to overcome cocaine addiction, his search for meaning in both music and romance, and his subsequent second-act success by once again leading The Time, whose music is his lifeblood and soul. Day's book is a comprehensive, free-wheeling extension of his music--the ride is wild and the funk unfiltered.

In The New Guitarscape, Kevin Dawe argues for a re-assessment of guitar studies in the light of more recent musical, social, cultural and technological developments that have taken place around the instrument. The author considers that a detailed study of the guitar in both contemporary and cross-cultural perspectives is now absolutely essential and that such a study must also include discussion of a wide range of theoretical issues, literature, musical cultures and technologies as they come to bear upon the instrument. Dawe presents a synthesis of previous work on the guitar, but also expands the terms by which the guitar might be studied. Moreover, in order to understand the properties and potential of the guitar as an agent of music, culture and society, the author draws from studies in science and technology, design theory, material culture, cognition, sensual culture, gender and sexuality, power and agency, ethnography (real and virtual) and globalization. Dawe presents the guitar as an instrument of scientific investigation and part of the technology of globalization, created and disseminated through corporate culture and cottage industry, held close to the body but taken away from the body in cyberspace, and involved in an enormous variety of cultural interactions and political exchanges in many different contexts around the world. In an effort to understand the significance and meaning of the guitar in the lives of those who may be seen to be closest to it, as well as providing a critically-informed discussion of various approaches to guitar performance, technologies and techniques, the book includes discussion of the work of a wide range of guitarists, including Robert Fripp, Kamala Shankar, Newton Faulkner, Lionel Loueke, Sharon Isbin, Steve Vai, Bob Brozman, Kaki King, Fred Frith, John 5, Jennifer Batten, Guthrie Govan, Dominic Frasca, I Wayan Balawan, Vicki Genfan and Hasan Cihat A-rter.

Teaching commercial and popular music continues to be a hot topic This book connects both the practical and the theoretical aspects of pedagogy in these areas

My Neighbor Totoro is a long-standing international icon of Japanese pop culture that grew out of the partnership between the legendary animator Miyazaki Hayao and the world-renowned composer Joe Hisaishi. A crucial step in the two artists' collaboration was the creation of the album, My Neighbor Totoro: Image Song Collection, with lyrics penned by Miyazaki and Nakagawa Rieko, a famed children's book author, and music composed by Hisaishi. The album, released in 1987 prior to the opening of the film, served not only as a promotional product, but also provided Miyazaki with concrete ideas about the characters and the themes of the film. This book investigates the extent to which Hisaishi's music shaped Miyazaki's vision by examining the relationship between the images created by Miyazaki and the music composed by Hisaishi, with special emphasis on their approaches to nostalgia, one of the central themes of the film.

Discover music that dared to be different, risked reputations and put careers in jeopardy - causing fascination and intrigue in some and rejection and scorn in others. This is what happens when people take tradition and rip it up. MusicQuake tells the stories of 50 pivotal albums and performances that shook the world of modern music - chronicling the fascinating tales of their creation, reception and legacy. Tracing enigmatic composers, risque performers and radical songwriters - this books introduces the history of 20th century music in a new light. From George Gershwin and John Cage to Os Mutantes and Fela Kuti; from Patti Smith and The Slits to Public Enemy and Missy Elliott - by discussing each entry within the context of its creation, the book will give readers true insight into why each moment was so pivotal and tell the stories surrounding the most exciting music ever produced. Some were shocking, others confusing, beautiful and surreal; some were scorned on release, others were chart toppers; and yet more inspired entire movements and generations of new musicians. These cutting-edge works, which celebrate novelty, technology and innovation, help define what music is today - acting as prime examples of how powerful songs can be. This book is from the Culture Quake series, which looks into iconic moments of culture which truly created paradigm shifts in their respective fields. Also available are ArtQuake, FilmQuake and FashionQuake.

This first book-length exploration of geographical engagement with puppets examines constructions of puppets in contemporary popular British culture and considers the various ways in which puppets and humans (not just puppeteers) are unified in diverse cultural media. Organised around themes of metaphorical, performative and transformational puppets, the work draws out how puppets are used in diverse cultural media (fiction, music, television, film and theatre), how they are constructed through those uses, and to what effect. Both puppets as generalised forms (bodily, relational or ideational) and specific puppet characters (Mr Punch, Pinocchio) are explored. Building upon existing associations between puppets and the grotesque, the volume extends understandings of the puppet by elaborating borderscaping strategies through which puppets are constructed and an alternative perspective on the uncanniness of puppets. Geographically, it unearths distinct puppet spatialities, identifies the socially critical potential of puppets, rescales geo/bio-politics at the interpersonal level, and highlights the potential of puppets within posthuman debates about the status of the human. This work will be of interest to anyone fascinated by puppets, as well as those in fields such as geography, anthropology, cultural and media studies, and those interested in the grotesque, posthumanism and/or non-representational scholarship.

In 1972, a group of creative Brazilian musicians and poets informally led by singer-songwriter Milton Nascimento recorded a landmark double-LP titled Clube da Esquina (Corner Club). The album saw highly original songs by Milton, already an award-winning international star, sharing vinyl with those of Lo Borges, an unknown eighteen-year-old from Belo Horizonte, the capital of the state of Minas Gerais. There, where the street "corner" still exists, grew their collective also known as the Corner Club, as the artists collaborated on many subsequent albums boasting innovative blends of pop, jazz, rock, folk, classical influences, and, before Brazil's return to civilian rule in 1985, poignant protest songs aimed at a cruel dictatorship. Drawing on a thirty-year relationship with Minas Gerais that includes interviews with Corner Club members and extensive research of Portuguese language sources, Jonathon Grasse presents an analysis of the artists, songs, and ideas comprising the LP that helps define this Brazilian generation. 33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.

In the twenty-first century, Senegalese hip hop-"Rap Galsen"-has reverberated throughout the world as an exemplar of hip hop resistance in its mobilization against government corruption during a series of tumultuous presidential elections. Yet Senegalese hip hop's story goes beyond resistance; it is a story of globalization, of diasporic movement and memory, of imagined African pasts and contemporary African realities, and of urbanization and the banality of socio-economic struggle. At particular moments in Rap Galsen's history, origin narratives linked hip hop to a mythologized Africa through the sounds of indigenous oralities. At other times, contrasting narratives highlighted hip hop's equally mythologized roots in the postindustrial U.S. inner city and African American experience. As Senegalese youth engage these globally circulating narratives, hip hop performance and its stories negotiate their place in a rapidly changing world. In Hip Hop Time explores this relationship between popular music and social change, framing Senegalese hip hop as a musical movement deeply tied to both indigenous performance practices and changing social norms in urban Africa. Author Catherine Appert takes us from Senegalese hip hop's beginnings among cosmopolitan youth in Dakar's affluent neighborhoods in the 1980s, to its spread throughout the city's ghettoized working class neighborhoods in the mid- to late-'90s, and into the present day, where political activism and hip hop musicality vie for position in local and global arenas. An ethnography of the inextricability of musical and social meaning in hip hop practice, In Hip Hop Time charts new intellectual territory in the scholarship of African and global hip hop.

Though The Velvet Underground were critically and commercially unsuccessful in their time, in ensuing decades they have become a constant touchstone in art rock, punk, post-punk, indie, avant pop and alternative rock. In the 1970s and 80s Lou Reed, John Cale and Nico produced a number of works that traveled a path between art and pop. In 1993 the original band members of Reed, Cale, Morrison and Tucker briefly reunited for live appearances, and afterwards Reed, Cale and briefly Tucker, continued to produce music that travelled the idiosyncratic path begun in New York in the mid-1960s. The influence of the band and band members, mediated and promoted through famous fans such as David Bowie and Brian Eno, seems only to have expanded since the late 1960s. In 1996 the Velvet Underground were in inducted into the Rock and Roll Hall of Fame, demonstrating how far the band had traveled in 30 years from an avant-garde cult to the mainstream recognition of their key contributions to popular music. In these collected essays, Pattie and Albiez present the first academic book-length collection on The Velvet Underground. The book covers a range of topics including the band's relationship to US literature, to youth and cultural movements of the 1960s and beyond and to European culture - and examines these contexts from the 1960s through to the present day.

A Pitchfork Best Music Book of 2022 When Tom Breihan launched his Stereogum column in early 2018, "The Number Ones"-a space in which he has been writing about every #1 hit in the history of the Billboard Hot 100, in chronological order-he figured he'd post capsule-size reviews for each song. But there was so much more to uncover. The column has taken on a life of its own, sparking online debate and occasional death threats. The Billboard Hot 100 began in 1958, and after four years of posting the column, Breihan is still in the early aughts. But readers no longer have to wait for his brilliant synthesis of what the history of #1s has meant to music and our culture. In The Number Ones, Breihan writes about twenty pivotal #1s throughout chart history, revealing a remarkably fluid and connected story of music that is as entertaining as it is enlightening. The Numbers Ones features the greatest pop artists of all time, from the Brill Building songwriters to the Beatles and the Beach Boys; from Motown to Michael Jackson, Prince, and Mariah Carey; and from the digital revolution to the K-pop system. Breihan also ponders great artists who have never hit the top spot, like Bob Dylan, Bruce Springsteen, and James Brown. Breihan illuminates what makes indelible ear candy across the decades-including dance crazes, recording innovations, television phenomena, disco, AOR, MTV, rap, compact discs, mp3s, social media, memes, and much more-leaving readers to wonder what could possibly happen next.

In Hungary, jazz was at the forefront of heated debates sparked by the racialised tensions between national music traditions and newly emerging forms of popular culture that challenged the prevailing status quo within the cultural hierarchies of different historical eras. Drawing on an extensive, four-year field research project, including ethnographic observations and 29 in-depth interviews, this book is the first to explore the hidden diasporic narrative(s) of Hungarian jazz through the system of historically formed distinctions linked to the social practices of assimilated Jews and Romani musicians. The chapters illustrate how different concepts of authenticity and conflicting definitions of jazz as the "sound of Western modernity" have resulted in a unique hierarchical setting. The book's account of the fundamental opposition between US-centric mainstream jazz (bebop) and Bartok-inspired free jazz camps not only reveals the extent to which traditionalism and modernism were linked to class- and race-based cultural distinctions, but offers critical insights about the social logic of Hungary's geocultural positioning in the 'twilight zone' between East and West to use the words of Maria Todorova. Following a historical overview that incorporates comparisons with other Central European jazz cultures, the book offers a rigorous analysis of how the transition from playing 'cafehouse music' to bebop became a significant element in the status claims of Hungary's 'significant others', i.e. Romani musicians. By combining the innovative application of Pierre Bourdieu's cultural sociology with popular music studies and postcolonial scholarship, this work offers a forceful demonstration of the manifold connections of this particular jazz scene to global networks of cultural production, which also continue to shape it.

For a century and more, the idea of democracy has fuelled musicians' imaginations. Seeking to go beyond music's proven capacity to contribute to specific political causes, musicians have explored how aspects of their practice embody democratic principles. This may involve adopting particular approaches to compositional material, performance practice, relationships to audiences, or modes of dissemination and distribution. Finding Democracy in Music is the first study to offer a wide-ranging investigation of ways in which democracy may thus be found in music. A guiding theme of the volume is that this takes place in a plurality of ways, depending upon the perspective taken to music's manifold relationships, and the idea of democracy being entertained. Contributing authors explore various genres including orchestral composition, jazz, the post-war avant-garde, online performance, and contemporary popular music, as well as employing a wide array of theoretical, archival, and ethnographic methodologies. Particular attention is given to the contested nature of democracy as a category, and the gaps that frequently arise between utopian aspiration and reality. In so doing, the volume interrogates a key way in which music helps to articulate and shape our social lives and our politics.

Nick Hasted's ground-breaking book traces Marshall Mathers' rise to fame from schools and workplaces of his native Detroit to global superstardom.
The author lays bare Eminem's relationships with his mother, his teenage soul-mate Kim Scott, producer Dr. Dre and the Bass Brothers who guided and inspired him from the age of 14.
This new edition comes right up to date, charting Eminem's period of seclusion following the death of fellow rapper and close friend Proof, who was shot dead in 2006, covering Eminem's battle with addiction to painkillers and finally analyzing the huge success of the two albums spawned by these events, Relapse and Recovery.

* Intense focus on the emergence of a new, post-Civil Rights Movement black identity * Offers an alternative history and musicology of the Black Power Movement * Defines Black Power Music - a musical and political reality * Explores the intense interconnections between black popular culture and black political culture * Essential reading for all students engaged in black popular music studies, African American studies, popular culture studies, ethnic studies as well as sociology, ethnomusicology and political science.

ERush FAQE documents the amazing story of the world's greatest Canadian prog rock power trio from its origins in a church basement in Willowdale Ontario to its induction ceremony at the Rock and Roll Hall of Fame. Covering 40 albums 10 DVDs thousands of mesmerizing live shows and millions of rock's most loyal fans the story of Rush is as epic and unique as its music. Rush has been maligned by the press for decades and misunderstood by a legion of mainstream rock fans and rock glitterati. And yet only the Beatles and Rolling Stones have earned more gold and platinum records. Few artists if any have been as influential as Rush's three virtuoso a bassist-keyboardist-vocalist Geddy Lee guitarist Alex Lifeson and drummer-lyricist Neil Peart.THRush's focus has always been about its muse and its music. As such ERush FAQE studies the evolution of the band's sound from the early days of Zeppelin-esque blues-rock to complex synth-laden opuses to the return of concept-album bombast with the critically acclaimed EClockwork AngelsE.THWith wit humor and authority music industry veteran and unabashed Rush geek Max Mobley examines the music gear personalities and trials and tribulations of one of rock and roll's truly legendary acts. It is a story Rush fans will treasure and rock and roll fans will admire.

Metal is back! Dimebag Darrell is a walking textbook of modern metal guitar techniques, liberally spraying bone-crushing power chords, dissonant intervals, tremolo arm insanity, and a shredding lead voice worthy of the masters. Now all metal guitarists can go behind the scenes with Dimebag and Pantera. Here, he teaches the patterns and techniques that have driven Pantera to become one of the most successful heavy metal bands in rock history. A must-have, this book will go down in metal history as a classic.

This fresh interpretation explains how an untutored musician changed music while at the same time playing an inadvertent role in the youth rebellion that has shaped the Baby Boomer generation into the 21st century. Elvis Aaron Presley was born in a two-room house in Tupelo, MS, on January 8, 1935. He died at his Memphis home, Graceland, on August 16, 1977. In those 42 years, Elvis made an indelible impression on pop culture the world over. Elvis Presley, Reluctant Rebel: His Life and Our Times probes both the man and his influence, delving deeply into the personality of its protagonist, his needs and motivations, and the social and musical forces that shaped his career. Elvis's musical talents and liabilities are explored, as are his records, films, and live performances and his relationship with his manager, Colonel Tom Parker, whom he allowed to manipulate him as a money-making machine. Readers will learn about Elvis's personal life, his devotion to conventional religious and political beliefs, and his decline into self-destruction and death. Finally, the book explores Elvis's impact on the musical and racial revolutions of the 1950s and 1960s, his legacy, and his importance in shaping a generation of Baby Boomers. Photographs A bibliography

The political has always been part of popular music, but how does that play out in today's musical and political landscape? Mixing Pop and Politics: Political Dimensions of Popular Music in the 21st Century provides an innovative exploration of the complex politics of popular music in its contemporary formations. Amid the shifting paradigms of power in the 2020s, the chapters in this book go beyond the idea of popular music as protest to explore how resistance, subversion, containment, and reconciliation all interact in the popular music realm. Covering a wide range of international artists and genres, from South African hip-hop to Polish punk, and addressing topics such as climate change and environmentalism, feminism, diasporic identity, political parties, music-making as labour, the far right, conservatism and nostalgia, and civic engagement, the contributors expand our understanding of how popular music is political. For students and scholars of music, popular culture, and politics, the volume offers a broad, exciting snapshot of the latest scholarship on contemporary popular music and politics.

Late nineteenth-century France was a nation undergoing an identity crisis: the uncertain infancy of the Third Republic and shifting alliances in the wake of the Franco-Prussian War forced France to interrogate the fundamental values and characteristics at the heart of its own national identity. Music was central to this national self-scrutiny. It comes as little surprise to us that Oriental fears, desires, and anxieties should be a fundamental part of this, but what has been overlooked to date is that Britain, too, provided a thinking space in the French musical world; it was often - surprisingly and paradoxically - represented through many of the same racialist terms and musical tropes as the Orient. However, at the same time, its shared history with France and the explosions of colonial rivalry between the two nations introduced an ever-present tension into this musical relationship. This book sheds light on this forgotten musical sphere through a rich variety of contemporary sources. It visits the cafe-concert and its tradition of 'Englishing up' with fake hair, mocking accents, and unflattering dances; it explores the reactions, both musical and physical, to British evangelical bands as they arrived in the streets of France and the colonies; it considers the French reception of, and fascination with, folk music from Ireland and Scotland; and it confronts the culture shock felt by French visitors to Britain as they witnessed British music-making for the first time. Throughout, it examines the ways in which this music allowed French society to grapple with the uncertainty of late nineteenth-century life, providing ordinary French citizens with a means of understanding and interrogating both the Franco-British relationship and French identity itself.

Musical Gentrification is an exploration of the role of popular music in processes of socio-cultural inclusion and exclusion in a variety of contexts. Twelve chapters by international scholars reveal how cultural objects of relatively lower status, in this case popular musics, are made objects of acquisition by subjects or institutions of higher social status, thereby playing an important role in social elevation, mobility and distinction. The phenomenon of musical gentrification is approached from a variety of angles: theoretically, methodologically and with reference to a number of key issues in popular music, from class, gender and ethnicity to cultural consumption, activism, hegemony and musical agency. Drawing on a wide range of case studies, empirical examples and ethnographic data, this is a valuable study for scholars and researchers of Music Education, Ethnomusicology, Cultural Studies and Cultural Sociology.