The first book of its kind, Gender & Rock introduces readers to how gender operates in multiple sites within rock culture, including its music, lyrics, imagery, performances, instruments, and business practices. Additionally, it explores how rock culture, despite a history of regressive gender politics, has provided a place for musicians and consumers to experiment with alternate identities and ways of being. Drawing on feminist and queer scholarship in popular music studies, musicology, cultural studies, sociology, performance studies, literary analysis, and media studies, Gender & Rock provides readers with a survey of the topics, theories, and methods necessary for understanding and conducting analyses of gender in rock culture. Via an intersectional approach, the book examines how the gendering of particular roles, practices, technologies, and institutions within rock culture is related to discourses of race, sexuality, age, and class.

This collection explores the centrality of The Who's classic album, and Franc Roddam's cult classic film of adolescent life, Quadrophenia to the recent cultural history of Britain, to British subcultural studies, and to a continuing fascination with Mod style and culture. The interdisciplinary chapters collected here set the album and film amongst critical contexts including gender and sexuality studies, class analysis, and the film and album's urban geographies, seeing Quadrophenia as a transatlantic phenomenon and as a perennial adolescent story. Contributors view Quadrophenia through a variety of lenses, including the Who's history and reception, the 1970s English political and social landscape, the adolescent novel of development (the bildungsroman), the perception of the film through the eyes of Mods and Mod revivalists, 1970s socialist politics, punk, glam, sharp suits, scooters and the Brighton train, arguing for the continuing richness of Quadrophenia's depiction of the adolescent dilemma. The volume includes new interviews with Franc Roddam, director of Quadrophenia, and the photographer Ethan Russell, who took the photos for the album's famous photo booklet.

Though the distance between opera and popular music seems immense today, a century ago opera was an integral part of American popular music culture, and familiarity with opera was still a part of American "cultural literacy." During the Ragtime era, hundreds of humorous Tin Pan Alley songs centered on operatic subjects-either directly quoting operas or alluding to operatic characters and vocal stars of the time. These songs brilliantly captured the moment when popular music in America transitioned away from its European operatic heritage, and when the distinction between low- and high-brow "popular" musical forms was free to develop, with all its attendant cultural snobbery and rebellion.
Author Larry Hamberlin guides us through this large but oft-forgotten repertoire of operatic novelties, and brings to life the rich humor and keen social criticism of the era. In the early twentieth-century, when new social forces were undermining the view that our European heritage was intrinsically superior to our native vernacular culture, opera-that great inheritance from our European forebearers-functioned in popular discourse as a signifier for elite culture. Tin Pan Opera shows that these operatic novelty songs availed this connection to a humorous and critical end. Combining traditional, European operatic melodies with the new and American rhythmic verve of ragtime, these songs painted vivid images of immigrant Americans, liberated women, and upwardly striving African Americans, striking emblems of the profound transformations that shook the United States at the beginning of the American century.

Roger Daltrey is the voice of a generation. That generation was the first to rebel, to step out of the shadows of the Second World War... to invent the concept of the teenager. This is the story from his birth at the height of the Blitz, through tempestuous school days to his expulsion, age 15, for various crimes and misdemeanours within a strict school system. Thanks to Mr Kibblewhite, his authoritarian headmaster, it could all have ended there. The life of a factory worker beckoned. But then came rock and roll. He made his first guitar from factory off-cuts. He formed a band. The band became The Who - Maximum R&B - and, by luck and by sheer bloody-mindedness, Roger Daltrey became the frontman of one of the biggest rock bands on the planet. This is the story of My Generation, Tommy and Quadrophenia, of smashed guitars, exploding drums, cars in swimming pools, fights, arrests and redecorated hotel rooms. But it is also the story of how that post-war generation redefined the rules of youth. Out of that, the modern music industry was born - and it wasn't an easy birth. Money, drugs and youthful exuberance were a dangerous mix. This is as much a story of survival as it is of success. Four years in the making, this is the first time Roger Daltrey has told his story. It is not just his own hilarious and frank account of more than 50 wild years on the road. It is the definitive story of The Who and of the sweeping revolution that was British rock 'n' roll.

Born Georgios Kyriacos Panayiotou, George Michael was raised in a family of Greek Cypriot immigrants in North London, and dreamed of stardom when he was a little boy. At just twelve years old he met Andrew Ridgeley and the two of them went on to achieve stunning success in the early 1980s with Wham!, creating music that remains popular to this day. Yet despite the enormous success of Wham!, George wanted more, and so set about recreating himself as a serious solo artist, reaching heights of even greater success. Ironically, however, even from the early days he was plagued with insecurity about his sexuality, which, combined with the calamity of losing his first lover to AIDS and his mother to cancer, plunged him into a lifelong struggle with drug addiction. He died, at the tragically early age of just fifty-three, on Christmas Day 2016. George Michael's life and career brought him international fame, and his sudden and unexpected death shocked the world. His unrivalled popularity as an artist, however, and the music he made, have turned him into one of the immortal greats of pop music. As Emily Herbert shows in this new biography, his legacy is not just his music, but his many extraordinary, and often anonymous, acts of charity.

Remember Elvis is an all-encompassing, in-depth look at the life and career of a man whose popularity is unrivalled in the history of show business and who continues to attract millions of new fans each year. This groundbreaking book is brimming with rare interviews, insights and experiences. At the heart of this landmark project are over 200 interviews with many of Presley's most intimate associates, as well as some of the biggest names in the film and recording industries. Joe Esposito spent nearly twenty years as Elvis's confidant, close friend and road manager. Joe helps set the record straight about Presley's private life and career, dispelling the innumerable lies, half-truths and rumors that have evolved over the years.

Red Hot Chili Peppers, Goo Goo Dolls, Nirvana, Green Day, Mariah Carey, Notorious B.I.G., Billy Ray Cyrus, Backstreet Boys... the list goes on. Meet all the 1990s' essential musical artists in one insightful volume. During the 1990s, musical genres became more commercialized than ever-and that was just one of the many changes that characterized the decade. Music of the 1990s offers a detailed and wide-ranging view of the important music of the '90s, identifying the artists and the important compositions-popular, classical, and jazz-that helped shape the period. The book focuses on key artists in specific genres in popular music, including pop, hard rock/heavy metal, rock, and country. Specialized genres are examined as well, in a chapter that discusses prominent artists and composers in musical theater, jazz, popular Christian music, and classical music. Among other topics, the book looks at the growth of urban-based rap and other popular music in the context of the rise of music television. Hard rock and heavy metal are also examined within the music video idiom. New trends in mainstream rock and country music are explored as well. Photographs A bibliography of sources on top musical trends in the 1990s

This collection presents a contemporary evaluation of the changing structures of music delivery and enjoyment. Exploring the confluence of music consumption, burgeoning technology, and contemporary culture; this volume focuses on issues of musical communities and the politics of media.

From the chaotic world of music journalism comes this collection of unabridged, unexpurgated interviews with four of the brightest, most influential and complex pop and rock musicians alive: Gene Simmons of Kiss, Peter Hook of New Order, Jerry Casale of Devo, and Scott Thunes of Frank Zappa fame. They are all bass players and they are all plainspoken, profane, stressed out, caustic, antagonistic and on occasion so belligerent they are prepared to engage in psychological warfare with their interviewer. Each interview is illustrated with striking, often candid photographs, and includes an introduction and a postscript. ..".the ultimate reason I liked this book was because of the very interesting circumstances of the interviews themselves. These people are almost impossible to get a hold of, let alone interview." - YourFlesh

Singing a Hindu Nation is a study of rags>riya kirtan, a western Indian performance medium that combines song, Hindu philosophical discourse, and nationalist storytelling. Beginning during the anti-colonial movement of the late nineteenth-century, performers of rags>riya kirtan led masses of Marathi-speaking people in temples and streets, and they have continued to preach and sing nationalism as devotion in the post-colonial era, and into the twenty-first century. In this book, author Anna Schultz demonstrates how, through this particular form of musical performance, the political becomes devotional, and explores why it motivates people to action and violence. Through both historical and ethnographic studies, Schultz shows that rags>riya kirtan has been especially successful in combining these two realms because kirtankars perform as representatives of the divine sage Narad, thereby infusing their nationalist messages with ritual weight. By speaking and singing in regional idioms with rich associations for Maharashtrian congregations, they use music to combine political and religious signs in ways that seem natural and desirable, promoting embodied experiences of nationalist devotion. As the first monograph on music and Hindu-nationalism, Singing a Hindu Nation presents a rare glimpse into the lives and performance worlds of nationalists on the margins of all-India political parties and cultural organizations, and is an essential resource for ethnomusicologists, as well as scholars of South Asian studies, religion, and political theory.

Beast: John Bonham and the Rise of Led Zeppelin is the first-ever biography of the iconic John Bonham, considered by many to be one of the greatest (if not THE greatest) rock drummer of all time. Bonham first learned to play the drums at the age of five, and despite never taking formal lessons, began drumming for local bands immediately upon graduating from secondary school. By the late 1960s, Bonham was looking for a more solid gig in order to provide his growing family with a more regular income. Meanwhile, following the dissolution of the popular blues rock band The Yardbirds, lead guitarist Jimmy Page sought the company of new bandmates to help him record an album and tour Scandinavia as the New Yardbirds. A few months later, Bonham was recruited to join the band who would eventually become known as Led Zeppelin-and before the year was out, Bonham and his three bandmates would become the richest rock band in the world. In their first year, Led Zeppelin released two albums and completed four US and four UK concert tours. As their popularity exploded, they moved from ballrooms and smaller clubs to larger auditoriums, and eventually started selling out full arenas. Throughout the 1970s, Led Zeppelin reached new heights of commercial and critical success, making them one of the most influential groups of the era, both in musical style and in their approach towards the workings of the entertainment industry. They added extravagant lasers, light shows, and mirror balls to their performances; wore flamboyant and often glittering outfits; traveled in a private jet airliner and rented out entire sections of hotels; and soon become the subject of frequently repeated stories of debauchery and destruction while on tour. In 1977, the group performed what would be their final live appearance in the US, following months of rising fervor and rioting from their fandom. And in September of 1980, Bonham-plagued by alcoholism, anxiety, and the after-effects of years of excess-was found dead by his bandmates. To this day, Bonham is posthumously described as one of the most important, well-known, and influential drummers in rock, topping best of lists describing him as an inimitable, all-time great. As Adam Budofsky, managing editor of Modern Drummer, explained, "If the king of rock 'n' roll was Elvis Presley, then the king of rock drumming was certainly John Bonham."

A guide to locating information on popular music and the people who create it, this volume is designed as a desk reference--to locate answers to specific questions and to direct library users to key resources. More than 400 comprehensive titles are carefully annotated, describing content, scope, and special features. The focus is on the musical styles that have developed measurable commercial success through recordings and live performance. Along with academic titles, many important titles from the popular press are included, as well as selected electronic resources. A necessary reference tool for any library, scholar, student, and popular music buff. The work covers bibliographies, indexes, discographies, dictionaries and encyclopedias, biographical resources, directories, almanacs, yearbooks, and guidebooks on styles that include jazz, swing, Tin Pan Alley, country, gospel, blues, rhythm and blues, soul, rockabilly, rock, heavy metal, musical theater, and film music. Its extensive appendices feature discographies and bibliographies of individual artists and ensembles. A detailed index combining authors, titles, and subjects makes cross-referencing easy. The entries are modeled after the immensely useful The Guide to Reference Books.

From Prince's superstardom to studio seclusion, this second book in the Prince Studio Sessions series chronicles the tumultuous years immediately following the Purple Rain era. Duane Tudahl takes us back into the world of Prince's musical masterpieces and personal battles, weaving together the voices of those who knew Prince best during this period. As Prince's relationship with his band, the Revolution, and his fiancee, Susan Melvoin, crumbled, he threw himself into creative catharsis, recording and releasing multiples studio albums and side projects. Prince and the Parade and Sign "O" the Times Era Studio Sessions provides a definitive chronicle of more than 260 recording sessions and two tours during 1985 and 1986. These years were full of struggle, but as millions of fans know, Prince would emerge from this darkness to show that the fire of true genius cannot be extinguished.

Applied studies scholarship has triggered a not-so-quiet revolution in the discipline of ethnomusicology. The current generation of applied ethnomusicologists has moved toward participatory action research, involving themselves in musical communities and working directly on their behalf. The essays in The Oxford Handbook of Applied Ethnomusicology, edited by Svanibor Pettan and Jeff Todd Titon, theorize applied ethnomusicology, offer histories, and detail practical examples with the goal of stimulating further development in the field. The essays in the book, all newly commissioned for the volume, reflect scholarship and data gleaned from eleven countries by over twenty contributors. Themes and locations of the research discussed encompass all world continents. The authors present case studies encompassing multiple places; other that discuss circumstances within a geopolitical unit, either near or far. Many of the authors consider marginalized peoples and communities; others argue for participatory action research. All are united in their interest in overarching themes such as conflict, education, archives, and the status of indigenous peoples and immigrants. A volume that at once defines its field, advances it, and even acts as a large-scale applied ethnomusicology project in the way it connects ideas and methodology, The Oxford Handbook of Applied Ethnomusicology is a seminal contribution to the study of ethnomusicology, theoretical and applied.

This book continues the objectives of the original volume: to act as a pathfinder in the study of rock music for both the serious student and the interested enthusiast, and to serve as a guide to the vast quantities of material on the subject for librarians and educators. Covering 1984-1990, it also lists many sources published between 1954 and 1983 supplemental to the earlier two volumes.

Few bands in the past three decades have proven as affecting or exciting as the Misfits, the ferocious horror punk outfit that lurked in the shadows of suburban New Jersey and released a handful of pivotal underground recordings during their brief, tumultuous time together. Led by Glenn Danzig, a singer possessed of vision and blessed with an incredible baritone, the Misfits pioneered a death rock sound that would reverberate through the various musical subgenres that sprung up in their wake. This Music Leaves Stains now presents the full story behind the Misfits and their ubiquitous, haunting skull logo, a story of unique talent, strange timing, clashing personalities, and incredible music that helped shape rock as we know it today. James Greene, Jr., maps this narrative from the band's birth at the tail end of the original punk movement through their messy dissolve at the dawn of the 1980s right on through the legal warring and inexplicable reunions that helped carry the band into the 21st century. Music junkies of any stripe will surely find themselves engrossed in this saga that finally pieces together the full story of the greatest horror punk band that ever existed, though Misfits fans will truly marvel at the thorough and detailed approach James Greene, Jr. has taken in outlining the rise, fall, resurrection, and influence of New Jersey's most frightening musical assembly.

The year 1977 is usually associated with West German terrorism, but it witnessed another cultural watershed: punk music. Punk Rock and German Crisis asserts, through the lived instance of punk and punk's investment in cultural representation - art, literature, and music - the importance of this sub-cultural moment for understanding the field of contested politics in West Germany. A new reckoning with the legacy of political and aesthetic spaces, this book argues the centrality of punk music for understanding crises of state and terrorist violence, American racism and German fascism, and aesthetic production.

Lead author Bruno Nettl. The grand-daddy of Ethnomusicology compiled the first edition, and his name and contributions to the field have brought the book forward several editions. Chapters are written by established/known ethnomusicologists specializing in the particular region, in the perhaps the most balanced attempt to get expert authors together. Does not aim to teach students how to do field work (like Titon), per se, or other ethnomusicological study, and does not aim to teach music - rather, how to think about music in world perspective and the major themes and issues that emerge when we take the musics of the world seriously. Draws a big picture and explains why the musics of the world matter.....the economics, politics, and social dynamics of these sounds.

Play everybody's favorite songs The 300 pages of piano/vocal/guitar sheet music in this collection allow music makers to bring dozens of the most memorable songs of the 1960s, '70s, and early '80s to life. Classic rock fans who love to play will have a blast applying their talent to more than 40 enduring songs made famous by legendary artists like The Beatles, David Bowie, Journey, Led Zeppelin, Pink Floyd, The Rolling Stones, Rush, The Who, and many more. The arrangements feature piano parts that accurately reflect each song's familiar original recording. Basic chord fingering grids are provided for optional guitar accompaniment, along with vocal melodies and complete lyrics. Titles: 50 Ways to Leave Your Lover (Paul Simon) * Africa (Toto) * All Along the Watchtower (Jimi Hendrix) * All My Love (Led Zeppelin) * Behind Blue Eyes (The Who) * Big Yellow Taxi (Joni Mitchell) * Blinded by the Light (Manfred Mann's Earth Band) * Blowin' in the Wind (Bob Dylan) * Born to Run (Bruce Springsteen) * Bridge Over Troubled Water (Simon and Garfunkel) * Closer to the Heart (Rush) * Dancing in the Moonlight (King Harvest) * Do You Feel Like We Do (Peter Frampton) * Don't Stop Believin' (Journey) * Faithfully (Journey) * Fool in the Rain (Led Zeppelin) * From Me to You (The Beatles) * Give Up the Funk (Tear the Roof off the Sucker) (Parliament) * Going Up the Country (Canned Heat) * The Great Gig in the Sky (Pink Floyd) * I Love L.A. (Randy Newman) * I Saw Her Standing There (The Beatles) * Like a Rolling Stone (Bob Dylan) * Live and Let Die (Paul McCartney) * The Load Out (Jackson Browne) * Love Reign O'er Me (The Who) * Money (Pink Floyd) * Nights in White Satin (The Moody Blues) * Paranoid (Black Sabbath) * P-Funk (Wants to Get Funked Up) (Parliament) * Pinball Wizard (The Who) * River (Joni Mitchell) * Saturday in the Park (Chicago) * She Loves You (The Beatles) * She's a Rainbow (The Rolling Stones) * The Sound of Silence (Simon and Garfunkel) * Space Oddity (David Bowie) *

Ice Cube is one of the most influential figures in the history of rap and hip-hop. Best known for the vitriol of his "angry black man" recordings of the late 1980s and mid 1990s, Ice Cube epitomizes the genre often referred to as gangsta rap. Much of his music from these years is focused on the disturbing realities of life in black urban ghettos, and as a result it chronicles such complex and controversial issues as racial stereotypes, street gangs, racial profiling, "black on black" crime, teen pregnancy, absentee fathers, and male-female relationships. His recordings with NWA are noteworthy for their sardonic humor in discussing dire issues. The group's landmark CD Straight Outta Compton (1988) is a palette of urban woes recounted in aggressive and hostile street vernacular, while Ice Cube's recordings of the 1990s now represent paradigms of the gangsta style. The first three chapters of The Words and Music of Ice Cube explore Ice Cube's recordings between 1988 and 1996 and situate Ice Cube in the context of other rappers of this period-most notably Public Enemy, Ice-T, Tupac, Biggie, and Snoop Dogg-whose music also chronicled explosive issues in urban ghettos. The fourth chapter considers Ice Cube's career in film, beginning with a discussion of his performance in Boyz n the Hood and ending with a look at his most recent films, Barber Shop, Barber Shop II, Are We There Yet? And Are We Done Yet? The fifth and final chapter looks back over all of Ice Cube's work to date and considers his impact and his legacy in music and popular culture at large. A discography, filmography, and bibliography supplement the work.