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The untimely deaths of Amy Winehouse (2011) and Whitney Houston
(2012), and the 'resurrection' of Tupac Shakur for a performance at
the Coachella music festival in April 2012, have focused the media
spotlight on the relationship between popular music, fame and
death. If the phrase 'sex, drugs and rock'n'roll' ever qualified a
lifestyle, it has left many casualties in its wake, and with the
ranks of dead musicians growing over time, so the types of death
involved and the reactions to them have diversified. Conversely, as
many artists who fronted the rock'n'roll revolution of the 1950s
and 1960s continue to age, the idea of dying young and leaving a
beautiful corpse (which gave rise, for instance, to the myth of the
'27 Club') no longer carries the same resonance that it once might
have done. This edited collection explores the reception of dead
rock stars, 'rock' being taken in the widest sense as the artists
discussed belong to the genres of rock'n'roll (Elvis Presley),
disco (Donna Summer), pop and pop-rock (Michael Jackson, Whitney
Houston, Amy Winehouse), punk and post-punk (GG Allin, Ian Curtis),
rap (Tupac Shakur), folk (the Dutchman Andre Hazes) and 'world'
music (Fela Kuti). When music artists die, their fellow musicians,
producers, fans and the media react differently, and this book
brings together their intertwining modalities of reception. The
commercial impact of death on record sales, copyrights, and print
media is considered, and the different justifications by living
artists for being involved with the dead, through covers, sampling
and tributes. The cultural representation of dead singers is
investigated through obituaries, biographies and biopics, observing
that posthumous fame provides coping mechanisms for fans, and
consumers of popular culture more generally, to deal with the
knowledge of their own mortality. Examining the contrasting ways in
which male and female dead singers are portrayed in the media, the
book
The Routledge Companion to Popular Music History and Heritage
examines the social, cultural, political and economic value of
popular music as history and heritage. Taking a cross-disciplinary
approach, the volume explores the relationship between popular
music and the past, and how interpretations of the changing nature
of the past in post-industrial societies play out in the field of
popular music. In-depth chapters cover key themes around
historiography, heritage, memory and institutions, alongside case
studies from around the world, including the UK, Australia, South
Africa and India, exploring popular music's connection to culture
both past and present. Wide-ranging in scope, the book is an
excellent introduction for students and scholars working in
musicology, ethnomusicology, popular music studies, critical
heritage studies, cultural studies, memory studies and other
related fields.
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.
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.
The Routledge Companion to Popular Music History and Heritage
examines the social, cultural, political and economic value of
popular music as history and heritage. Taking a cross-disciplinary
approach, the volume explores the relationship between popular
music and the past, and how interpretations of the changing nature
of the past in post-industrial societies play out in the field of
popular music. In-depth chapters cover key themes around
historiography, heritage, memory and institutions, alongside case
studies from around the world, including the UK, Australia, South
Africa and India, exploring popular music's connection to culture
both past and present. Wide-ranging in scope, the book is an
excellent introduction for students and scholars working in
musicology, ethnomusicology, popular music studies, critical
heritage studies, cultural studies, memory studies and other
related fields.
The untimely deaths of Amy Winehouse (2011) and Whitney Houston
(2012), and the 'resurrection' of Tupac Shakur for a performance at
the Coachella music festival in April 2012, have focused the media
spotlight on the relationship between popular music, fame and
death. If the phrase 'sex, drugs and rock'n'roll' ever qualified a
lifestyle, it has left many casualties in its wake, and with the
ranks of dead musicians growing over time, so the types of death
involved and the reactions to them have diversified. Conversely, as
many artists who fronted the rock'n'roll revolution of the 1950s
and 1960s continue to age, the idea of dying young and leaving a
beautiful corpse (which gave rise, for instance, to the myth of the
'27 Club') no longer carries the same resonance that it once might
have done. This edited collection explores the reception of dead
rock stars, 'rock' being taken in the widest sense as the artists
discussed belong to the genres of rock'n'roll (Elvis Presley),
disco (Donna Summer), pop and pop-rock (Michael Jackson, Whitney
Houston, Amy Winehouse), punk and post-punk (GG Allin, Ian Curtis),
rap (Tupac Shakur), folk (the Dutchman Andre Hazes) and 'world'
music (Fela Kuti). When music artists die, their fellow musicians,
producers, fans and the media react differently, and this book
brings together their intertwining modalities of reception. The
commercial impact of death on record sales, copyrights, and print
media is considered, and the different justifications by living
artists for being involved with the dead, through covers, sampling
and tributes. The cultural representation of dead singers is
investigated through obituaries, biographies and biopics, observing
that posthumous fame provides coping mechanisms for fans, and
consumers of popular culture more generally, to deal with the
knowledge of their own mortality. Examining the contrasting ways in
which male and female dead singers are portrayed in the media, the
book
How did Melbourne earn its place as one of the world's 'music
cities'? Beginning with the arrival of rock 'n' roll in the 1950s,
this book explores the development of different sectors of
Melbourne's popular music ecosystem in parallel with broader
population, urban planning and media industry changes in the city.
The authors draw on interviews with Melbourne musicians, venue
owners and policy-makers, documenting their ambitions and
experiences across different periods, with accompanying spotlights
on the gendered, multicultural and indigenous contexts of playing
and recording in Melbourne. Focusing on pop and rock, this is the
first book to provide an extensive historical lens of popular music
within an urban cultural economy that in turn investigates the
contemporary nature and challenges of urban music activities and
policy.
Gender inequality is universally understood to be a continued
problem in the music industry. This volume presents research that
uses an industry-based approach to examine why this gender
imbalance has proven so hard to shift, and explores strategies that
are being adopted to try and bring about meaningful change in terms
of women and gender diverse people establishing ongoing careers in
music. The book focuses on three key areas: music education; case
studies that explore practices in the music industry; and activist
spaces. Sitting at the intersection between musical production, the
creative industries and gender politics, this volume brings
together research that considers the gender politics of the music
industry itself. It takes a global approach to these issues, and
incorporates a range of genres and theoretical approaches. At a
time when more attention than ever is being paid to gender and
music, this volume presents cutting edge research that contributes
to current debates and offers insights into possible solutions for
the future.
Gender inequality is universally understood to be a continued
problem in the music industry. This volume presents research that
uses an industry-based approach to examine why this gender
imbalance has proven so hard to shift, and explores strategies that
are being adopted to try and bring about meaningful change in terms
of women and gender diverse people establishing ongoing careers in
music. The book focuses on three key areas: music education; case
studies that explore practices in the music industry; and activist
spaces. Sitting at the intersection between musical production, the
creative industries and gender politics, this volume brings
together research that considers the gender politics of the music
industry itself. It takes a global approach to these issues, and
incorporates a range of genres and theoretical approaches. At a
time when more attention than ever is being paid to gender and
music, this volume presents cutting edge research that contributes
to current debates and offers insights into possible solutions for
the future.
How did Melbourne earn its place as one of the world's 'music
cities'? Beginning with the arrival of rock 'n' roll in the 1950s,
this book explores the development of different sectors of
Melbourne's popular music ecosystem in parallel with broader
population, urban planning and media industry changes in the city.
The authors draw on interviews with Melbourne musicians, venue
owners and policy-makers, documenting their ambitions and
experiences across different periods, with accompanying spotlights
on the gendered, multicultural and indigenous contexts of playing
and recording in Melbourne. Focusing on pop and rock, this is the
first book to provide an extensive historical lens of popular music
within an urban cultural economy that in turn investigates the
contemporary nature and challenges of urban music activities and
policy.
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