From stars like Britney Spears and Mariah Carey to classic icons like Yoko Ono, female musicians have long been the target of double standards and toxic labels in the media and pop culture: liar, crazy, snake, diva, slut, b*tch. These words can hurt all of us. The popular expression "sticks and stones" is wildly wrong. And the wounds are everywhere. Lily Hirsch confronts the full range of this sexist labeling as well as the repercussions, concentrating on the experiences of Yoko Ono, Courtney Love, Britney Spears, FKA twigs, Taylor Swift, Kesha, Mariah Carey, and Ariana Grande, among many others. While men can make outrageous backstage demands, women like Carey are punished as "divas." A sign of supposed genius for men, "crazy" is a word of condemnation for many women-with legal ramifications in Spears' case. Hirsch dives into the world of these women, looking at their personal lives, relationships and breakups, music, media coverage, public reception, as well as the origins of these toxic labels and how they have caused serious damage. With this focus, the book reveals the inner workings of misogyny and invites us to think about these remarkable women on their own terms-showing us how women have fought back too, sometimes reclaiming these words and their own story through music.

This book is the first to address in a serious way the impact and meaning of the music of “Weird Al” Yankovic. Though everyone knows his name, Yankovic is often dismissed as a novelty. His music builds on a rich American tradition of parody song, with many levels of signification—humorous, insulting, political, often at the same time. His songs, including his original compositions, make us laugh but also have a point of view, be it on society, popular culture, food, or words themselves. Very few other artists have created music so dense in meaning and for so long, and it’s high time we recognize Yankovic’s cloyingly humorous appeal. Through original interviews with the man himself, Lily Hirsch addresses Yankovic’s relationship to past parody song as well as his unique approach to the art form. Focusing mainly on his fourteen studio albums, the book explores his music based on themes like insult, politics, race, and word abuse. It also discusses his reputation as one of the music industry’s good guys. In today’s age of incivility (political and otherwise), his nice-guy persona stands out and has helped win him fiercely loyal fans who’ve found in his music a certain acceptance and affirmation. This book is for those fans but also invites music enthusiasts of all stripes to consider and reconsider Yankovic’s music.

Featuring even more insights on "Weird Al" Yankovic including his activities during a tumultuous 2020 and 2021, this expanded edition dives deeper into the world of the iconic man who has made a career out of making us laugh. Funny music is often dismissed as light and irrelevant, but Yankovic's fourteen successful studio albums prove there is more going on than comedic music's reputation suggests. Lily Hirsch weaves together original interviews with the prince of parody himself, creating a fresh take on comedy and music's complicated romance. She reveals that Yankovic's jests have always had a deeper meaning, addressing such topics as bullying, celebrity, and racial and gender stereotypes, and that his music served as a much-needed bright spot for many fans. From his love of accordions and Hawaiian print shirts to his popular puns and trademark dance moves, Weird Al is undeterred by those who say funny music is nothing but a low-brow pastime. And thank goodness. With his good-guy grace still intact, Yankovic remains unapologetically and unmistakably himself. Reveling in the mischief and wisdom of Yankovic's over forty-year career, this book is an Al-expense-paid tour of a true comedic and musical genius.

Insulting Music explores insult in and around music and demonstrates that insult is a key dimension of Western musical experience and practice. There is insult in the music we hear, how we express our musical preferences, as well as our reactions to settings and sites of music and music making. More than that, when music and insult overlap, the effects can both promote social justice or undermine it, foster connection or break it apart. The coming together of music and insult shapes our sense of self and view of other people, underlining and constructing difference, often in terms of race and gender. In the last decade, music's power dynamics have become an increasingly important concern for music scholars, critics, and fans. Studying musicians such as Frank Zappa, Nickleback, Taylor Swift, and the Insane Clown Posse, and musical phenomena such as musician jokes, the use of music to torture people, and the playing of music in restaurants, this book shows the various and contradictory ways insults are used to negotiate those existing dynamics in and around music.