Catherine Strong - Böcker

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 André 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.

How does popular music influence the culture and reputation of a city, and what does a city do to popular music? Interrogating Popular Music and the City examines the ways in which urban environments and music cultures intersect in various locales around the globe. Music and cities have been partners in an often clumsy, sometimes accidental but always exciting dance. Heritage and immigration, noise and art, policy and politics are some of the topics that are addressed in this critical examination of relationships between cities and music. The book draws upon an international array of researchers, encompassing hip hop in Beijing; the city favelas of Brazil; from Melbourne bars to European parliaments; to heritage and tourism debates in Salzburg and Manchester. In doing so, it interrogates the different agendas of audiences, musicians and policy-makers in distinct urban settings.

How does popular music influence the culture and reputation of a city, and what does a city do to popular music? Interrogating Popular Music and the City examines the ways in which urban environments and music cultures intersect in various locales around the globe. Music and cities have been partners in an often clumsy, sometimes accidental but always exciting dance. Heritage and immigration, noise and art, policy and politics are some of the topics that are addressed in this critical examination of relationships between cities and music. The book draws upon an international array of researchers, encompassing hip hop in Beijing; the city favelas of Brazil; from Melbourne bars to European parliaments; to heritage and tourism debates in Salzburg and Manchester. In doing so, it interrogates the different agendas of audiences, musicians and policy-makers in distinct urban settings.

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 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 André 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

Gender inequality is universally understood to be a continued problem in the music industry. This open access book 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.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by Knowledge Unlatched.

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.

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 open access book 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.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by Knowledge Unlatched.

2026 PROSE Award Finalist in Music & The Performing ArtsThis book explores gender-based violence within the music industry, and how women who have experienced violence represent it in their music. Using the key case studies of music by Kesha, Lingua Ignota, and Alice Glass, as well as many other examples from across the musical landscape, the book examines how the artists represent their experiences of gender-based violence in their music, lyrics, and music videos; how they narrate and describe their experiences; how they incorporate these experiences into their public personas; and how the music industry itself might be facilitating or perpetuating the violence.The analysis sheds light on how survivors construct their experiences, and how the songs and videos inscribe new understandings of gender-based violence. The book argues that men’s control of women’s creativity can be considered a form of musical abuse, and that through its structures and systems the music industry itself can be classed as inherently abusive. And yet, women musicians can sing back to the violence they’ve experienced and create powerful new representations that have the potential to change the way we listen to music, if we are prepared to develop our feminist ears.

2026 PROSE Award Finalist in Music & The Performing ArtsThis book explores gender-based violence within the music industry, and how women who have experienced violence represent it in their music. Using the key case studies of music by Kesha, Lingua Ignota, and Alice Glass, as well as many other examples from across the musical landscape, the book examines how the artists represent their experiences of gender-based violence in their music, lyrics, and music videos; how they narrate and describe their experiences; how they incorporate these experiences into their public personas; and how the music industry itself might be facilitating or perpetuating the violence.The analysis sheds light on how survivors construct their experiences, and how the songs and videos inscribe new understandings of gender-based violence. The book argues that men’s control of women’s creativity can be considered a form of musical abuse, and that through its structures and systems the music industry itself can be classed as inherently abusive. And yet, women musicians can sing back to the violence they’ve experienced and create powerful new representations that have the potential to change the way we listen to music, if we are prepared to develop our feminist ears.