Christian Lloyd – författare

Using a radical and inclusive definition of the genre, this collection explores musicians' autobiographies as articulated in print, on stage, and through various expressive media as a dynamic factor in contemporary culture. Popular musicians' autobiographies are one of the most important ways that stars create, negotiate and perpetuate the realities and myths of their lived experiences for fans. Autobiographical creations such as Bruce Springsteen’s book Born to Run, Kendrick Lamar’s lyrics, ABBA’s virtual Voyage show, and the reimaginings of Lennon and McCartney’s childhood homes have been both critically acclaimed and lucrative, whilst delivering for many fans an apparent insider’s understanding of musicians whose work they are invested in. Yet such narratives have many other functions beyond thrilling their consumers with a sense of intimacy. The pop music autobiographies discussed here variously attempt to rewrite social history; to redress gender or racial stereotypes; to question received models of fame; to validate new genres and scenes; to explore complex subjectivities; to justify or atone for transgressive behaviour; and to critique the music industry.

Using a radical and inclusive definition of the genre, this collection explores musicians' autobiographies as articulated in print, on stage, and through various expressive media as a dynamic factor in contemporary culture. Popular musicians' autobiographies are one of the most important ways that stars create, negotiate and perpetuate the realities and myths of their lived experiences for fans. Autobiographical creations such as Bruce Springsteen’s book Born to Run, Kendrick Lamar’s lyrics, ABBA’s virtual Voyage show, and the reimaginings of Lennon and McCartney’s childhood homes have been both critically acclaimed and lucrative, whilst delivering for many fans an apparent insider’s understanding of musicians whose work they are invested in. Yet such narratives have many other functions beyond thrilling their consumers with a sense of intimacy. The pop music autobiographies discussed here variously attempt to rewrite social history; to redress gender or racial stereotypes; to question received models of fame; to validate new genres and scenes; to explore complex subjectivities; to justify or atone for transgressive behaviour; and to critique the music industry.

Using a radical and inclusive definition of the genre, this collection explores musicians'' autobiographies as articulated in print, on stage, and through various expressive media as a dynamic factor in contemporary culture. Popular musicians'' autobiographies are one of the most important ways that stars create, negotiate and perpetuate the realities and myths of their lived experiences for fans. Autobiographical creations such as Bruce Springsteen''s book Born to Run, Kendrick Lamar''s lyrics, ABBA''s virtual Voyage show, and the reimaginings of Lennon and McCartney''s childhood homes have been both critically acclaimed and lucrative, whilst delivering for many fans an apparent insider''s understanding of musicians whose work they are invested in. Yet such narratives have many other functions beyond thrilling their consumers with a sense of intimacy. The pop music autobiographies discussed here variously attempt to rewrite social history; to redress gender or racial stereotypes; to question received models of fame; to validate new genres and scenes; to explore complex subjectivities; to justify or atone for transgressive behaviour; and to critique the music industry.

Using a radical and inclusive definition of the genre, this collection explores musicians'' autobiographies as articulated in print, on stage, and through various expressive media as a dynamic factor in contemporary culture. Popular musicians'' autobiographies are one of the most important ways that stars create, negotiate and perpetuate the realities and myths of their lived experiences for fans. Autobiographical creations such as Bruce Springsteen''s book Born to Run, Kendrick Lamar''s lyrics, ABBA''s virtual Voyage show, and the reimaginings of Lennon and McCartney''s childhood homes have been both critically acclaimed and lucrative, whilst delivering for many fans an apparent insider''s understanding of musicians whose work they are invested in. Yet such narratives have many other functions beyond thrilling their consumers with a sense of intimacy. The pop music autobiographies discussed here variously attempt to rewrite social history; to redress gender or racial stereotypes; to question received models of fame; to validate new genres and scenes; to explore complex subjectivities; to justify or atone for transgressive behaviour; and to critique the music industry.