Sheila Whiteley – författare

The Space Between the Notes examines a series of relationships central to sixties counter-culture: psychedelic coding and rock music, the Rolling Stones and Charles Manson, the Beatles and the `Summers of love'', Jimi Hendrix and hallucinogenics, Pink Floyd and space rock. Sheila Whiteley combines musicology and socio-cultural analysis to illuminate this terrain, illustrating her argument with key recordings of the time: Cream''s She Walks Like a Bearded Rainbow, Hendrix''s Hey Joe, Pink Floyd''s Set the Controls For the Heat of the Sun, The Move''s I Can Hear the Grass Grow, among others.The appropriation of progressive rock by young urban dance bands in the 1990s make this study of sixties and seventies counter-culture a timely intervention. It will inform students of popular music and culture, and spark off recognition and interest from those that lived through the period as well as a new generation that draw inspiration from its iconography and sensibilities today.

The Space Between the Notes examines a series of relationships central to sixties counter-culture: psychedelic coding and rock music, the Rolling Stones and Charles Manson, the Beatles and the `Summers of love'', Jimi Hendrix and hallucinogenics, Pink Floyd and space rock. Sheila Whiteley combines musicology and socio-cultural analysis to illuminate this terrain, illustrating her argument with key recordings of the time: Cream''s She Walks Like a Bearded Rainbow, Hendrix''s Hey Joe, Pink Floyd''s Set the Controls For the Heat of the Sun, The Move''s I Can Hear the Grass Grow, among others.The appropriation of progressive rock by young urban dance bands in the 1990s make this study of sixties and seventies counter-culture a timely intervention. It will inform students of popular music and culture, and spark off recognition and interest from those that lived through the period as well as a new generation that draw inspiration from its iconography and sensibilities today.

Sexing the Groove discusses these issues and many more, bringing together leading music and cultural theorists to explore the relationships between popular music, gender and sexuality. The contributors, who include Mavis Beayton, Stella Bruzzi, Sara Cohen, Sean Cubitt, Keith Negus and Will Straw, debate how popular music performers, subcultures, fans and texts construct and deconstruct `masculine'' and `feminine'' identities. Using a wide range of case studies, from Mick Jagger to Riot Grrrls, they demonstrate that there is nothing `natural'', permanent or immovable about the regime of sexual difference which governs society and culture.Sexing the Groove also includes a comprehensive annotated bibliography for further reading and research into gender and popular music.

Sexing the Groove discusses these issues and many more, bringing together leading music and cultural theorists to explore the relationships between popular music, gender and sexuality. The contributors, who include Mavis Beayton, Stella Bruzzi, Sara Cohen, Sean Cubitt, Keith Negus and Will Straw, debate how popular music performers, subcultures, fans and texts construct and deconstruct `masculine'' and `feminine'' identities. Using a wide range of case studies, from Mick Jagger to Riot Grrrls, they demonstrate that there is nothing `natural'', permanent or immovable about the regime of sexual difference which governs society and culture.Sexing the Groove also includes a comprehensive annotated bibliography for further reading and research into gender and popular music.

Women and Popular Music explores the changing role of women musicians and the ways in which their songs resonate in popular culture. Sheila Whiteley begins by examining the counter-culture''s reactionary attitudes to women through the lyrics of The Beatles and The Rolling Stones. She explores the ways in which artists like Joplin and Joni Mitchell confronted issues of sexuality and freedom, redefining women''s participation in the industry, and assesses the personal cost of their achievements. She considers how stars such as Annie Lennox, Madonna and k.d. lang have confronted issues of gender stereotyping and sexuality, through pop videos for ''Justify My Love'' and ''Sweet Dreams (Are Made of This)'', and looks at the enduring importance of the singer-songwriter through artists such as Tracey Chapman. Lastly, she assesses the contribution of contemporary artists including Tori Amos, P.J. Harvey and Courtney Love, and asks whether the Spice Girls are just a ''cartoon feminist pop group'' or if they provide positive role models for teenage girls.

Women and Popular Music explores the changing role of women musicians and the ways in which their songs resonate in popular culture. Sheila Whiteley begins by examining the counter-culture''s reactionary attitudes to women through the lyrics of The Beatles and The Rolling Stones. She explores the ways in which artists like Joplin and Joni Mitchell confronted issues of sexuality and freedom, redefining women''s participation in the industry, and assesses the personal cost of their achievements. She considers how stars such as Annie Lennox, Madonna and k.d. lang have confronted issues of gender stereotyping and sexuality, through pop videos for ''Justify My Love'' and ''Sweet Dreams (Are Made of This)'', and looks at the enduring importance of the singer-songwriter through artists such as Tracey Chapman. Lastly, she assesses the contribution of contemporary artists including Tori Amos, P.J. Harvey and Courtney Love, and asks whether the Spice Girls are just a ''cartoon feminist pop group'' or if they provide positive role models for teenage girls.

Queering the Popular Pitch is a new collection of 19 essays that situate queering within the discourse of sex and sexuality in relation to popular music. This investigation addresses the changing debates within gay, lesbian and queer discourse in relation to the dissemination of musical texts -performance, cultural production and sexual meaning - situating music within the broader patterns of culture that it both mirrors and actively reproduces.

The collection is divided into four parts:queering borders

queer spaces

hidden histories

queer thoughts, mixed media.

Queering the Popular Pitch will appeal to students of popular music, Gay and Lesbian studies. With case studies and essays by leading popular music scholars it provides insightful discourse in a growing field of musicological research.

Queering the Popular Pitch is a new collection of 19 essays that situate queering within the discourse of sex and sexuality in relation to popular music. This investigation addresses the changing debates within gay, lesbian and queer discourse in relation to the dissemination of musical texts -performance, cultural production and sexual meaning - situating music within the broader patterns of culture that it both mirrors and actively reproduces.

The collection is divided into four parts:queering borders

queer spaces

hidden histories

queer thoughts, mixed media.

Queering the Popular Pitch will appeal to students of popular music, Gay and Lesbian studies. With case studies and essays by leading popular music scholars it provides insightful discourse in a growing field of musicological research.

Too Much Too Young investigates how age and gender have shaped the careers and images of pop music stars, examining the role of youth and youthfulness in pop music through a series of themed case studies.

Whiteley begins by investigating the exploitation of child stars such as Brenda Lee and Michael Jackson, offering a psychoanalytic reading of the relationship between child star and oppressive manager, and looks at the current glut of boy- and girl- bands and stars in the mold of Britney Spears to examine the continuing fatal attraction of stardom for adolescents.

Whiteley then considers the star images of female singer-songwriters Kate Bush, Tori Amos, and Bjork, whose ''little girl'' voices and characterization by the media suggests a girlish feminitity which is often at odds with the intentions of their musical output. She then moves on to explore the rock/pop divide as it affects the image of male performers, considering why male stars usually fall into the category of ''wild boys'' such as Kurt Cobain or Jim Morrison, or ''nice boys'', like Cliff Richard, The Monkees, and Wham!

Whiteley ends by asking what happens to stars who set so much store by manipulations of youthfulness when they begin to age, and points to stars like Robbie Williams, Kylie Minogue and Cher to demonstrate that it is possible to achieve iconic pop status even without dying young.

Too Much Too Young investigates how age and gender have shaped the careers and images of pop music stars, examining the role of youth and youthfulness in pop music through a series of themed case studies.

Whiteley begins by investigating the exploitation of child stars such as Brenda Lee and Michael Jackson, offering a psychoanalytic reading of the relationship between child star and oppressive manager, and looks at the current glut of boy- and girl- bands and stars in the mold of Britney Spears to examine the continuing fatal attraction of stardom for adolescents.

Whiteley then considers the star images of female singer-songwriters Kate Bush, Tori Amos, and Bjork, whose ''little girl'' voices and characterization by the media suggests a girlish feminitity which is often at odds with the intentions of their musical output. She then moves on to explore the rock/pop divide as it affects the image of male performers, considering why male stars usually fall into the category of ''wild boys'' such as Kurt Cobain or Jim Morrison, or ''nice boys'', like Cliff Richard, The Monkees, and Wham!

Whiteley ends by asking what happens to stars who set so much store by manipulations of youthfulness when they begin to age, and points to stars like Robbie Williams, Kylie Minogue and Cher to demonstrate that it is possible to achieve iconic pop status even without dying young.