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Drawing on fieldwork conducted at eight women's music festivals, Eileen M. Hayes shows how studying these festivals--attended by predominately white lesbians--provides critical insight into the role of music and lesbian community formation. She argues that the women's music festival is a significant institutional site for the emergence of black feminist consciousness in the contemporary period. Hayes also offers sage perspectives on black women's involvement in the women's music festival scene, the ramifications of their performances as drag kings in those environments, and the challenges and joys of a black lesbian retreat based on the feminist festival model. With acuity and candor, longtime feminist activist Hayes elucidates why this music scene matters. Veteran vocalist, percussionist, producer, and cultural historian Linda Tillery provides a foreword.
Investigates the rise and fall of US American lesbian cultural institutions since the 1970s. LGBT Americans now enjoy the right to marry—but what will we remember about the vibrant cultural spaces that lesbian activists created in the 1970s, 80s, and 90s? Most are vanishing from the calendar—and from recent memory. The Disappearing L explores the rise and fall of the hugely popular women-only concerts, festivals, bookstores, and support spaces built by and for lesbians in the era of woman-identified activism. Through the stories unfolding in these chapters, anyone unfamiliar with the Michigan festival, Olivia Records, or the women’s bookstores once dotting the urban landscape will gain a better understanding of the era in which artists and activists first dared to celebrate lesbian lives. This book offers the backstory to the culture we are losing to mainstreaming and assimilation. Through interviews with older activists, it also responds to recent attacks on lesbian feminists who are being made to feel that they’ve hit their cultural expiration date. “The Disappearing L is both an ‘insider’ story and a well-written analysis of a neglected piece of cultural history. Morris delivers convincing arguments about why the lesbian-feminist era was important not only to the individuals who lived it but also to a broader understanding of what has come to be called ‘LGBT’ history. No one could be better positioned to write this book than Morris.” — Lillian Faderman, author of The Gay Revolution: The Story of the Struggle
Sapphists and Sexologists: Histories of Sexualities Volume II, contributes to the ever evolving debates on lesbian lives and histories. This volume includes a mixture of engaging essays from established and young scholars and opens with a succinct, incisive and often comical take on lesbian lives, relationships and cats, by internationally esteemed scholar Sally R. Munt. Unique essays include the personal reflections on writing historical fiction by the celebrated author Emma Donoghue and an exclusive conversational record from Joan Nestle on her life, loves and activism. The scope of this collection is truly international; a collaborative work of scholars from many different disciplines, universities and countries. The central theme of the book continues from the first volume Tribades, Tommies and Transgressives: Histories of Sexualities, in its questioning of established histories of sexualities, methodologies and theoretical practices.
They were almost The Pendletones--after the Pendleton wool shirts favored on chilly nights at the beach--then The Surfers, before being named The Beach Boys. But what separated them from every other teenage garage band with no musical training? They had raw talent, persistence and a wellspring of creativity that launched them on a legendary career now in its sixth decade. Following the musical vision of Brian Wilson, the Beach Boys blended ethereal vocal harmonies, searing electric guitars and lush arrangements into one of the most distinctive sounds in the history of popular music. Drawing on original interviews and newly uncovered documents, this book untangles the band's convoluted early history and tells the story of how five boys from California formed America's greatest rock 'n' roll band.
This remastered edition of Christopher Poindexter's second book, Lavender, is an intricate portrait of love in all its forms and phases. The images and words weave a story of self redemption, one of learning how to shed the skin of the past in order to appreciate all the beauty this world has to offer.
Ealing Revisited provides a major reappraisal of one of British cinema's best-loved institutions, Ealing Studios. During its heyday, Ealing produced a string of classic comedies, including Kind Hearts and Coronets (1949), The Lavender Hill Mob (1951) and The Ladykillers (1955), but there is much more to Ealing than these films, as this volume of new writing on the studio shows. Addressing both known and less familiar aspects of Ealing's story, its films, actors and technicians, the contributors uncover what has gone unexplored, or unspoken, in previous histories of the studio, and consider the impact that Ealing has had on British cultural life from the 1930s to the present. Listed in the Independent on Sunday's Cinema books of 2012 http://www.independent.co.uk/arts-entertainment/books/reviews/ios-books-of-the-year-2012-cinema-8373713.html
Stephen Wallingford died intestate in 1990, aged 86, and has in recent times become a cult figure. He appears in numerous biographies about the 1920s and 1930s and was the model and inspiration for the 1938 dramatic novel by George Headland Those Beautiful, Beautiful People. In his early youth he entertained his friends at his family home of Arches and it was here he lived for many years until his death. He was photographed by many of the greatest artistes of his time and become one of the typical images of 1920s and 1930s "beautiful" young people. He would be seen with painted lips, powder on his face and gold dust sprinkled through his hair. But putting aside all the endless parties and various love affairs, Stephen was actually a very lonely man. Disowned later in life by his two sisters he survived on the friendships of few people including his mother and socialite and fellow writer Agatha Dewsbury. He sought freedom and expression in his writings and published works which are all still in print today. Later in life he became a former shadow of himself, a recluse, obese, redecorating Arches with fishnets, pink satin and golden conch shells. His hair was long and dyed mauve, he wore kaftans and many gilded bangles. He became an embarrassment to the few surviving friends he had left and was cut off from his remaining family, so in retaliation and defiance, he decided to shut himself away from the real world and write his memoirs, which were never published in his lifetime. But there is one small problem. Stephen Wallingford did not exist, nor did any of his contemporaries featured in this book, for the brutal reason that he was never born. The stories are fake and the news never happened. This is something new and strange – a fictionalized retrospective, part interview, part biographical about unreal people set in a real world.
The original edition of Beyond and Before extends an understanding of “progressive rock” by providing a fuller definition of what progressive rock is, was and can be. Called by Record Collector “the most accomplished critical overview yet” of progressive rock and one of their 2011 books of the year, Beyond and Before moves away from the limited consensus that prog rock is exclusively English in origin and that it was destroyed by the advent of punk in 1976. Instead, by tracing its multiple origins and complex transitions, it argues for the integration of jazz and folk into progressive rock and the extension of prog in Kate Bush, Radiohead, Porcupine Tree and many more. This 10-year anniversary revised edition continues to further unpack definitions of progressive rock and includes a brand new chapter focusing on post-conceptual trends in the 2010s through to the contemporary moment. The new edition discusses the complex creativity of progressive metal and folk in greater depth, as well as new fusions of genre that move across global cultures and that rework the extended form and mission of progressive rock, including in recent pop concept albums. All chapters are revised to keep the process of rethinking progressive rock alive and vibrant as a hybrid, open form.