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A comprehensive overview of the musical career of Elton John provides the full story behind all of the musician's recordings, a complete chronicle of his concert tours, an assessment of his musical odyssey, and a study of his sometimes turbulent personal life, along with more than forty photographs and a complete discography.
National Society of Film Critics dares to go where few mainstream critics have gone before-to the heart of what gets the colored lights going, as they say in A Streetcar Named Desire. Here is their take on the films that quicken their (and our) pulses-an enterprise both risky and risque, an entertaining overview of the most arousing films Hollywood has every produced. But make no mistake about it: This isn't a collection of esoteric "critic's choice" movies. The films reflect individual taste, rubbing against the grain of popular wisdom. And, because of the personal nature of the erotic forces at play, these essays will reveal more about the individual critics than perhaps they have revealed thus far to their readers. The Society is a world-renowned, marquee-name organization embracing some of America's most distinguished critics, more than forty writers who have followings nationally as well as devoted local constituencies in such major cities as New York, Chicago, Los Angeles, Boston, Philadelphia, Atlanta, and Minneapolis.Yes, The X List will have something for every lover of film-and for every lover.
From the shutdown of Planned Parenthood clinics and rising rates of HIV to opposition to marriage equality and bathroom bills, the New South is the epicenter of the new sex wars. Antagonism toward reproductive freedom, partner rights, and transgender rights has revealed a new and unacknowledged era of southern reconstruction centered on gender and sexuality. In A Dirty South Manifesto, L. H. Stallings celebrates the roots of radical sexual resistance in the New South—a movement that is antiracist, decolonial, and transnational. For people within economically disenfranchised segments of society, those in sexually marginalized communities, and the racially oppressed, the South has been a sexual dystopia. Throughout this book, Stallings delivers hard-hitting manifestos for the new sex wars. With her focus on contemporary Black southern life, Stallings offers an invitation to anyone who has ever imagined a way of living beyond white supremacist heteropatriarchy.
Take funny music seriously! Though often dismissed as silly or derivative, funny music, Lily E. Hirsch argues, is incredibly creative and dynamic, serving multiple aims from the celebratory to the rebellious, the entertaining to the mentally uplifting. Music can be a rich site for humor, with so many opportunities that are ripe for a comedic left turn. Taking Funny Music Seriously includes original interviews with some of the best musical humorists, such as Tom Lehrer, "the J. D. Salinger of musical satire"; Peter Schickele, who performed as the invented composer P. D. Q. Bach, the supposed lost son of the great J. S. Bach; Kate Micucci and Riki Lindhome of the funny music duo Garfunkel and Oates; comedic film composer Theodore Shapiro; Too Slim of the country group Riders in the Sky; and musical comedian Jessica McKenna, from the podcast Off Book, part of a long line of "funny girls." With their help, Taking Funny Music Seriously examines comedy from a variety of genres and musical contexts--from bad singing to rap, classical music to country, Broadway music to film music, and even love songs and songs about death. In its coverage of comedic musical media, Taking Funny Music Seriously is an accessible and lively look at funny music. It offers us a chance to appreciate more fully the joke in music and the benefits of getting that joke--especially in times of crisis--including comfort, catharsis, and connection.
First published in 1994. Lyric Texts and Lyric Consciousness presents a model for studying the history of lyric as a genre. Professor Miller drawls a distinction between the work of the Greek lyrists and the more condensed, personal poetry that we associate with lyric. He then confronts the theoretical issues and presents sophisticated, Bakhtinian reading of the development of lyric form from its origins in archaic Greece to the more individualist style of Augustan Rome. This book will appeal to classicists and since English translation of passes from ancient authors are provided, to those who specialise in comparative literature.
Following the 1960's sexual revolution, rock and pop have continued to map the societal understanding of sexuality, feminism, and gender studies. Although scholarship has well established how early rock and roll encouraged and affected issues of sex in the baby boomer generation, this book asks how subsequent pop music has maintained that tradition. The text discusses the gendered performances and biographical experiences of individual musicians, including Patti Smith, Rufus Wainwright, Etta James, and Frank Ocean, and how their invented personae contribute to musical representations of sexuality. It evaluates lyric structure and symbolic language of these artists, and overall emphasizes how pop music, while a commodity art form, reflects the diversity of human sex and gender.
The ages of Thatcherism and New Labour are two of the most significant of the twentieth century, and more alike than they would care to admit. Out of these years of political turmoil have come many brilliant, often politically dissenting, British albums which have captured the landscape of the time. This is the story of those albums.
Bachelor Thesis from the year 2010 in the subject English Language and Literature Studies - Linguistics, grade: 1,1, Bielefeld University, language: English, abstract: Preliminaries The first song whose rhythmic style of singing predates rapping was already published in the 1920s. About 50 years later, the first historically known rap song was published. Since then, this genre has undergone many changes and has been examined from diverse angles. Various cultural, historical and language-centered studies have been conducted on rap music. There is, however, little research particularly concerned with the different musical categories of rap, vocal deliveries of rap and the usage and understanding of language in contexts of rap from a pragmatical point of view. To investigate some of the genres linguistic properties, the main focus of this paper will be on the genres, prosody and pragmatics of rap music. The paper is divided into five chapters and three major parts. After the introduction and some general thoughts about the history of rap music, the first major part deals with the generic classification of this genre in chapter three. A general overview of the different genres of rap is given here by focusing on their musical, thematic and vocal style variations. It will be explored whether genres of rap are related to each other, overlap and whether each genre encompasses a different style of vocal delivery. All the lyrics of the songs which will be mentioned and discussed in this thesis are available in the appendix accompanied by a CD of songs and files. Taking into account the different vocal styles, which will be mentioned in chapter three, in chapter four, particular focus will be drawn to the prosodic variations of vocal styles, especially to stress. In this respect, an experiment has been conducted by which prosodic differences of vocal styles will be discussed in chapter four. It is not the objective of this thesis to focus on the physical nature of musical s
THE YEAR IS 1967. In England, and around the world, rock music is exploding—the Beatles have gone psychedelic, the Stones are singing "Ruby Tuesday," and the summer of love is approaching. For Jack Flynn, a newly minted young solicitor at a conservative firm, the rock world is of little interest—until he is asked to handle the legal affairs of Emerson Cutler, the seductive front man for an up-and-coming group of British boys with a sound that could take them all the way. Thus begins Jack Flynn’s career with the Ravons, a forty-year journey through London in the sixties, Los Angeles in the seventies, New York in the eighties, into Eastern Europe, Africa, and across America, as Flynn tries to manage his clients through the highs of stardom, the has-been doldrums, sellouts, reunions, drug busts, bad marriages, good affairs, and all the temptations, triumphs, and vanities that complicate the businesses of music and friendship. Spanning the decades and their shifting ideologies, from the wild abandon of the sixties to the cold realities of the twenty-first century, Evening’s Empire is filled with surprising, sharply funny, and perceptive riffs on fame, culture, and world events. A firsthand observer and remarkable storyteller, author Bill Flanagan has created an epic of rock-and-roll history that is also the life story of a generation.
The birth of rock 'n roll ignited a firestorm of controversy--one critic called it "musical riots put to a switchblade beat"--but if it generated much sound and fury, what, if anything, did it signify? As Glenn Altschuler reveals in All Shook Up, the rise of rock 'n roll--and the outraged reception to it--in fact can tell us a lot about the values of the United States in the 1950s, a decade that saw a great struggle for the control of popular culture. Altschuler shows, in particular, how rock's "switchblade beat" opened up wide fissures in American society along the fault-lines of family, sexuality, and race. For instance, the birth of rock coincided with the Civil Rights movement and brought "race music" into many white homes for the first time. Elvis freely credited blacks with originating the music he sang and some of the great early rockers were African American, most notably, Little Richard and Chuck Berry. In addition, rock celebrated romance and sex, rattled the reticent by pushing sexuality into the public arena, and mocked deferred gratification and the obsession with work of men in gray flannel suits. And it delighted in the separate world of the teenager and deepened the divide between the generations, helping teenagers differentiate themselves from others. Altschuler includes vivid biographical sketches of the great rock 'n rollers, including Elvis Presley, Fats Domino, Chuck Berry, Little Richard, Jerry Lee Lewis, and Buddy Holly--plus their white-bread doppelgangers such as Pat Boone. Rock 'n roll seemed to be everywhere during the decade, exhilarating, influential, and an outrage to those Americans intent on wishing away all forms of dissent and conflict. As vibrant as the music itself, All Shook Up reveals how rock 'n roll challenged and changed American culture and laid the foundation for the social upheaval of the sixties.