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David Stanley's mother married Elvis' father in 1960. Later, he toured with Elvis as a bodyguard.
Written by Virginia Grohl, the mother of Dave Grohl—former Nirvana drummer and current frontman for the Foo Fighters—From Cradle to Stage shares stories and exclusive photos featuring mothers of rock icons, the icons themselves, and their Behind the Music-style relationships While the Grohl family had always been musical-the family sang together on long car trips, harmonizing to Motown and David Bowie-Virginia never expected her son to become a musician, let alone a rock star. But when she saw him perform in front of thousands of screaming fans for the first time, she knew that rock stardom was meant to be for her son. And as Virginia watched her son's star rise, she often wondered about the other mothers who raised sons and daughters who became rock stars. Were they as surprised as she was about their children's fame? Did they worry about their children's livelihood and wellbeing in an industry fraught with drugs and other dangers? Did they encourage their children's passions despite the odds against success, or attempt to dissuade them from their grandiose dreams? Do they remind their kids to pack a warm coat when they go on tour? Virginia decided to seek out other rock star mothers to ask these questions, and so began a two-year odyssey in which she interviewed such women as Verna Griffin, Dr. Dre's mother; Marianne Stipe, Michael Stipe of REM's mother; Janis Winehouse, Amy Winehouse's mother; Patsy Noah, Adam Levine's mother; Donna Haim, mother of the Haim sisters; Hester Diamond, Mike D of The Beastie Boys' mother. With exclusive family photographs and a foreword by Dave Grohl, From Cradle to Stage will appeal to mothers and rock fans everywhere.
An insider's look at the birth, evolution and growing popularity of Christian rock music. Unprecendented sales for music groups such as DC Talk and the Supertones, as well as the recent successes of crossover artists such as Jars of Clay, MxPx and Sixpence none the Richer have inspired interest and further investigation in this very underrated area of Rock.
Like millions of first-generation Rock & Roll teens, Sandi Haynes Pichon, Author, Columnist & President of TCB ELVIS STYLE Fan Club in Louisiana, was Raised on ELVIS! ELVIS! ELVIS! In between the time she sat with him on his motorcycle at his Audubon Drive home until the day she stood weeping by his coffin inside Graceland, Sandi was front row and center for Elvis concerts all over the country. As a pre-teen in Memphis, she was there to witness a regional attraction which become a national obsession; she devoted years of her adult life to being part of his global audience, and has since dedicated herself to charities that pay homage to his iconic memory. Through several chance meetings with Elvis himself and friendships with his inner circle Sandi was close enough to feel for the wonderful man that was living in the shadow of his awesome reputation. They exchanged gifts and kisses across the footlights and she was invited to the parties after the shows and even to Graceland Mansion. The author claims that she was so fortunate to have been able to have such meaningful contact with the most beloved entertainer ever. This story belongs to all the fans, who have loved him, turned their rooms into shrines to him, and stood by him for all these years. So now enjoy this pictorial novella of a time and place where a man changed the world one heart at a time.
By the time Jimi Hendrix died in 1970, the idea of a black man playing lead guitar in a rock band seemed exotic. Yet a mere ten years earlier, Chuck Berry and Bo Diddley had stood among the most influential rock and roll performers. Why did rock and roll become “white”? Just around Midnight reveals the interplay of popular music and racial thought that was responsible for this shift within the music industry and in the minds of fans. Rooted in rhythm-and-blues pioneered by black musicians, 1950s rock and roll was racially inclusive and attracted listeners and performers across the color line. In the 1960s, however, rock and roll gave way to rock: a new musical ideal regarded as more serious, more artistic—and the province of white musicians. Decoding the racial discourses that have distorted standard histories of rock music, Jack Hamilton underscores how ideas of “authenticity” have blinded us to rock’s inextricably interracial artistic enterprise. According to the standard storyline, the authentic white musician was guided by an individual creative vision, whereas black musicians were deemed authentic only when they stayed true to black tradition. Serious rock became white because only white musicians could be original without being accused of betraying their race. Juxtaposing Sam Cooke and Bob Dylan, Aretha Franklin and Janis Joplin, Jimi Hendrix and the Rolling Stones, and many others, Hamilton challenges the racial categories that oversimplified the sixties revolution and provides a deeper appreciation of the twists and turns that kept the music alive.