Debut albums are among the cultural artefacts that capture the popular imagination especially well. As a first impression, the debut album may take on a mythical status, whether the artist or group achieves enduring success or in rare cases when an initial record turns out to be an apogee for an artist. Whatever the subsequent career trajectory, the debut album is a meaningful text that can be scrutinized for its revelatory signs and the expectations that follow. Please Allow Me to Introduce Myself: Essays on Debut Albums tells the stories of 23 debut albums over a nearly fifty year span, ranging from Buddy Holly and the Crickets in 1957 to The Go! Team in 2004. In addition to biographical background and a wealth of historical information about the genesis of the album, each essay looks back at the album and places it within multiple contexts, particularly the artist’s career development. In this way, the book will be of as much interest to sociologists and historians as to culture critics and musicologists.
It is common to hear heavy metal music fans and musicians talk about the “metal community”. This concept, which is widely used when referencing this musical genre, encompasses multiple complex aspects that are seldom addressed in traditional academic endeavors including shared aesthetics, musical practices, geographies, and narratives. The idea of a “metal community” recognizes that fans and musicians frequently identify as part of a collective group, larger than any particular individual. Still, when examined in detail, the idea raises more questions than answers. What criteria are used to define groups of people as part of the community? How are metal communities formed and maintained through time? How do metal communities interact with local cultures throughout the world? How will metal communities change over the lifespan of their members? Are metal communities even possible in light of the importance placed on individualism in this musical genre? These are just some of the questions that arise when the concept of “community” is used in relation to heavy metal music. And yet in the face of all these complexities, heavy metal fans continue to think of themselves as a unified collective entity. This book addresses this notion of “metal community” via the experiences of authors and fans through theoretical reflections and empirical research. Their contributions focus on how metal communities are conceptualized, created, shaped, maintained, interact with their context, and address internal tensions. The book provides scholars, and other interested in the field of metal music studies, with a state of the art reflection on how metal communities are constituted, while also addressing their limits and future challenges.
What is rock? This book offers a new and systematic approach to understanding rock by applying sociological concepts in a historical context. Deena Weinstein, a rock critic, journalist, and academic, starts by outlining an original approach to understanding rock, explaining how the form has developed through a complex and ever-changing set of relations between artists, fans, and mediators. She then traces the history of rock in America through its distinctive eras, from rock's precursors to rock in the digital age. The book includes suggested listening lists to accompany each chapter, a detailed filmography of movies about rock, and a wide range of visuals and fascinating anecdotes. Never separating rock music from the social, political, economic, and cultural changes in America's history, Rock'n America provides a comprehensive overview of the genre and a new way of appreciating its place in American society.
Between 1977 and 1980, Britain was a country and culture in flux. The threat of nuclear war, mass unemployment, and strikes made it a particularly gloomy period historically. Within this, a growing number of electronic music acts were using technology and the synthesizer to soundtrack changing times. Dark Waves: The Synthesizer and the Dystopian Sound of Britain (1977- 80) is the first musicological collection of essays on acts that include Throbbing Gristle, Cabaret Voltaire, and The Human League, mapping how the synthesizer spurred toward a fundamental shift in the mechanisms of electronic musicmaking in late 1970s. The volume traces how, along with the musical aesthetics established by both the Punk and Post-Punk movements, the synthesizer led to new and innovative effects, ideas, processes, and musical genres. Dark Waves explores the background, influences, and use of technology and how such developments would result in the more commercial electronically produced sound of 1980s synth pop which, in turn, shaped the sound of electronic music today.
'Crushing...intensely vital' Observer 'It's impossible to tear yourself away' The Times 'Such brilliant writing about female desire...honest and visceral' Marian Keyes She's twenty-three and in love with love. He's older, and the most beautiful man she's ever seen. The affair is quickly consuming. But this relationship is unpredictable, and behind his perfect looks is a mean streak. She's intent on winning him over, but neither is living up to the other's ideals. He keeps emailing his thin, glamorous ex, and she's starting to give in to secret, shameful cravings of her own. The search for a fix is frantic, and taking a dangerous turn... We're all looking to get what we want - but do we know what we need?
A refreshingly imaginative, daring debut collection of stories that illuminates with audacious wit the complexity of human behavior, and the veneer of civilization over our darkest urges. Told with perfect rhythm and unyielding brutality, these stories expose unsuspecting men and women to the realities of nature, the primal instincts of man, and the dark humor and heartbreak of our struggle to not only thrive, but survive. In "Girl on Girl," a high school freshman goes to disturbing lengths to help an old friend. An insatiable temptress pursues the one man she can't have in "Meteorologist Dave Santana." And in the title story, a long-fraught friendship comes undone when three buddies get impossibly lost on a lake it is impossible to get lost on. Below the quotidian surface of Diane Cook's worlds lurks an unexpected surreality that reveals our most curious, troubling, and bewildering behavior. Other stories explore situations pulled directly from the wild, imposing on human lives the danger, tension, and precariousness of the natural world: a pack of "not-needed" boys takes refuge in a murky forest where they compete against one another for their next meal; an alpha male is pursued through city streets by murderous rivals and desirous women; helpless newborns are snatched from their suburban yards by a man who stalks them. Through these characters Cook asks: What is at the root of our most heartless, selfish impulses? Why are people drawn together in such messy, needful ways? When the unexpected intrudes upon the routine, what do we discover about ourselves? As entertaining as it is dangerous, this accomplished collection explores the boundary between the wild and the civilized, where nature acts as a catalyst for human drama and lays bare our vulnerabilities, fears, and desires.
Taking us back to late ’70s and early ’80s Hollywood—pre-crack, pre-AIDS, pre-Reagan—We Got the Neutron Bomb re-creates word for word the rage, intensity, and anarchic glory of the Los Angeles punk scene, straight from the mouths of the scenesters, zinesters, groupies, filmmakers, and musicians who were there. “California was wide-open sex—no condoms, no birth control, no morality, no guilt.” —Kim Fowley “The Runaways were rebels, all of us were. And a lot of people looked up to us. It helped a lot of kids who had very mediocre, uneventful, unhappy lives. It gave them something to hold on to.” —Cherie Currie “The objective was to create something for our own personal satisfaction, because everything in our youthful and limited opinion sucked, and we knew better.” —John Doe “The Masque was like Heaven and Hell all rolled into one. It was a bomb shelter, a basement. It was so amazing, such a dive ... but it was our dive.” —Hellin Killer “At least fifty punks were living at the Canterbury. You’d walk into the courtyard and there’d be a dozen different punk songs all playing at the same time. It was an incredible environment.” —Belinda Carlisle Assembled from exhaustive interviews, We Got the Neutron Bomb tells the authentically gritty stories of bands like the Runaways, the Germs, X, the Screamers, Black Flag, and the Circle Jerks—their rise, their fall, and their undeniable influence on the rock ’n’ roll of today.
WINNER OF THE EDGAR AWARD WINNER OF THE PETER LOVESEY FIRST CRIME NOVEL CONTEST Friday Night Lights gone dark with Southern Gothic; Eli Cranor delivers a powerful noir that will appeal to fans of Wiley Cash and Megan Abbott. In Denton, Arkansas, the fate of the high school football team rests on the shoulders of Billy Lowe, a volatile but talented running back. Billy comes from an extremely troubled home: a trailer park where he is terrorized by his mother’s abusive boyfriend. Billy takes out his anger on the field, but when his savagery crosses a line, he faces suspension. Without Billy Lowe, the Denton Pirates can kiss their playoff bid goodbye. But the head coach, Trent Powers, who just moved from California with his wife and two children for this job, has more than just his paycheck riding on Billy’s bad behavior. As a born-again Christian, Trent feels a divine calling to save Billy—save him from his circumstances, and save his soul. Then Billy’s abuser is found murdered in the Lowe family trailer, and all evidence points toward Billy. Now nothing can stop an explosive chain of violence that could tear the whole town apart on the eve of the playoffs.
There are undercurrents and peripheral taste preferences that are a defining part of our individual and collective cultural experience. Music is no exception. George Plasketes adapts the iconic "A-side/B-side" dichotomy from the 45 r.p.m. for use as a unique conceptual, critical, historical, and cultural framework for exploring and threading together a variety of popular music and media texts. The profiles and perspectives focus on the peripheries; on texts which might be considered "B-sides"—overlooked, underappreciated, and unsung cases, creators, patterns and productions that have unassumingly, but significantly, marked popular culture, music and media during the past 40 years. The underappreciated yet enduring contributions of a variety of creative individuals in music, television and film are a centerpiece of this volume: actress Doris Day's son, Terry Melcher, a 1960s music producer whose imprint is on the surf, country blues, garage pop and most importantly the folk rock genre; Hans Fenger's kid chorus cover project, a musical variation of "outsider art" that became representative of the tribute wave that began in the 1990s and continues today; versatile guitarist virtuoso Ry Cooder's extensive film soundtrack work; World Music "missionary efforts" of American artists beyond Paul Simon's Graceland, including Neil Diamond's precursor with Tap Root Manuscript in the 1970s and the exotic adventures of Henry Kaiser and David Lindley in Madagascar and Norway—to name just a few examples. These B-sides represent undercurrents, but they resonate as overtones in the mainstream of music and culture, many as historical hinges. Collectively, these B-sides are an A-side antidote of outskirt observations, individual snapshots of artists, artifacts and rituals, genres and generations, producers and musical productions in television, film and video. They constitute an important connect-the-dots cultural chronicle with a multi-layered context—social, legal, historic, economic, technological, generational, aesthetic—for interpreting the interrelations between creators and institutions, the music market place, the production of culture and important connections between the peripheral and the popular.
