Every Christmas, I get a huge stack of celebrity memoirs as a gift. Between Christmas and New Year's, all I read is celebrity memoirs. This one is fantastic. Ronnie Spector's voice is so clear and engaging that you feel like you're experiencing her rise with her. The book is undeniably wrenching but even in her worst moments, Ronnie Spector's spirit shines so brightly through. Her story is a window into any number of topics--girl group dynamics, domestic violence, the music of 60s, even the Beatles--and it's a wonderful read.
Hailed by Rolling Stone magazine as one of the greatest rock memoirs of all time, Be My Baby is the true story of how Rock & Roll Hall of Famer Ronnie Spector carved out a space for herself against tremendous odds amid the chaos of the 1960s music scene and beyond.
With an introduction by Keith Richards and a new epilogue from Ronnie.
Ronnie Spector's first collaboration with producer Phil Spector, 'Be My Baby', stunned the world and shot girl group The Ronettes to stardom. No one could sing as clearly, as emotively as Ronnie. But her voice was soon…
Over the years, as a Professor of English at St. John's University, NY, I have shifted my research from American literature to popular culture, specifically rock music, a passion first ignited when I watched the Beatles on The Ed Sullivan Show, and re-ignited time and time again over the years. I have written articles, reviews, interviews, and a few books and I edit Popular Music and Society and Rock Music Studies.
With Gender, Branding, and the Modern Music Industry, Kristin Lieb provides an enlightening but often troubling account of the contemporary pop music industry. By focusing on women artists in the post-MTV era, Lieb demonstrates that female pop singers are judged more than ever on their sex appeal—despite the advances of the women’s movement over the past several decades. Lieb draws from both theorists and music industry insiders, giving her conclusions weight and credibility. Yet despite its frequently disturbing findings, the book is not overly cynical. Lieb, an energetic writer, has managed to maintain her enthusiasm for pop music.
Gender, Branding, and The Modern Music Industry combines interview data with music industry professionals with theoretical frameworks from sociology, mass communication, and marketing to explain and explore the gender differences female artists experience.
This book provides a rare lens on the rigid packaging process that transforms female artists of various genres into female pop stars. Stars -- and the industry power brokers who make their fortunes -- have learned to prioritize sexual attractiveness over talent as they fight a crowded field for movie deals, magazine covers, and fashion lines, let alone record deals. This focus on the female pop star's…
I am a writer and an Arabic to English translator, with a PhD in Arabic Theatre from the University of Edinburgh. In recent years, I have gravitated towards the history of popular culture and the demi-monde in the Middle East. The stories of singers and dancers say much more to me than the conventional subjects of histories of the Arab world – politicians, soldiers, etc. Through them, we can see the Middle East in a way that we seldom see in the West means much more to a lot of the people who live there.
The essential biography of Umm Kulthum for the English reader. Danielson tells the story of the Arab world’s most famous singer, one of the greatest performers of the 20th century. This book charts her life from the small village in the Nile Delta where she grew up to the heights of global superstardom. It also paints a picture of the world that she moved through, which intersected with the world depicted in Midnight in Cairo. This is a necessary read for anyone interested in Arabic music.
Umm Kuthum was a celebrated musical performer in the Arab world, and her songs still permeate the international airwaves. This, the first English-language biography, chronicles her life and career. In particular, it examines her popularity in a society which discouraged women from public performance. The text examines the careful construction of Kulthum's popularity; from childhood her mentors honed her abilities to accord with Arab and Muslim practice, but ultimately, she created her own idiom from local precedents and traditions, and developed original song styles from both populist and neo-classical traditions. Danielson seeks to show how Umm Kulthum's music and public…
I am a lecturer in the School of Media and Communication at the University of Westminster. I write regularly on popular music and culture in scholarly form and as a critic in various publications. I am convinced that popular music can gesture at utopia despite its emergence from within a capitalist market society.
Clover’s book is the first I can remember reading that both takes popular music seriously as a form and understands it as an ideological object. His writing is crisp, and he moves smoothly and convincingly from a world-historical event to a particular riff. I think this is one of those books that teaches us that we can both take our revolutionary commitments seriously and love commercial music, too.
In a tour de force of lyrical theory, Joshua Clover boldly reimagines how we understand both pop music and its social context in a vibrant exploration of a year famously described as 'the end of history'. Amid the historic overturnings of 1989, including the fall of the Berlin Wall, pop music also experienced striking changes. Vividly conjuring cultural sensations and events, Clover tracks the emergence of seemingly disconnected phenomena - from grunge to acid house to gangsta rap - asking if 'perhaps pop had been biding its time until 1989 came along to make sense of its sensibility'. His analysis…
After years as a London-based music journalist for publications such as Melody Maker, Q, and The Guardian, I turned to ghostwriting rock autobiographies and discovered how much more satisfying it is to tell someone’s full, unadulterated life story rather than to feed on carefully cultivated scraps gleaned from half-hour interviews. I never imagined anybody would be as lewdly transparent as my first memoir subject, Nikki Sixx, but many others have run him close—not least Judas Priest singer Rob Halford, in 2020’s appositely named Confess. Its follow-up, Biblical, is imminent. Does it go the extra mile? I don’t think it will disappoint…
Debauch, cathartic music memoirs are not limited to rock and metal stars. Former boy band member Robbie Williams was at the pinnacle of his British-pop imperial period when he gave unlimited access to the peerless Chris Heath to pen this unforgettable biography. Heath spent a full two years with Williams, capturing an impulsive, wayward yet fragile star whose chronically short attention span did not allow him even to rehearse properly for his world tours. You closed Feel feeling that you knew Williams intimately—the litmus test of a biography—and liking him a whole lot more than you had before.
The publication of Feel: Robbie Williams by Chris Heath in September 2004 caused shockwaves of controversy and delight. Not only was its publication trumpeted in tabloids, on TV and the radio, but it was also critically lauded by the broadsheets. Finally, a book had been written on the subject of celebrity and the modern world which had intelligence, honesty and humour.
Written by Chris Heath, who spent nearly two years working with Robbie on this book, every word is imbued with Robbie's humour, charisma, talent, memories and complexity. But more than ever before, this book tells the truth about his…
I’m a Sci-Fi and Fantasy author who loves all things young adult! I always listen to Taylor Swift when I write, because I love how her songs are full of nostalgia, romance, humanity, and a lust for adventure—just like my books. If you couldn’t make it to the Era’s tour, no fear, check out some of these books below!
If your favorite song is “You Belong With Me” try I Hate You, Fuller James, by Kelley Anne Blount.
It’s very much the story of a nerdy awkward girl pining after the handsome jock, and is full of sweet moments. I love the similarities between it and 10 Things I Hate About You and the nods to other 90’s rom coms.
I’m a sucker for the enemies-to-lovers trope, and it was fun to watch a young female character fall in love but also learn to stand up for herself.
The first record I ever bought was Magical Mystery Tour when I was no more than twelve or so. It’s what made me want to be a musician myself. I’ve got every Beatle record and I am the kind of guy to study carefully who played what, who wrote what, and how they put it all together. Just before Covid shut down everything, I even went to Abbey Road studios where we recorded some of the songs for my novel (we wrote and recorded all the songs of the fictitious band Downtown Exit). Working in Abbey Road was a dream come true – to record in the same rooms that the Beatles used. Imagine that. It was wonderful.
Revolution in the Head should come with a warning. This one is only for the most serious of Beatle fanatics. It’s an encyclopedic tome listing every song they ever recorded, who played on it, and even what days it was recorded (Strawberry Fields was recorded over five different sessions through November 1966). There are also many longer sections dealing with the particular cultural moments surrounding the writing of the songs and a whole lot of controversial opinion-making about just which ones are good songs and which are not.
This “Bible of the Beatles” captures the iconic band’s magical and mysterious journey from adorable teenagers to revered cultural emissaries. In this fully updated version, each of their 241 tracks is assessed chronologically from their first amateur recordings in 1957 to their final “reunion” recording in 1995. It also incorporates new information from the Anthology series and recent interviews with Paul McCartney. This comprehensive guide offers fascinating details about the Beatles’ lives, music, and era, never losing sight of what made the band so important, unique, and enjoyable.
I grew up in the eighties, and that means I grew up watching movies such as Sixteen Candles, The Breakfast Club, Pretty in Pink, and Say Anything. Thirty years after watching those movies, some iconic scenes have stuck with me: the characters of The Breakfast Club sliding across the hallway to Simple Minds’ song “Don’t You Forget About Me,” John Cusack holding the boombox over his head while blaring Peter Gabriel’s “In Your Eyes,” and the Psychedelic Furs “Pretty in Pink” song playing on the soundtrack of a movie by the same name. The books in this list do a lot with those same ingredients of heartbreak, music, and hope that the characters who so often remind me of myself might find love.
The cover of this book has a stack of mix tapes on it and that’s what got me first: that the writer was going to explain love using the metaphor of a mix tape. As a person who has made hundreds of mix tapes myself—and later burned CDs and after that arranged playlists on Spotify—that the phrase mix tape was in the title was enough for me to pick up the book. Plus, I remember back in the 80s when I sat around waiting for a song to come on the radio so I could record it, and that was how I made my first tapes.
Each chapter in this book starts with an image of a mix tape with the songs listed on it. The writer uses the songs on the tape to write about his relationships. The first chapter ends with this line: “I’m going to be up…
“The happiest, saddest, sweetest book about rock ‘n’ roll that I’ve ever experienced.”—Chuck Klosterman
Mix tapes: We all have our favorites. Stick one into a deck, press play, and you’re instantly transported to another time in your life. For Rob Sheffield, that time was one of miraculous love and unbearable grief. A time that spanned seven years, it started when he met the girl of his dreams, and ended when he watched her die in his arms. Using the listings of fifteen of his favorite mix tapes, Rob shows that the power of music to build a bridge between people…
I’m a Professor of Cultural Sociology at Edinburgh, UK, and have written extensively on contemporary culture and particularly technological mediations of popular music. I have undertaken empirical research on cultures of popular music in places like Iceland, Japan, and the UK, and I have supervised around 25 doctoral students to successful completion. My work is widely cited in the field of cultural sociology, and I am regularly interviewed by national broadcasters and the press. I’m also an amateur musician, making homespun electronic music in my bedroom and releasing it under the monikers Sponge Monkeys and Triviax.
This is the book that changed my view of music and made me realise that I could write about popular music from a sociological perspective and not bore people to death!
Simon combines the punchy directness of a music critic with a thorough understanding of music as a social force that shapes our lives, loves, and identities. The book demonstrates an encyclopedic knowledge of 20th-century popular music.
I often start any research project by using the index to look up related terms and ask: “What does Simon say?” I particularly like the sections on how star persona works, and the chapter on technology is a must, too.
Who's better? Billie Holiday or P. J. Harvey? Blur or Oasis? Dylan or Keats? And how many friendships have ridden on the answer? Such questions aren't merely the stuff of fanzines and idle talk; they inform our most passionate arguments, distill our most deeply held values, make meaning of our ever-changing culture. In Performing Rites, one of the most influential writers on popular music asks what we talk about when we talk about music. What's good, what's bad? What's high, what's low? Why do such distinctions matter? Instead of dismissing emotional response and personal taste as inaccessible to the academic…
More has been accomplished by music to wake us up that any marches, speeches, injustice, and/or wealth. In the beginning, music and its many forms I followed were an accident. Now I see that music is vital for social expression, intimacy, solitude. The walls in my writing room are covered with photos, CDs, 78s, and most certainly live recordings and books. I feel sorry for the soul(s) who will have to pick through this history when I’ve gone to that Upper Room.
My interest in music takes its roots deep into Louisiana because the first music was vocal.
Not only music but all literature had its beginnings in the words of history and folk songs. This book brought light into my young life. It was the beginning to understand American culture through its clearly defined early music. I carried various printings of Gumbo Ya-Ya with me through my early travels through Memphis, Louisiana, Como, Mississippi, etc. The book opened my mind to the history, and because of the book, the traveling opened my mind to the music.
