Full Description
Using a radical and inclusive definition of the genre, this collection explores musicians' autobiographies as articulated in print, on stage, and through various expressive media as a dynamic factor in contemporary culture.
Popular musicians' autobiographies are one of the most important ways that stars create, negotiate and perpetuate the realities and myths of their lived experiences for fans. Autobiographical creations such as Bruce Springsteen's book Born to Run, Kendrick Lamar's lyrics, ABBA's virtual Voyage show, and the reimaginings of Lennon and McCartney's childhood homes have been both critically acclaimed and lucrative, whilst delivering for many fans an apparent insider's understanding of musicians whose work they are invested in. Yet such narratives have many other functions beyond thrilling their consumers with a sense of intimacy. The pop music autobiographies discussed here variously attempt to rewrite social history; to redress gender or racial stereotypes; to question received models of fame; to validate new genres and scenes; to explore complex subjectivities; to justify or atone for transgressive behaviour; and to critique the music industry.
Contents
Acknowledgements
Introduction: New Selves, New Stories, New Scenes
Tom Attah (Leeds Arts University, UK), Kirsty Fairclough (Manchester Metropolitan University, UK) and Christian Lloyd (Queen's University, Canada)
Section I: Navigating Personal and Cultural Histories
1. Remixing Popular Music History: Two Producer Perspectives from 2022
Mike Alleyne (Middle Tennessee State University, USA)
2. 'Frost and Fire': Autobiographical Reticence in The Work of Tracey Thorn and Others
Peter Clandfield (MacEwan University, Canada)
3. Rita Lee and the Phantom: Visible Editing and Experimental Technique in Women's Autobiography
Ana Leorne (Independent, Paris)
4. Re-evaluating the Past: Reclaiming Oppositional Popular Music Scenes Through Female Musicians' Autobiographical Writing
Sini Timonen (Confetti London, UK)
5. Handcuffed to Andy Warhol, Meeting Madonna at LiveAid, Hell Bent for Leather at Fire Island: Considering Queerness in Rob Halford's "Confess" and "Biblical" Autobiographies
Mike Wyeld (London College of Communication, UK)
Section II: Experimental, Multi-Modal, and Digital Narratives
6. 'We're brown and nobody knows where the Philippines is': Cultural Identity in Fanny's Virtual Autobiography
Carljohnson Anacin (Griffith University, Australia)
7. High Blues Fidelity: The Fragmentary Autobiography of 'Queen' Victoria Spivey (1906-1976)
Lawrence Davies (University of Huddersfield, UK)
8. A Life Spent Chasing the Band: Female Fans' Autobiographies
Mark Duffett (University of Chester, UK)
9. Graphically Speaking: CUD, Graphic Memoir, Indie Authenticity, and Autofiction
Robert Edgar (York St John University, UK)
10. 'You'll need a good companion for this part of the ride': Navigating Bruce Springsteen's sonic persona in the Born to Run audiobook
Richard Elliott (Newcastle University, UK)
11. 'You are the only one who gets to decide what you will be remembered for': Fan Mediations of Autobiographical Lyrics in the Context of Taylor Swift's Digital Presence
Hannah Judson (SUNY Stony Brook, USA) and Nas Ferns (SUNY Stony Brook, USA)
Section III: Cultural Memory And Legacy: Musicians And Their Posthumous Or Rematerialised Lives
12. Popular Musicians' Homes as Rematerialised Autobiography: Jones, Jagger, Richards, Phelge, Lennon, McCartney
Christian Lloyd (Queen's University, Canada)
13. Gloria, Jennifer, and Camila: The Autobiographical Writing of Latinx pop Divas on Social Media from a Historiographic and Intersectional Perspective
Igor Lemos Moreira (Federal University of São Paulo, Brazil)
14. Autobiography, Genealogy, and Anthology: The Beatles and Autobiography - 'The Beat Goes On'
Kenneth Longden (University of Salford, UK)
15. Retro-Futuristic 'ABBAtars': Interpreting New Performer-Audience Relationships
Abigail May Parker (University of Nottingham, UK)
16. 'You Know I'm No Good': Cultural Memory, Archive, Ephemera, and (Re)writing the Legacy of Amy Winehouse
Leanne Weston (Independent, UK)
Section IIII: Performance, Identity, and Self-Representation in Music
17. 'A tidal wave of dopesickness': Addiction, Music and Pathography in Mark Lanegan's Sing Backwards and Weep
Fraser Mann (York St. John University, UK)
18. 'It's not an imitation, it's a becoming': Lady Gaga's Wildean Self-Representations
Victoria Roskams (University of Oxford, UK)
19. Turbulent Flow: Autobiography through Family in the Lyrics of Kendrick Lamar
Sameer Thomas (Ashoka University, India)
20. Bob Stanley: I'll be Your Mirror
Jason Wood (British Film Institute, UK)
List of Contributors
Index
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