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\"The uncensored history of [the] most extraordinary band, told by the man who willed The Stooges into existence and somehow kept them alive in the face of disaster, again and again, against implacable odds\"--Front jacket flap.

The author, with recommendations from music archivist JD Doyle, suggests several transgender and non-gender conforming artists that teachers can offer as role models and repertoire for their transgender and non-gender confirming students.

Phil Collins pulls no punches -- about himself, his life, or the ecstasy and heartbreak that has inspired his music. In this memoir, he tells the story of his epic career, with an auspicious debut at age 11 in a crowd shot from the Beatles' legendary film A Hard Day's Night. A drummer since almost before he could walk, Collins received on-the-job training in the seedy, thrilling bars and clubs of 1960s swinging London before finally landing the drum seat in Genesis. He would step into the spotlight on vocals after the departure of Peter Gabriel and begin to stockpile the songs that would rocket him to international fame with the release of Face Value and \"In the Air Tonight.\" Collins recalls jamming with Eric Clapton and Robert Plant, pulling together a big band fronted by Tony Bennett, and writing the music for Disney's animated Tarzan. And of course he answers the pressing question on everyones mind : just what does \"Sussudio\" mean?

The \"Idol\" phenomenon is a spectacle founded on the creation, perpetuation, and maintenance of specific kinds of carefully structured consumer relationships. Several of the more successful contestants are gradually formed into recognizable and familiar brands centered on varied and mostly familiar pop star personae intended to form the foundations of the relationships between the various contestants and their supporters. However \"Idol\" relationships are not limited to familiar musician-fan binaries, but grow and evolve into a series of intimate, active relationships that stretch well beyond the life of the show. By the end of each series the primary relationship is no longer confined to contestants and fans, but includes a series of relationships between the program and its audience created through a wide range of channels. The main goal of \"Idol's\" producers is to build affective investment in contestants and gradually shift that investment to the narrative and drama of the program itself.

A visual history of the Jacksons combines exclusive interviews, anecdotes, quotes, and previously unseen family archive photographs to trace their meteoric rise and history-making tours.

This article examines a range of perspectives and cluster of discourses that are informed by the reading of one single video, Toxic, performed by pop icon Britney Spears. In our investigation, we seek new directions for audiovisual analysis and attempt to explore the music text alongside symbolic meanings mediated by a video. Of particular interest are the intersection of characters played by the star with constructions of personal narrative, issues of exoticism in music, queering strategies, race and sexuality, audiovisual genealogies, and the relationship of the singing voice to song structure and meaning. We conclude that the musical interpretation of pop videos calls for a mode of analysis that reflects the multivalent and allusive nature of this audiovisual form.

In the first part of an extensive interview, popular music performer Michael Feinstein discusses several topics, including: (1) his project to record music performed by Frank Sinatra; (2) the recording process for the album; (3) back-phrasing; (4) his club, Feinstein's at the Regency; (5) his first exposure to music; and (6) playing the piano.

The body of piano music created by composer, musicologist, and pedagogue Joaquín Rodrigo historically connects music students with the eras and movements that inspired its scores--the Middle Ages, the Renaissance, the harpsichord period, impressionism, 19th-century Spanish traditionalism--while its application to the keyboard in different learning levels introduces variety in varied situations of pianistic difficulty, involving the use of different aspects of pianistic technicality. Given the impossibility of addressing all of these aspects, Martín Colinet sets interpretation aside and restricts himself to an analysis of the creative aspect of Rodrigo's piano compositions.

The bi-annual award of political honours to selected individuals by the British government is an established feature of the political calendar. In the twentieth century, the practice was expanded to include representatives of the general population as well as those from wealthy, aristocratic or military backgrounds and, over the last few decades, the inclusion of entertainers and sports personalities has become commonplace. This paper assesses the causes and consequences of the considerable, and continuing, increase in the number of popular musicians to have been honoured in this way. Poput stanja u mnogim drugim europskim zemljama, sustav britanskih počasti je sastojni dio nacionalnog političkog života tijekom više stoljeća. Izvorno upotreblijavan od strane valdajuće elite kao sredstvo zadobivanja statusa, moći i utjecaja njegove zagovornike, danas ga se uglavnom smatra kao pretežno simboličku gestu s tek malim beneficijama osim posjedovanja priželjkivane ceremonijalne titule. Kada su Beatlesi godine 1965. bili neočekivano nagrad̄eni titulom MBE (Member of the Order of the British Empire – Član Reda Britanskog imperija) to je izazvalo golemu kontroverzu, ali s približavanjem kraja 20. stoljeća uključivanje velikog broja popularnih glazbenika u redove primatelja počasti postalo je rutinom i karakteristikom nagrad̄ivanja koju se više nije posebno primjećivalo. Na površnoj razini čini se da takve negrade tek negrad̄uju komercijalni i/ili kritički uspjeh. Med̄utim, na razini sustava, može se dokazati da one donose istodobne i iznud̄ene koristi i davateljima i primateljima. Za one političke vod̄e koji preporučuju ili odred̄uju nagrade, one služe kao javno sredstvo s pomoću kojega se mogu (izravno ili neizravno) izjednačavati s popularnim i 'glamuroznim' zabavljačima. Za one izvoditelje koji primaju nagrade, one donose priliku da preuzmu protopolitičke uloge i odgovornosti te da se uključe u rasprave i djelatnosti iz kojih su prethodno bili isključeni. Usporedba prakse koju su primjenjivali dvojica prvih ministara – Harold Wilson i Tony Blair – sugerira da se prvi zadovoljavao da izvuče korist iz posljedičnog publiciteta (ili 'zvjezdane prašine') dok je drugi aktivno nastojao promicati samoga sebe kao dio pomodnog (ili 'cool') svijeta slavnih glazbenika.

The second part of an interview with pop singer Michael Feinstein is presnted. In the interview, he discusses a variety of topics, including: (1) his relationship with Ira Gershwin, (2) Liza Minnelli's help starting his career, (3) how he learned to sing, and (4) contemporary music.