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With their era-defining music and instantly recognisable look, Chic's reputation as pioneers of disco has endured long after the movement itself.After their initial success in the 1970s with classics such as Good Times, Le Freak and I Want Your Love, Chic disbanded in 1983, with founding members Nile Rodgers and Bernard Edwards becoming in-demand producers. After Edwards tragic early passing in 1996, Nile Rodgers involvement in Daft Punk's 2013 smash hit Get Lucky catapulted Chic back to international acclaim. And now, from curating Meltdown in 2019 to headlining festivals all over the world, Nile Rodgers and Chic have arguably never been more popular.Covering the sweet successes and fallings out of favour, the creative process and encounters with Jimi Hendrix, David Bowie, Diana Ross, Madonna and others, the acclaimed Everybody Dance explores the highs and the lows of Chic's journey in fascinating detail. With a new foreword by Duran Duran founding member John Taylor and a host of new interviews with Nile Rodgers, Johnny Mathis and many others, to add to those with Ahmet Ertegun, Bryan Ferry and David Bowie, this edition bring their enthralling journey up to date.

A gritty, smoke-filled, and boozy account of musician Tom Waits's formative decade in Los Angeles. Song Noir examines the formative first decade of Tom Waits's career, when he lived, wrote, and recorded nine albums in Los Angeles: from his soft, folk-inflected debut, Closing Time in 1973, to the abrasive, surreal S wordfishtrombones in 1983. Starting his songwriting career in the seventies, Waits absorbed Los Angeles's wealth of cultural influences. Combining the spoken idioms of writers like Kerouac and Bukowski with jazz-blues rhythms, he explored the city's literary and film noir traditions to create hallucinatory dreamscapes. Waits mined a rich seam of the city's low-life locations and characters, letting the place feed his dark imagination. Mixing the domestic with the mythic, Waits turned quotidian, autobiographical details into something more disturbing and emblematic, a vision of Los Angeles as the warped, narcotic heart of his nocturnal explorations.

This book provides a sociological examination of gender issues concerning the status of women in the subculture of heavy metal. The study specifically analyzes how women are perceived to ‘do gender’ in the heavy metal community, which is known for its hypermasculine qualities. Relying on interviews with fans of heavy metal, the respondents describe their own music (sub)culture as having been dominated by men, but they also note distinct signs of the progress women have made in the heavy metal culture on terms aspiring to equality with men. Despite these changes, gendered conditions driven by masculinity continue to exist for women in heavy metal. Even as women are slowly finding their way to develop what might one day become, but as of now not yet is, a realized identity and culture of heavy metal feminism, patterns of masculinity continue to hamper gender equity in this area of popular culture.

A complete discography of Paul McCartney's solo work giving comprehensive examination of his entire catalog, including studio and live albums, and compilations, as well as trance, electronic, classical and cover albums. Each song is reviewed in depth, providing a wealth of information for both dedicated McCartney fans and those just discovering his music.

Punk rock culture in a preeminently average town Synonymous with American mediocrity, Peoria was fertile ground for the boredom- and anger-fueled fury of punk rock. Jonathan Wright and Dawson Barrett explore the do-it-yourself scene built by Peoria punks, performers, and scenesters in the 1980s and 1990s. From fanzines to indie record shops to renting the VFW hall for an all-ages show, Peoria's punk culture reflected the movement elsewhere, but the city's conservatism and industrial decline offered a richer-than-usual target environment for rebellion. Eyewitness accounts take readers into hangouts and long-lost venues, while interviews with the people who were there trace the ever-changing scene and varied fortunes of local legends like Caustic Defiance, Dollface, and Planes Mistaken for Stars. What emerges is a sympathetic portrait of a youth culture in search of entertainment but just as hungry for community—the shared sense of otherness that, even for one night only, could unite outsiders and discontents under the banner of music. A raucous look at a small-city underground, Punks in Peoria takes readers off the beaten track to reveal the punk rock life as lived in Anytown, U.S.A.

Punk Rock Warlord explores the relevance of Joe Strummer within the continuing legacies of both punk rock and progressive politics. It is aimed at scholars and general readers interested in the Clash, punk culture, and the intersections between pop music and politics, on both sides of the Atlantic. Contributors to the collection represent a wide range of disciplines, including history, sociology, musicology, and literature; their work examines all phases of Strummer’s career, from his early days as “Woody” the busker to the whirlwind years as front man for the Clash, to the “wilderness years” and Strummer’s final days with the Mescaleros. PunkRockWarlord offers an engaging survey of its subject, while at the same time challenging some of the historical narratives that have been constructed around Strummer the Punk Icon. The chapters in Punk Rock Warlord address issues including John Graham Mellor’s self-fashioning as “Joe Strummer, rock revolutionary”; critical and media constructions of punk; and the singer’s complicated and changing relationship to feminism and anti-racist politics. These diverse chapters nevertheless cohere around the claim that Strummer’s look, style, and musical repertoire are so rooted in both English and American cultures that he cannot finally be extricated from either.

Throughout the 1990s, Prince feuded with his record label, Warner Bros., over his rights as an independent recording artist-and made some of the most brilliant music of his career. During that time, Jim Walsh covered Prince for theSt. Paul Pioneer Pressand wrote about him passionately, thoughtfully, exhaustively. Here, in real time, is that coverage: a clip-by-clip look back at Prince in the '90s. Walsh's newly unearthed interviews, essays, columns, and reviews makeGold Experiencean essential slice of history for fans, scholars, and latecomers to the Minneapolis-born musical genius Prince Rogers Nelson (June 7, 1958-April 21, 2016). Join Walsh at the 1994 NBA All-Star game after party and release bash for the single \"The Most Beautiful Girl in the World.\" Accompany him to the after-hours clubs Erotic City, Glam Slam, and, of course, Paisley Park. Meet Prince's wife and bandmate Mayte (and while you're at it, take in the wedding and reception). Enjoy a two-hour sit-down interview with Prince. Explore Prince's veganism, talk to fans in line for a Target Center show, preview the \"Jam of the Year\" concert and check in at the after party. The passions and influences, from Mozart to funk godfather Larry Graham; the gigs and the Paisley Park garage sale; Walsh's open letter to the artist and his reflections on religion and spirituality. This is Prince as few have seen him, reported as only Jim Walsh can: a portrait of the artist from a dizzying array of angles, captured in living color for all time.