Bøger om Popmusik

"Part biography, part social history, Being Britney pieces together a collage of stories, interviews, legends, and fan experiences to construct a definitive portrait of one of the biggest stars in recent history. In her unique narrative, acclaimed music author Jennifer Otter Bickerdike provides a sympathetic yet objective reexamination of Britney's trajectory from girl next door to woman trapped by fame. Being Britney is the compelling account of a talented, troubled, and much-discussed modern icon whose life, work, and individual significance will be recognized for many decades to come."--Provided by publisher.

Take a fascinating journey with 'The Lost Album of The Beatles' by Daniel Rachel. Published in 2023 by the Octopus Publishing Group, this book offers a unique exploration into the world of one of the most influential bands in history. The Beatles have left an indelible mark on the music scene, and this book provides a new perspective into their journey. It is a must-read for any fan of the genre. The author, Daniel Rachel, brings his extensive knowledge and passion for music to the pages, creating an immersive experience that transports readers back to the height of Beatlemania. Don't miss out on this captivating read, brought to you by the esteemed Octopus Publishing Group.

Growing up immersed in the feminist, DIY values of punk, Riot Grrrl, and zine culture of the 1990s and early 2000s gave Eleanor Whitney, like so many other young people who gravitate towards activism and musical subcultures, a sense of power, confidence, community, and social responsibility. As she grew into adulthood she struggled to stay true to those values, and with the gaps left by her punk rock education. This insightful, deeply personal history of early-2000s subcultures lovingly explores the difficulty of applying feminist values to real-life dilemmas, and embrace an evolving political and personal consciousness. Whitney traces the sometimes painful clash between her feminist values and everyday, adult realities -- and anyone who has worked to integrate their political ideals into their daily life will resonate with the histories and analysis on these pages, such as engaging in anti-domestic violence advocacy while feeling trapped in an unhealthy relationship, envisioning a unified "girl utopia" while lacking racial consciousness, or espousing body positivity while feeling ambivalent towards one's own body. Throughout the book, the words and power of Bikini Kill and other Riot Grrrl bands ground the story and analysis, bringing it back to the raw emotions and experiences that gave this movement its lasting power while offering a complex, contemporary look at the promises and pitfalls of Riot Grrrl-informed feminism.

An amazing trip back to the mid-1960s!The KRLA Chronological Archives series presents the original KRLA newsletters and Beat publications that ran from 1964-1968. They represented pop music culture including exclusive interviews and photos. Starting with Beatles articles and coverage of things related to the radio station DJs (including Casey Kasem and Bob Eubanks), the articles are a cross section of teen music over the years including a heavy emphasis on The Beatles, The Rolling Stones, The Beach Boys, The Monkees, Sonny and Cher, The Mamas and the Papas. They also covered Bob Dylan, The Turtles, Jan & Dean, The Association, Yellow Balloon, Nancy Sinatra, The Everly Brothers, The Righteous Brothers, Dusty Springfield, Simon & Garfunkle, and many many more.Later in the run, the Beat covered issues like the draft, drugs and religion. But the main focus was on pop stars. The Beat also featured a reader's letter column, an ongoing column by Robin Boyd and columns geared "For Girls Only."This volume covers the issues published during the time period listed.8 Volumes cover the entire run of the publication.

An amazing trip back to the mid-1960s!The KRLA Chronological Archives series presents the original KRLA newsletters and Beat publications that ran from 1964-1968. They represented pop music culture including exclusive interviews and photos. Starting with Beatles articles and coverage of things related to the radio station DJs (including Casey Kasem and Bob Eubanks), the articles are a cross section of teen music over the years including a heavy emphasis on The Beatles, The Rolling Stones, The Beach Boys, The Monkees, Sonny and Cher, The Mamas and the Papas. They also covered Bob Dylan, The Turtles, Jan & Dean, The Association, Yellow Balloon, Nancy Sinatra, The Everly Brothers, The Righteous Brothers, Dusty Springfield, Simon & Garfunkle, and many many more.Later in the run, the Beat covered issues like the draft, drugs and religion. But the main focus was on pop stars. The Beat also featured a reader's letter column, an ongoing column by Robin Boyd and columns geared "For Girls Only."This volume covers the issues published during the time period listed.8 Volumes cover the entire run of the publication.

An amazing trip back to the mid-1960s!The KRLA Chronological Archives series presents the original KRLA newsletters and Beat publications that ran from 1964-1968. They represented pop music culture including exclusive interviews and photos. Starting with Beatles articles and coverage of things related to the radio station DJs (including Casey Kasem and Bob Eubanks), the articles are a cross section of teen music over the years including a heavy emphasis on The Beatles, The Rolling Stones, The Beach Boys, The Monkees, Sonny and Cher, The Mamas and the Papas. They also covered Bob Dylan, The Turtles, Jan & Dean, The Association, Yellow Balloon, Nancy Sinatra, The Everly Brothers, The Righteous Brothers, Dusty Springfield, Simon & Garfunkle, and many many more.Later in the run, the Beat covered issues like the draft, drugs and religion. But the main focus was on pop stars. The Beat also featured a reader's letter column, an ongoing column by Robin Boyd and columns geared "For Girls Only."This volume covers the issues published during the time period listed.8 Volumes cover the entire run of the publication.

An amazing trip back to the mid-1960s!The KRLA Chronological Archives series presents the original KRLA newsletters and Beat publications that ran from 1964-1968. They represented pop music culture including exclusive interviews and photos. Starting with Beatles articles and coverage of things related to the radio station DJs (including Casey Kasem and Bob Eubanks), the articles are a cross section of teen music over the years including a heavy emphasis on The Beatles, The Rolling Stones, The Beach Boys, The Monkees, Sonny and Cher, The Mamas and the Papas. They also covered Bob Dylan, The Turtles, Jan & Dean, The Association, Yellow Balloon, Nancy Sinatra, The Everly Brothers, The Righteous Brothers, Dusty Springfield, Simon & Garfunkle, and many many more.Later in the run, the Beat covered issues like the draft, drugs and religion. But the main focus was on pop stars. The Beat also featured a reader's letter column, an ongoing column by Robin Boyd and columns geared "For Girls Only."This volume covers the issues published during the time period listed.8 Volumes cover the entire run of the publication.

An amazing trip back to the mid-1960s!The KRLA Chronological Archives series presents the original KRLA newsletters and Beat publications that ran from 1964-1968. They represented pop music culture including exclusive interviews and photos. Starting with Beatles articles and coverage of things related to the radio station DJs (including Casey Kasem and Bob Eubanks), the articles are a cross section of teen music over the years including a heavy emphasis on The Beatles, The Rolling Stones, The Beach Boys, The Monkees, Sonny and Cher, The Mamas and the Papas. They also covered Bob Dylan, The Turtles, Jan & Dean, The Association, Yellow Balloon, Nancy Sinatra, The Everly Brothers, The Righteous Brothers, Dusty Springfield, Simon & Garfunkle, and many many more.Later in the run, the Beat covered issues like the draft, drugs and religion. But the main focus was on pop stars. The Beat also featured a reader's letter column, an ongoing column by Robin Boyd and columns geared "For Girls Only."This volume covers the issues published during the time period listed.8 Volumes cover the entire run of the publication.

An amazing trip back to the mid-1960s!The KRLA Chronological Archives series presents the original KRLA newsletters and Beat publications that ran from 1964-1968. They represented pop music culture including exclusive interviews and photos. Starting with Beatles articles and coverage of things related to the radio station DJs (including Casey Kasem and Bob Eubanks), the articles are a cross section of teen music over the years including a heavy emphasis on The Beatles, The Rolling Stones, The Beach Boys, The Monkees, Sonny and Cher, The Mamas and the Papas. They also covered Bob Dylan, The Turtles, Jan & Dean, The Association, Yellow Balloon, Nancy Sinatra, The Everly Brothers, The Righteous Brothers, Dusty Springfield, Simon & Garfunkle, and many many more.Later in the run, the Beat covered issues like the draft, drugs and religion. But the main focus was on pop stars. The Beat also featured a reader's letter column, an ongoing column by Robin Boyd and columns geared "For Girls Only."This volume covers the issues published during the time period listed.8 Volumes cover the entire run of the publication.

An amazing trip back to the mid-1960s!The KRLA Chronological Archives series presents the original KRLA newsletters and Beat publications that ran from 1964-1968. They represented pop music culture including exclusive interviews and photos. Starting with Beatles articles and coverage of things related to the radio station DJs (including Casey Kasem and Bob Eubanks), the articles are a cross section of teen music over the years including a heavy emphasis on The Beatles, The Rolling Stones, The Beach Boys, The Monkees, Sonny and Cher, The Mamas and the Papas. They also covered Bob Dylan, The Turtles, Jan & Dean, The Association, Yellow Balloon, Nancy Sinatra, The Everly Brothers, The Righteous Brothers, Dusty Springfield, Simon & Garfunkle, and many many more.Later in the run, the Beat covered issues like the draft, drugs and religion. But the main focus was on pop stars. The Beat also featured a reader's letter column, an ongoing column by Robin Boyd and columns geared "For Girls Only."This volume covers the issues published during the time period listed.8 Volumes cover the entire run of the publication.

For more than the first half of the last century, the voice of women in Top-40 popular music has been one of neediness and dependency. Please love me; I'll do anything for you; just be my baby, even if you're no good and treat me bad; hey, I'll even do the cooking and pay the rent-just LOVE me and I'll stand by my man. But if you leave me, well, it will be the end of the world. By the end of the century, things were quite different. Popular music had come far enough with songs of women looking for the hero within themselves, wanting a man to stand beside them--rather than in front of, being urged to get on their feet and make it happen, ready to stand on her own with or without a man. A lot happened in between. Women's own voice in Top-40 hits went through transitions during that time, from dependency to sex pot, which started in the 30's with the Betty Boop phenomenon. During World War II there was a short reprieve from doormat-status when men went off to war and Rosy the Riveter took over. There was even a woman's minor league baseball association established in 1943. Music of women now had some strength, but that quickly faded when the war ended and women went back home. From the 50's through mid-sixties, the message was one of rigid gender roles--oh how she enjoys being a girl-of focus on materialism-diamonds are a girl's friend, after all--to more whining, wishing and hoping and praying that he will just love her. Perhaps it was the publication of Betty Friedan's Feminine Mystique or the protest movements, but something changed in the late 60's. The tone changed from total dependency to a sense of unease, that is, something was not right. She was still powerless in his presence, but she was beginning to see her deal was not so great. Sure, he was a sweet-talking guy and not to be trusted, but he was her kind of guy. About the same time that Affirmative Action and EEOC became law, our woman singer started to push back with anger, saying "you don't own me" or all she wants is a little R-E-S-P-E-C-T, which turned to revenge and the promise of how her boots were gonna walk all over him. It was the dawn of consciousness. Hit songs began to show the kicking back of denial, a new awareness of just how wronged she had been all these years. By the seventies, she was ready to show her own strength, just as Billy Jean King did in 1973 when she beat Bobby Griggs in the "Battle of the Sexes" tennis match. That new strength was reflected in song, too. Initially, it was power born of anger and demand for respect. Helen Reddy's "I am woman" or Gloria Gaynor's "I will survive" were still sung by pushing back, while Donna Summer asserted the fact that she does, indeed, work hard for the money and should be respected. But even the new awareness was too much to bear, because the 80's brought a rash of songs that were filled with cynicism. Gushy hopes were gone as the nation finally recognized a new syndrome. In 1985, Connecticut's Tracey Thurman became the first woman to win a civil suit as a battered wife. Similarly, Madonna and Tina Turner were not singing mushy love or even anger, but rather a sense of hopelessness about the pipe dreams they had lived. They belted out messages of what's love got to do with it, anyway, or how the material girl of today doesn't care for love, but only wants cold, hard cash. Inner strength finally appeared in the nineties. Oprah became the highest paid entertainer in 1993 at $49 million per year, the very same year Mariah Carey's #1 song crooned advice to find the hero within. At the end of the decade, JoDee Messina wanted a man who would stand beside her, not in front. It was the first time that women could stand on their own, without leaning on a man or pushing back against him. Perhaps not coincidentally, it was the first time that women's popular music outsold that of male singers. The new era had arrived.

FEATURED IN: The New York Times Book Review ("New and Noteworthy") . Essence . Newsweek . People . Bustle . PopSugar . Refinery 29 . HelloGiggles' . PureWow . Newsday . AMNewYorkThe Ultimate Beyoncé Collectible"Beyoncé fans will eat it up." -People"You don't need to be in the Beyhive to appreciate Queen Bey...Voices including culture critic Luvvie Ajayi and actress and producer Lena Waithe give us a fresh take on Beyoncé, who's arguably the biggest pop star of our time." -EssenceBeyoncé. Her name conjures more than music, it has come to be synonymous with beauty, glamour, power, creativity, love, and romance. Her performances are legendary, her album releases events. She is not even forty but she has already rewritten the Beyoncé playbook more than half a dozen times. She is consistently provocative, political and surprising. As a solo artist, she has sold more than 100 million records. She has won 22 Grammys and is the most-nominated woman artist in the history of Grammy awards. Her 2018 performance at Coachella wowed the world. The New York Times wrote: "There's not likely to be a more meaningful, absorbing, forceful and radical performance by an American musician this year or any year soon." Artist, business woman, mother, daughter, sister, wife, black feminist, Queen Bey is endlessly fascinating. Queen Bey features a diverse range of voices, from star academics to outspoken cultural critics to Hollywood and music stars. Essays include:"What Might a Black Girl Be in This World," an introduction by Veronica Chambers"Beychella is Proof That Beyoncé is the Greatest Performer Alive. I'm Not Arguing." by Luvvie Ajayi"On the Journey Together," by Lena Waithe"What Beyoncé Means to Everyone," by Meredith Broussard with visualizations by Andrew Harvard and Juan Carlos Mora"Jay-Z's Apology to Beyoncé Isn't Just Celebrity Gossip - It's a Political Act" by Brittney Cooper"All Her Single Ladies" by Kid Fury "The Elevator" by Ylonda Gault "The Art of Being Beyoncé" by Maria Brito"Getting, Giving and Leaving" by Melissa Harris Perry and Mankaprr Conteh"Beyoncé the Brave" by Reshma Saujani"Living into the Lemonade: Redefining Black Women's Spirituality in the Age of Beyoncé" by Candice Benbow"Beyoncé's Radical Ways" by Carmen Perez"Finding la Reina in Queen Bey" by Isabel Gonzalez Whitaker"Beyoncé, Influencer" by Elodie Maillet Storm"The King of Pop and the Queen of Everything" by Michael Eric Dyson"Style So Sacred" by Edward Enninful"The Beauty of Beyoncé" by Fatima Robinson "Because Beyoncé." by Ebro Darden"King Bey" by Treva B. Lindsey"Meridonial: Beyoncé's Southern Roots and References" by Robin M. Boylorn"B & V: A Love Letter" by Caroline Clarke

In this fun and witty work, Pulitzer Prize-winning journalist Ball reveals the exact points where lowbrow pop culture and the highest science and philosophy meet.

Everybody's Doin' It is the eye-opening story of popular music's seventy-year rise in the brothels, dance halls, and dives of New York City. It traces the birth of popular music, including ragtime and jazz, to convivial meeting places for sex, drink, music, and dance. Whether coming from a single piano player or a small band, live music was a nightly feature in New York's spirited dives, where men and women, often black and white, mingled freely-to the horror of the elite.This rollicking demimonde drove the development of an energetic dance music that would soon span the world. The Virginia Minstrels, Juba, Stephen Foster, Irving Berlin and his hit "Alexander's Ragtime Band," and the Original Dixieland Jass Band all played a part in popularizing startling new sounds.Musicologist Dale Cockrell recreates this ephemeral underground world by mining tabloids, newspapers, court records of police busts, lurid exposés, journals, and the reports of undercover detectives working for social-reform organizations, who were sent in to gather evidence against such low-life places. Everybody's Doin' It illuminates the how, why, and where of America's popular music and its buoyant journey from the dangerous Five Points of downtown to the interracial black and tans of Harlem.

How can classic rock live on when its idols are dying all around us?Twilight of the Gods is a bold, often humorous, and provocative book about our rock gods and the undeniable messages they leave behind. Since the 1960s, artists like the Rolling Stones, the Who, Fleetwood Mac, the Eagles, Black Sabbath, and Bruce Springsteen have ushered the classic rock canon forward. Even groups that are no longer active?the Beatles, Pink Floyd, Led Zeppelin?continue to wield an outsized amount of cultural capital. But no matter how entrenched these classic rockers have been, you can already see signs of their decline.Mixing personal memoir, criticism, and journalism, Steven Hyden, author of the critically acclaimed Your Favorite Band Is Killing Me, explores the ways that classic rock changed the culture?how it established the album as music's answer to the novel and rock concerts as the secular equivalent to church?and asks whether any of these signposts can endure. He investigates the rise and fall of classic rock radio and asks whether the Rock and Roll Hall of Fame is telling the right version of rock history. Twilight of the Gods explains what we can learn from rock gods and their music, and tries to answer the most important question: Is classic rock ephemeral or forever?

Peace, Love, Unity, and Respect. Cultural liberation and musical innovation. Pyrotechnics, bottle service, bass drops, and molly. Electronic dance music has been a vital force for more than three decades now, and has undergone transformation upon transformation as it has taken over the world. In this searching, lyrical account of dance music culture worldwide, Matthew Collin takes stock of its highest highs and lowest lows across its global trajectory. Through firsthand reportage and interviews with clubbers and DJs, Collin documents the itinerant musical form from its underground beginnings in New York, Chicago, and Detroit in the 1980s, to its explosions in Ibiza and Berlin, to today's mainstream music scenes in new frontiers like Las Vegas, Shanghai, and Dubai. Collin shows how its dizzying array of genres-from house, techno, and garage to drum and bass, dubstep, and psytrance-have given voice to locally specific struggles. For so many people in so many different places, electronic dance music has been caught up in the search for free cultural space: forming the soundtrack to liberation for South African youth after Apartheid; inspiring a psychedelic party culture in Israel; offering fleeting escape from-and at times into-corporatization in China; and even undergirding a veritable "independent republic" in a politically contested slice of the former Soviet Union. Full of admiration for the possibilities the music has opened up all over the world, Collin also unflinchingly probes where this utopianism has fallen short, whether the culture maintains its liberating possibilities today, and where it might go in the future.

A look back at more than three decades of music in Minneapolis through the lens of one of the most prolific and renowned photographers on the scene.

For piano, chiefly with interlinear words.

"Designed to be used in conjunction with Alfred's Group piano for adults, Book 1."