Bücher der Reihe Routledge Studies in Popular Music

This book focuses on queer fans, performers, and spaces within the heavy metal sphere, and demonstrates the importance and subcultural significance of queerness to the heavy metal ethos. Heavy metal scholarship has until recently focused on the roles of heterosexual hypermasculinity and hyperfemininity in fans and performers. The dependence on that narrow dichotomy has limited scholarship, resulting in poorly critiqued discussions of gender and sexuality that underpin the popular imagining of heavy metal as violent, homophobic and inherently masculine. This book queers heavy metal studies, bringing discussions of gender and sexuality in heavy metal out of that poorly theorized dichotomy.

This book explores the girl's voice and the construction of girlhood in contemporary popular music, visiting girls as musicians, activists, and performers. It illuminates the way ideals of girlhood are historically specific, and the way adults frame and construct girlhood to both valorize and vilify girls and women. Interrogating popular music,

This book is the first to explore style and spectacle in glam popular music performance from a global perspective. Approaching glam music performance and style broadly, and using the glam/glitter rock genre of the early 1970s as a foundation, it engages with glam in its many manifestations and contexts. Glam exists at the intersections of glam r

This collection engages Springsteen and popular music as his contemporary work is just beginning to be understood in terms of its impact on popular culture and music.

This book defines the key ideas, scholarly debates, and research activities that have contributed to the formation of the international and interdisciplinary field of Metal Studies. Drawing on insights from a wide range of disciplines including popular music, cultural studies, sociology, anthropology, philosophy, and ethics, this volume offers new and innovative research on metal musicology, global/local scenes studies, fandom, gender and metal identity, metal media, and commerce. Offering a wide-ranging focus on bands, scenes, periods, and sounds, contributors explore topics such as the riff-based song writing of classic heavy metal bands and their modern equivalents, and the musical-aesthetics of Grindcore, Doom metal, Death metal, and Progressive metal. They interrogate production technologies, sound engineering, album artwork and band promotion, logos and merchandising, t-shirt and jewellery design, and fan communities that define the global metal music economy and subcultural scene. The volume explores how the new academic discipline of metal studies was formed, also looking forward to the future of metal music and its relationship to metal scholarship and fandom. With an international range of contributors, this volume will appeal to scholars of popular music, cultural studies, and sociology, as well as those interested in metal communities around the world.

This book explores the girl¿s voice and the construction of girlhood in contemporary popular music, visiting girls as musicians, activists, and performers. It illuminates the way ideals of girlhood are historically specific, and the way adults frame and construct girlhood to both valorize and vilify girls and women. Interrogating popular music, childhood, and gender, it analyzes the history of the all-girl band; girls¿ media culture; the changing anatomy of a girl¿s voice throughout adolescence; and girl¿s voices on youtube, at rock camps, on Disney Channel, and in audiobooks and film, uniting a range of scholarly perspectives to investigate girls¿ voices and girlhood in popular music.

This book defines the key ideas, scholarly debates, and research activities that have contributed to the formation of the international and interdisciplinary field of Metal Studies. Drawing on insights from a wide range of disciplines including popular music, cultural studies, sociology, anthropology, philosophy, and ethics, this volume offers new and innovative research on metal musicology, global/local scenes studies, fandom, gender and metal identity, metal media, and commerce. Offering a wide-ranging focus on bands, scenes, periods, and sounds, contributors explore topics such as the riff-based song writing of classic heavy metal bands and their modern equivalents, and the musical-aesthetics of Grindcore, Doom metal, Death metal, and Progressive metal. They interrogate production technologies, sound engineering, album artwork and band promotion, logos and merchandising, t-shirt and jewellery design, and fan communities that define the global metal music economy and subcultural scene. The volume explores how the new academic discipline of metal studies was formed, also looking forward to the future of metal music and its relationship to metal scholarship and fandom. With an international range of contributors, this volume will appeal to scholars of popular music, cultural studies, and sociology, as well as those interested in metal communities around the world.

This book is the first to explore style and spectacle in glam popular music performance from the 1970s to the present day, and from an international perspective. Focus is given to a number of representative artists, bands, and movements, as well as national, regional, and cultural contexts from around the globe. Approaching glam music performance and style broadly, and using the glam/glitter rock genre of the early 1970s as a foundation for case studies and comparisons, the volume engages with subjects that help in defining the glam phenomenon in its many manifestations and contexts. Glam rock, in its original, term-defining inception, had its birth in the UK in 1970/71, and featured at its forefront acts such as David Bowie, T. Rex, Slade, and Roxy Music. Termed "glitter rock" in the US, stateside artists included Alice Cooper, Suzi Quatro, The New York Dolls, and Kiss. In a global context, glam is represented in many other cultures, where the influences of early glam rock can be seen clearly. In this book, glam exists at the intersections of glam rock and other styles (e.g., punk, metal, disco, goth). Its performers are characterized by their flamboyant and theatrical appearance (clothes, costumes, makeup, hairstyles), they often challenge gender stereotypes and sexuality (androgyny), and they create spectacle in popular music performance, fandom, and fashion. The essays in this collection comprise theoretically-informed contributions that address the diversity of the world''s popular music via artists, bands, and movements, with special attention given to the ways glam has been influential not only as a music genre, but also in fashion, design, and other visual culture.

This book examines in detail the many layers of one of the most intriguing and influential icons in popular culture. This interdisciplinary book brings together established and emerging scholars from a wide variety of backgrounds, including musicology, sociology, art history, literary theory, philosophy, politics, film studies and media studies. Bowie¿s complexity as a singer, songwriter, producer, performer, actor and artist demands that any critical engagement with his overall work must be interdisciplinary and wide-ranging in its scope. This comprehensive book contributes a great deal to the study of popular music, performance, gender, religion, popular media and celebrity.

This book focuses on queer fans, performers, and spaces within the heavy metal sphere, and demonstrates the importance and subcultural significance of queerness to the heavy metal ethos. Heavy metal scholarship has until recently focused on the roles of heterosexual hypermasculinity and hyperfemininity in fans and performers. The dependence on that narrow dichotomy has limited scholarship, resulting in poorly critiqued discussions of gender and sexuality that underpin the popular imagining of heavy metal as violent, homophobic and inherently masculine. This book queers heavy metal studies, bringing discussions of gender and sexuality in heavy metal out of that poorly theorized dichotomy.