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Which Side Are You On? An Inside History of the Folk Music Revival in America
by Dick WeissmanIn 1932 Florence Reece, the wife of a Kentucky coal miner, wrote one of the classic topical songs preserved in the folk musical revival. The song, "Which Side Are You On?," contrasts the lot of the working class and the bosses, and asks the listener to choose. This politically charged song was performed again during the Civil Rights Movement, with its lyrics appropriate to the 1960s. It was recorded more recently by Billy Bragg. Indeed, the story of this song might serve as a microcosm of the entire history of the folk music revival. Dick Weissman, former member of the Journeymen and a musician still releasing CDs of his original compositions, brings his personal and professional involvement to this definitive history. Which Side Are You On? includes chapters and sections on the Lomaxes, Harry Smith, the little known Lawrence Gellert, Woody Guthrie, Josh White, Leadbelly, Pete Seeger, groups such as the Weavers and the Kingston Trio, Dave Van Ronk, Bob Dylan, Joan Baez, Paul Simon, Joni Mitchell, Judy Collins, Mary Chapin Carpenter, Natalie Merchant, Ani Difranco, Bela Fleck, Nickel Creek, the Indigo Girls, and many others. Which Side Are You On? also explores the folk music business in depth: how it all works, where the power really lies, how the artists have been manipulated and often exploited, the dynamic between artist and audience.
While Spring and Summer Sang: Thomas Beecham and the Music of Frederick Delius
by Lyndon JenkinsSir Thomas Beecham is often described as having 'championed' the music of Frederick Delius, and this is no exaggeration. From the moment he heard Delius's music as a young man, Beecham was captivated by its strange, romantic beauty, and its hold on him remained firm. During the next 50 years, he promoted Delius's music through a series of unrivalled performances, unearthing early pieces, arranging others and recording most of them, sometimes more than once. Lyndon Jenkins provides the first in-depth study of this extraordinary creative relationship. Starting with the first meeting of the composer and conductor in 1907, Jenkins charts Beecham's gradual introduction of Delius's compositions to British and foreign audiences, the operatic premi‘s and revivals, the Delius festivals that he organized in 1929 and 1946, and the formation of the Delius Trust upon the composer's death in 1934. Also described is Beecham's continuing crusade for Delius's music up to his own death in 1961, which included a model edition of the scores, a biography and an internationally celebrated recorded legacy. The book includes a critical discography. Lyndon Jenkins provides a vivid account of an achievement that remains without parallel in the history of British music.
While We Were Getting High: Britpop & the ‘90s in photographs with unseen images
by Kevin CumminsA ROUGH TRADE BOOK OF THE YEAR"To flip through the book is to be immersed back in the glory days of Cool Britannia... and it's just as cool as you remember"GQRemember Britpop and the '90s through hundreds of its most striking images - with many seen here for the very first time. Taken by renowned photographer Kevin Cummins, chief photographer at the NME for more than a decade, the images in this book explore the rise and fall of Cool Britannia and all that came with it.Nostalgic, anarchic and featuring contributions from icons of the Britpop era including Noel Gallagher and Brett Anderson, While We Were Getting High is a seminal portrait of a decade like no other.Artists featured include:OasisBlurSuedePulpElasticaSupergrassThe CharlatansGeneSleeperKula ShakerEchobellyThe Bluetones...and many more
While We Were Getting High: Britpop & the ‘90s in photographs with unseen images
by Kevin CumminsA ROUGH TRADE BOOK OF THE YEAR"To flip through the book is to be immersed back in the glory days of Cool Britannia... and it's just as cool as you remember"GQRemember Britpop and the '90s through hundreds of its most striking images - with many seen here for the very first time. Taken by renowned photographer Kevin Cummins, chief photographer at the NME for more than a decade, the images in this book explore the rise and fall of Cool Britannia and all that came with it.Nostalgic, anarchic and featuring contributions from icons of the Britpop era including Noel Gallagher and Brett Anderson, While We Were Getting High is a seminal portrait of a decade like no other.Artists featured include:OasisBlurSuedePulpElasticaSupergrassThe CharlatansGeneSleeperKula ShakerEchobellyThe Bluetones...and many more
Whiskey Bottles and Brand-New Cars: The Fast Life and Sudden Death of Lynyrd Skynyrd
by Mark RibowskyThis intimate story of Lynyrd Skynyrd tells of how a band of lost souls and self-destructive misfits with uncertain artistic objectives clawed their way to the top of the rock 'n' roll world. Based on interviews with surviving band members, Whiskey Bottles and Brand-New Cars shares how lead singer and front man Ronnie Van Zant guided the band's hugely successful five-year run and, in the process, created not only a new country rock idiom, but a new Confederacy in constant conflict with old Southern totems and prejudices. Placing the music and personae of Skynyrd into a broad cultural context, this book gives a new perspective to a history of stage fights, motel-room destructions, cunning business deals, and brilliant studio productions. It also offers a greater appreciation for a band whose legacy, in the aftermath of their last plane ride, has since descended into self-caricature.
Whiskey River (Take My Mind): The True Story of Texas Honky-Tonk
by Johnny Bush Ricky Mitchell&“Fans of live music will get a kick out of&” this Texas Country Music Hall of Famer&’s &“fond but brutally honest memories, playing gigs with Willie Nelson&” (Publishers Weekly). When it comes to Texas honky-tonk, nobody knows the music or the scene better than Johnny Bush. Author of Willie Nelson&’s classic concert anthem &“Whiskey River,&” and singer of hits such as &“You Gave Me a Mountain&” and &“I&’ll Be There,&” Johnny Bush is a legend in country music, a singer-songwriter who has lived the cheatin&’, hurtin&’, hard-drinkin&’ life and recorded some of the most heart-wrenching songs about it. He has one of the purest honky-tonk voices ever to come out of Texas. And Bush&’s career has been just as dramatic as his songs—on the verge of achieving superstardom in the early 1970s, he was sidelined by a rare vocal disorder. But survivor that he is, Bush is once again filling dance halls across Texas and inspiring a new generation of musicians. In Whiskey River (Take My Mind), Johnny Bush tells the twin stories of his life and of Texas honky-tonk music. He recalls growing up poor and learning his chops in honky-tonks around Houston and San Antonio. Bush vividly describes life on the road in the 1960s as a band member for Ray Price and Willie Nelson. Woven throughout Bush's autobiography is the never-before-told story of Texas honky-tonk music, from Bob Wills and Floyd Tillman to Junior Brown and Pat Green. For everyone who loves genuine country music, Johnny Bush, Willie Nelson, and stories of triumph against all odds, Whiskey River (Take My Mind) is a must-read.
White Boys, White Noise: Masculinities And 1980s Indie Guitar Rock (Ashgate Popular and Folk Music Series)
by Matthew BannisterTo what extent do indie masculinities challenge the historical construction of rock music as patriarchal? This key question is addressed by Matthew Bannister, involving an in-depth examination of indie guitar rock in the 1980s as the culturally and historically specific production of white men. Through textual analysis of musical and critical discourses, Bannister provides the first book-length study of masculinity and ethnicity within the context of indie guitar music within US, UK and New Zealand 'scenes'. Bannister argues that past theorisations of (rock) masculinities have tended to set up varieties of working-class deviance and physical machismo as 'straw men', oversimplifying masculinities as 'men behaving badly'. Such approaches disavow the ways that masculine power is articulated in culture not only through representation but also intellectual and theoretical discourse. By re-situating indie in a historical/cultural context of art rock, he shows how masculine power can be rearticulated through high, avant-garde, bohemian culture and aesthetic theory: canonism, negation (Adorno), passivity, voyeurism and camp (Andy Warhol and the Velvet Underground), and primitivism and infantilism (Lester Bangs, Simon Reynolds). In a related vein, he also assesses the impact of Freud on cultural theory, arguing that reversing binary conceptions of gender by associating masculinities with an essentialised passive femininity perpetuates patriarchal dualism. Drawing on his own experience as an indie musician, Bannister surveys a range of indie artists, including The Smiths, The Jesus and Mary Chain, My Bloody Valentine and The Go-Betweens; from the US, R.E.M., The Replacements, Dinosaur Jr, Hüsker Dü, Nirvana and hardcore; and from NZ, Flying Nun acts, including The Chills, The Clean, the Verlaines, Chris Knox, Bailter Space, and The Bats, demonstrating broad continuities between these apparently disparate scenes, in terms of gender, aesthetic theory and approaches to popular musical history. The result is a book which raises some important questions about how gender is studied in popular culture and the degree to which alternative cultures can critique dominant representations of gender.
White Christmas: The Story of an American Song
by Jody RosenIn this vividly written narrative, the author provides both the fascinating story behind the making of America's favorite Christmas carol and a cultural history of the nation that embraced it. Berlin, the Russian-Jewish immigrant who became his adopted country's greatest pop troubadour, had written his magnum opus -- what one commentator has called a "holiday Moby-Dick" -- a timeless song that resonates with some of the deepest themes in American culture: yearning for a mythic New England past, belief in the magic of the "merry and bright" Christmas season, longing for the havens of home and hearth. Today, the song endures not just as an icon of the national Christmas celebration but as the artistic and commercial peak of the golden age of popular song, a symbol of the values and strivings of the World War II generation, and of the saga of Jewish-American assimilation. With insight and wit, Rosen probes the song's musical roots, uncovering its surprising connections to the tradition of blackface minstrelsy and exploring its unique place in popular culture through six decades of recordings by everyone from Bing Crosby to Elvis Presley to *NSYNC. White Christmas chronicles the song's legacy from jaunty ragtime-era Tin Pan Alley to the elegant world of midcentury Broadway and Hollywood, from the hardscrabble streets where Irving Berlin was reared to the battlefields of World War II where American GIs made "White Christmas" their wartime anthem, and from the Victorian American past that the song evokes to the twenty-first-century present where Berlin's masterpiece lives on as a kind of secular hymn.
White Light/White Heat: The Velvet Underground Day-by-Day
by Richie UnterbergerBy turns fiercely confrontational, literate, primitive and sweetly melodic, The Velvet Underground remain one of the most influential bands in the history of rock. The ultimate cult band and the ultimate art rock experience, the VU's music and style have served as a blueprint for everyone from David Bowie to The Jesus And Mary Chain. Yet for all their enduring importance, they were unsuccessful in their day, selling minute numbers of records, their monochrome look and photo-realist lyrics at odds with the garish colours and peace fantasies of the hippy era. It was only when David Bowie started to champion the band in the early 70s, after they had split up, that the VU's reputation started to spread. In White Light/White Heat, noted rock writer and historian Richie Unterberger analyses the band's career and influence in forensic detail, drawing on many new interviews with band members and associates, previously undiscovered archive sources and a vast knowledge of the music of the times. The result is a comprehensive, articulate, immensely detailed history, the most thorough work on the band yet published.
White Line Fever: The Autobiography
by Lemmy Garza Janiss KilmisterOne of music's most notorious frontmen leads a headbanging, voyeuristic odyssey into sex, drugs, and rock 'n' roll that rivals Motley Crue's The Dirt and Aerosmith's Walk This Way. <P><P>He made Keith Richards look like a choirboy and Mick Jagger look like a nun. And as the head of the legendary band Motorhead, he ploughed his way through so many drugs, so many women, and so much alcohol, that he gave a whole new meaning to the term Debauchery. And he changed the face of music, conquering the rock world with such songs as Ace of Spades, Bomber, and Overkill and inventing a whole new form of music--speed metal. At the age of 57, Lemmy Kilmister remains a rock icon, both for his monumental talent and his hedonistic lifestyle. In White Line Fever, he recounts his incredible, pleasure-filled, and death-defying journey through music history. Born on Christmas Eve, 1945, in Wales, to a vicar and a librarian, Ian Fraser Kilmister learned early, he as he forthrightly puts it, what an incredible pussy magnet guitars were. A teenager at the birth of rock 'n' roll, Lemmy idolized Elvis and Buddy Holly and soon joined a band of his own. He would eventually head to London, where he became a roadie for Jimi Hendrix, played in Opal Butterfly, and joined space rockers Hawkwind's lineup in 1971. Four years later, speedfreak Lemmy was fired from the band for doing the wrong drugs. Vowing to form the dirtiest rock 'n' roll band in the world, he formed Motorhead, arguably the heaviest and loudest heavy metal band to ever take the stage. During their twenty-seven-year history, Motorhead would go on to release twenty-one albums, including the #1 record No Sleep 'Til Hammersmith and would earn a Grammynomination. Lemmy would also cheat death on more than one occasion, most notoriously in 1980, when his doctor told him, I cannot give you a blood transfusion because normal blood will kill you. . . and your blood would kill another human being, because you're so toxic. But through more than two decades of notorious excess, Lemmy has lived to tell the warts-and-all tale of a life lived over the edge. White Line Fever, a tour of overindulgence, metal, and the search for musical integrity, offers a sometimes hilarious, often outrageous, and always unbridled ride with the leader of the loudest rock band in the world. "
White Musical Mythologies: Sonic Presence in Modernism (Sensing Media: Aesthetics, Philosophy, and Cultures of Media)
by Edmund MendelssohnIn a narrative that extends from fin de siècle Paris to the 1960s, Edmund Mendelssohn examines modernist thinkers and composers who engaged with non-European and pre-modern cultures as they developed new conceptions of "pure sound." Pairing Erik Satie with Bergson, Edgard Varèse with Bataille, Pierre Boulez with Artaud, and John Cage with Derrida, White Musical Mythologies offers an ambitious critical history of the ontology of sound, suggesting that the avant-garde ideal of "pure sound" was always an expression of western ethnocentrism. Each of the musicians studied in this book re-created or appropriated non-European forms of expression as they conceived music ontologically, often thinking music as something immediate and immersive: from Satie's dabblings with mysticism and exoticism in bohemian Montmartre of the 1890s to Varèse's experience of ethnographic exhibitions and surrealist poetry in 1930s Paris, and from Boulez's endeavor to theorize a kind of musical writing that would "absorb" the sounds of non-European musical traditions to Cage, who took inspiration from Eastern thought as he wrote about sound, silence, and chance. These modernist artists believed that the presence effects of sound in their moment were more real and powerful than the outmoded norms of the European musical past. By examining musicians who strove to produce sonic presence, specifically by re-thinking the concept of musical writing (écriture), the book demonstrates that we cannot fully understand French theory in its novelty and complexity without music and sound.
The White Nationalist Skinhead Movement
by Eddie Stampton Robert ForbesWhen Feral House first published the award-winning Lords of Chaos: The Bloody Rise of the Satanic Metal Underground, little was known about the "black metal" genre of music, or how many of its members were involved in the murder of citizens, the torching of churches, or its link to Fascist ideas.We've all heard about the racist form of skinhead punk music, but little do we know of the groups involved, and how they got involved in right-wing political movements.The White Nationalist Skinhead Movement is the first book to provide much more than mere photographs of the scene, documenting the bands, their members, the releases, shows, and infamous events. Robert Forbes and Eddie Stampton can authoritatively speak of the movement, obtaining first-hand material from members of the scene.This book covers both British and American bands, and even if you revile the movement, its ideas, and its music, this is an important piece of pop culture history.Feral House's controversial Lords of Chaos has sold over one hundred thousand copies.
White Riot
by Stephen Duncombe Maxwell TremblayFrom the Clash to Los Crudos, skinheads to afro-punks, the punk rock movement has been obsessed by race. And yet the connections have never been traced in a comprehensive way. White Riot is a definitive study of the subject, collecting first-person writing, lyrics, letters to zines, and analyses of punk history from across the globe. This book brings together writing from leading critics such as Greil Marcus and Dick Hebdige, personal reflections from punk pioneers such as Jimmy Pursey, Darryl Jenifer and Mimi Nguyen, and reports on punk scenes from Toronto to Jakarta.
The White Stripes: The Secret History (The\secret History Of Rock Ser.)
by Alan CrossAlan Cross is the preeminent chronicler of popular music.Here he provides a history of Jack White and The White Stripes.This look at the band "with just two people, and not a bass player in sight" is adapted from the audiobook.
(White)Washing Our Sins Away: American Mainline Churches, Music, Power, and Diversity
by Deborah JusticeWhat if simply changing musical styles could resurrect social power and religious vitality? By the early 1990s, Christianity was losing ground nationally, and mainline Protestants were trending even Whiter and older than America's overall demographic trajectory. The churches knew they needed to diversify. Yet, many mainline churches focused their energies on the so-called Worship Wars, intense aesthetic and theological controversies running through much of White Christian America. Historically, churches had only supported one musical style; now, many mainline Protestant congregations were willing to risk internal schism to support both Contemporary worship—centered around guitars, praise bands, and choruses—and Traditional worship with its pipe organs, chancel choirs, and hymns. Surely, they thought, musical diversity would broadcast tolerance and bring in new members—perhaps it would even help them regain their historically central role in American society. Based on years of ethnographic research, (White)Washing Our Sins Away explores how American mainline Protestants used internal musical controversies to negotiate their shifting position within the nation's diversifying religious and sociopolitical ecosystems.
Whitechapel Noise: Jewish Immigrant Life in Yiddish Song and Verse, London 1884–1914
by Vivi LachsArchive material from the London Yiddish press, songbooks, and satirical writing offers a window into an untold cultural life of the Yiddish East End. Whitechapel Noise: Jewish Immigrant Life in Yiddish Song and Verse, London 1884–1914 by Vivi Lachs positions London’s Yiddish popular culture in historical perspective within Anglo-Jewish history, English socialist aesthetics, and music-hall culture, and shows its relationship to the transnational Yiddish-speaking world. Layers of cultural references in the Yiddish texts are closely analyzed and quoted to draw out the complex yet intimate histories they contain, offering new perspectives on Anglo-Jewish historiography in three main areas: politics, sex, and religion. The acculturation of Jewish immigrants to English life is an important part of the development of their social culture, as well as to the history of London. In part one of the book, Lachs presents an overview of daily immigrant life in London, its relationship to the Anglo-Jewish establishment, and the development of a popular Yiddish theatre and press, establishing a context from which these popular came. The author then analyzes the poems and songs, revealing the hidden social histories of the people writing and performing them. For example, how Morris Winchevsky’s London poetry shows various attempts to engage the Jewish immigrant worker in specific London activism and political debate. Lachs explores themes of marriage, relationships, and sexual exploitation appear regularly in music-hall songs, alluding to the changing nature of sexual roles in the immigrant London community influenced by the cultural mores of their new location. On the theme of religion, Lachs examines how ideas from Jewish texts and practice were used and manipulated by the socialist poets to advance ideas about class, equality, and revolution, and satirical writings offer glimpses into how the practice of religion and growing secularization was changing immigrants’ daily lives in the encounter with modernity. The detailed and nuanced analysis found in Whitechapel Noise offers a new reading of Anglo-Jewish, London, and immigrant history. It is a must-read for Jewish and Anglo-Jewish historians and those interested in Yiddish, London, and migration studies.
The Whitney I Knew
by Timothy Willard BeBe WinansA virtual album of BeBe Winans' treasured memories of his friend and "sister," Whitney Houston. In the years between the first time BeBe Winans and Whitney Houston met in 1985, to the day he delivered the tribute that touched a watching nation at Houston's funeral, a deep and unique friendship bloomed and thrived. They considered each other family in the truest sense of the word.
Who Are the Rolling Stones?
by Andrew Thomson Dana Meachen Rau Nancy HarrisonFollow the bad boys of rock and roll from their beginnings in London to their unparalleled success around the world.Starting out over fifty years ago, the Rolling Stones took the music of the blues and blended it into rock and roll to create their own unique sound. Decades later, they are still hard at work, recording and playing live to massive crowds of adoring fans. Who Are the Rolling Stones? captures the excitement of the Stones on their journey to become the greatest rock-and-roll band in the world.
Who By Fire: War, Atonement, and the Resurrection of Leonard Cohen
by Matti FriedmanThe incredible never-before-told story of Leonard Cohen's 1973 tour of Israel during the Yom Kippur War. "Who by Fire is a stunning resurrection of a moment in the life of Leonard Cohen and the history of Israel. It&’s the story of a young artist in crisis and a young country at war, and the powerful resonance of the chord struck between them. A beautiful, haunting book full of feeling." —Nicole Krauss, author of To Be a Man In October, 1973, the poet and singer Leonard Cohen – 39 years old, famous, unhappy, and at a creative dead end – traveled to the Sinai desert and inserted himself into the chaos and bloodshed of the Yom Kippur War. Moving around the front with a guitar and a pick-up team of local musicians, Cohen dived headlong into the midst of a global crisis and met hundreds of fighting men and women at the worst moment of their lives. His audiences heard him knowing it might be the last thing they heard, and those who survived never forgot what they heard. Cohen&’s war tour was an electric cultural moment, one that still echoes today, and one that inspired some of his greatest songs – but a moment that only few knew about, until now. In Who By Fire, Canadian-Israeli journalist Matti Friedman gives us a riveting account of what happened during those weeks in Israel in October, 1973. With access to amazing and never-before-seen material written by Cohen himself, along with dozens of interviews and rare photographs, Friedman revives this fraught and stunning time, presenting an intimate and unforgettable portrait of the artist, and of the young people who heard him sing in the midst of combat. Who By Fire brings us close to one the greatest, most brilliant and charismatic voices of our times, and gives us a rare glimpse of war, faith, and belonging.
Who Can Afford to Improvise?: James Baldwin and Black Music, the Lyric and the Listeners
by Ed PavlićMore than a quarter-century after his death, James Baldwin remains an unparalleled figure in American literature and African American cultural politics. In Who Can Afford to Improvise? Ed Pavlić offers an unconventional, lyrical, and accessible meditation on the life, writings, and legacy of James Baldwin and their relationship to the lyric tradition in black music, from gospel and blues to jazz and R&B. Based on unprecedented access to private correspondence, unpublished manuscripts and attuned to a musically inclined poet’s skill in close listening, Who Can Afford to Improvise? frames a new narrative of James Baldwin’s work and life. The route retraces the full arc of Baldwin’s passage across the pages and stages of his career according to his constant interactions with black musical styles, recordings, and musicians.Presented in three books — or movements — the first listens to Baldwin, in the initial months of his most intense visibility in May 1963 and the publication of The Fire Next Time. It introduces the key terms of his lyrical aesthetic and identifies the shifting contours of Baldwin’s career from his early work as a reviewer for left-leaning journals in the 1940s to his last published and unpublished works from the mid-1980s. Book II listens with Baldwin and ruminates on the recorded performances of Billie Holiday and Dinah Washington, singers whose message and methods were closely related to his developing world view. It concludes with the first detailed account of “The Hallelujah Chorus,” a performance from July 1, 1973, in which Baldwin shared the stage at Carnegie Hall with Ray Charles. Finally, in Book III, Pavlić reverses our musically inflected reconsideration of Baldwin’s voice, projecting it into the contemporary moment and reading its impact on everything from the music of Amy Winehouse, to the street performances of Turf Feinz, and the fire of racial oppression and militarization against black Americans in the 21st century.Always with an ear close to the music, and avoiding the safe box of celebration, Who Can Afford to Improvise? enables a new kind of “lyrical travel” with the instructive clarity and the open-ended mystery Baldwin’s work invokes into the world.
Who Hears Here?: On Black Music, Pasts and Present (Phono: Black Music and the Global Imagination #1)
by Guthrie P. RamseyGuthrie P. Ramsey, Jr., is an award-winning musicologist, music historian, composer, and pianist whose prescient theoretical and critical interventions have bridged Black cultural studies and musicology. Representing twenty-five years of commentary and scholarship, these essays document Ramsey’s search to understand America's Black musical past and present and to find his own voice as an African American writer in the field of musicology. This far-reaching collection embraces historiography, ethnography, cultural criticism, musical analysis, and autobiography, traversing the landscape of Black musical expression from sacred music to art music, and jazz to hip-hop. Taken together, these essays and the provocative introduction that precedes them are testament to the legacy work that has come to define a field, as well as a rousing call to readers to continue to ask the hard questions and write the hard truths.
Who I Am: My Story THE SUNDAY TIMES BESTSELLER
by Melanie CFor the first time ever, Melanie C, aka Sporty Spice, tells her amazing life story in her own words and gives a full and honest account of what life was really like in The Spice Girls. THE SUNDAY TIMES BESTSELLER ___________'What a woman and what a book!' Elizabeth Day'Fabulous ... There is so much I really relate to, growing up as a young girl, the 90s, all the stuff you went through.' Zoe Ball'Amazing ... Absolutely brilliant.' Chris Evans'Sporty Spice telling it like it is.' Independent'An amazing story ... An incredibly profound, vulnerable and honest look into the highs and lows of the Spice Girls.' Steven Bartlett'Really lovely.' Chris Moyles ___________For the first time ever, Melanie C, aka Sporty Spice, tells her amazing life story in her own words and gives a full and honest account of what life was really like in The Spice Girls.I never told my story before because I wasn't ready. Now, finally, I am.25 years ago, The Spice Girls, a girlband that began after answering an advert in the paper, released our first single. 'Wannabe' became a hit and from that moment, my life changed for ever.I was suddenly part of one of the biggest music groups in history, releasing hit after hit, performing to our wonderful fans and spreading the message of Girl Power to the world. It was everything I'd dreamed of growing up, and I've had some incredible times... The BRITs! The movie! Travelling the world playing iconic venues like Madison Square Garden, The O2, Wembley Stadium and The London 2012 Olympics!!!When you're a woman, though, that power can be easily taken away by those around you, whether by pressure, exhaustion, shaming, bullying or a constant feeling like you aren't enough. I have been known as Sporty Spice, Mel C, Melanie C or just plain old Melanie Chisholm, but what you will read within the pages of this book is who I truly am, and how I found peace with that after all these years.I have really enjoyed reminiscing and getting everything down on the page, and, though revisiting some of my darkest times was hard, I hope this book can be inspiring and empowering as well as entertaining and give you a bit of a laugh.
Who I Am: A Memoir
by Pete Townshend“Raw and unsparing...as intimate and as painful as a therapy session, while chronicling the history of the band as it took shape in the Mod scene in 1960s London and became the very embodiment of adolescent rebellion and loud, anarchic rock ‘n’ roll.” — Michiko Kakutani, New York TimesOne of rock music's most intelligent and literary performers, Pete Townshend—guitarist, songwriter, editor—tells his closest-held stories about the origins of the preeminent twentieth-century band The Who, his own career as an artist and performer, and his restless life in and out of the public eye in this candid autobiography, Who I Am.With eloquence, fierce intelligence, and brutal honesty, Townshend has written a deeply personal book that also stands as a primary source for popular music's greatest epoch. Readers will be confronted by a man laying bare who he is, an artist who has asked for nearly sixty years: Who are you?
Who I Am: A Memoir
by Pete TownshendThe English musician and member of the rock band The Who shares stories from his career in this New York Times–bestselling memoir.One of rock music’s most intelligent and literary performers, Pete Townshend—guitarist, songwriter, editor—tells his closest-held stories about the origins of the preeminent twentieth-century band The Who, his own career as an artist and performer, and his restless life in and out of the public eye in this candid autobiography, Who I Am.With eloquence, fierce intelligence, and brutal honesty, Townshend has written a deeply personal book that also stands as a primary source for popular music’s greatest epoch. Readers will be confronted by a man laying bare who he is, an artist who has asked for nearly sixty years: Who are you?Praise for Who I Am“Raw and unsparing...as intimate and as painful as a therapy session, while chronicling the history of the band as it took shape in the Mod scene in 1960s London and became the very embodiment of adolescent rebellion and loud, anarchic rock ‘n’ roll.” —Michiko Kakutani, New York Times“Intensely intimate . . . candid to the point of self-laceration . . . [Townshend’s] tone is less lofty than anyone would have expected, just as this book is more honest than any fan would have hoped.” —Rolling Stone (Four 1/2 Stars)“Unusually frank and moving . . . [Who I Am] isn’t one of those rock memoirs that puts the what before the why. His past is a puzzle Mr. Townshend is sweating to decipher.” —The Guardian (UK)
Who Is Aretha Franklin? (Who Was?)
by Nico Medina Gregory Copeland Who HqThere is only one QUEEN OF SOUL! Discover why Aretha Franklin garners so much R-E-S-P-E-C-T.Aretha Franklin is a musical and cultural icon who created an amazing legacy spanning six decades! Born in Memphis, Tennessee, in 1942, Aretha got her start singing in front of her father's Baptist congregation and found minor success as a gospel singer. She then set her sights on becoming a pop music artist and used her powerful voice and impressive skills on the piano to get a record deal. Aretha released her first of many celebrated albums at the age of 18. In 1987, she was inducted into the Rock and Roll Hall of Fame, making her the first female artist to grace the prestigious list. With iconic hits such as "Respect" and "Think," and countless awards to her name including eighteen Grammys, Aretha Franklin is one of the bestselling artists of all time.