Suchergebnisse

The narration of glam music, especially glam rock, as queer is countered by a canonisation of male white icons in pop musicology, which is illuminated and expanded in this article. Early glam performances by self-feminised Black musicians (Ward 1998) as well as the music making of female agents of glam rock are at the center of this exploration. Firstly, an outline of the current gender and race specific remembrance of glam rock is given. Secondly, the "glamorous" origins of glam music are questioned with Ward; musical canon of glam is also re-arranged regarding the category of gender by adding the basic biographies of two further female heroines, Bobbie McGee and Cherrie Vangelder-Smith. They are present in digital (DIY) media within practices of affective archiving (Baker 2015), which enable lyrics interpretation in this paper.

Cover -- Contents -- Notes on Contributors -- An Introduction to Political Rock: History, Genre, and Politics -- 1 The Clash and Fugazi: Punk Paths Toward Revolution -- 2 Peter Gabriel: The Masked Activist -- 3 Bob Dylan: Someone Else's Stage -- 4 Bruce Cockburn: Canadian, Christian, Conservationist -- 5 Billy Bragg: Mixing Pop and Politics -- 6 Sinéad O'Connor: The Collision of Bodies -- 7 Steve Earle: The Politics of Empathy -- 8 Kim Gordon: Ordinary, Feminist, Musician -- 9 Ani DiFranco: Making Feminist Waves -- 10 Pearl Jam: The Conscience of Arena Rock -- 11 Rage Against the Machine: Militant Poetics -- Index.