Rock Rebel

Thirteen-year-old Tig Ripley has plenty of good reasons for starting an all-girl rock band. Never mind she doesn't play an instrument--she'll figure that out. Fronting a band is sure to propel her out of the background and into the spotlight at her middle school. So after a few weeks' worth of drumming lessons under her belt, she starts assembling her band. With her cousin Kyra agreeing to play bass, soon Tig has her piano-playing friend Olivia down for the keyboard. And then she convinces tough girl Robbie Chan to sign on as lead guitarist. With a cool name--Pandora's Box--all the band needs now is a killer lead singer. How hard can that be? But when Kyra invites obnoxious diva Haley Thornton to join the band, Tig realizes snagging a lead singer--the right lead singer--is not going to be easy. Everyone says the drummer is the heartbeat of a band--does Tig have what it takes to lead Pandora's Box?

In Rebels Wit Attitude, music writer and professor Iain Ellis throws a spotlight on the history of humor as a weapon of anti-establishment rebellion, paying tribute to the great rebel humorists in American rock history and investigating comedy and laughter as the catalyst and main expressive force in these artists' work. The performers who are the subject of Ellis's study are not merely funny people - they are those whose art exudes defiance and resistance, whether aimed at social structures and mores, political systems, aesthetic practices, or the music industry itself. Subversive rock humor has emerged as a formidable force of modern art, building a reputation for rock music as a rebellious - sometimes dangerous - form of expression that can dismay the adult mainstream as it empowers the youth culture. In this study of rock's impact on youth through the decades, Ellis proves that the most subversive rock humorists serve as the conscience of our culture. They chastise pretensions, satirize hypocrisy, and pour scorn on power, corruption, and lies. Discussing the work of iconic figures as diverse as Chuck Berry, Lou Reed, the Ramones, the Talking Heads, the Beastie Boys, Missy Elliott, Ellis examines the nature of the rock humorist, asking why and in what ways each performer uses humor as a weapon of resistance to various status quos. The commentary on these artists' work is the basis for a deeper discussion of the historical foundations and other socio-cultural contexts of humorous art, and Ellis delves into the larger issues of politics, nationality, geography, generation, art, social class, race, gender and sexuality that surround his subject. The chapters, divided by decade, include introductory sections outlining each decade's defining forces and contextual features. While lyrics constitute Ellis's primary field of analysis, his exploration goes well beyond that, moving into a discussion and interpretation of image, performance, product, and musical content.

He's a rock star with a secret, she's a pop princess with a painful past - can their forbidden romance survive, or will their lies destroy them both? I've earned my bad reputation. A few years ago, I was New York City's hottest classical music prodigy. But I wanted something else, something more. So I chased my real dream, and now... I'm rock royalty. Dax Hughes, lead guitarist of Nothing but Trouble. But to my family and former Juilliard classmates, I'm an outcast. A misfit. A rebel. They're not entirely wrong. I don't give a damn what other people think, and I'm all for breaking the rules... except when it comes to our new opening act, Verity Moore. Rock gods don't tour with pop princesses. It's not personal. Actually, under that fallen diva reputation, Verity's incredibly talented. And her fiery redheaded personality is... intriguing. But I'm convinced the skeletons in Verity's closet are as scandalous as my own, and when we're not sparring, she has a way of drawing out all those secrets I'm determined to keep hidden. Yeah. Verity Moore is definitely off-limits . . . But since when do I give a damn about the rules? "Tara Leigh delivers a gripping rock-star romance that hits all the right notes and is sure to steal your heart." -- USA Today Happy Ever After on Rock Legend "Entertaining, sexy, and heartwarming.... Fans of Kristen Callihan, Kylie Scott, and Erika Kelly will love Rock Rebel." -- Harlequin Junkie

Sounds, Screens, Speakers provides a broadly comprehensive survey of the emerging field of music and media. Music has been present at the advent of nearly every new media form since the turn of the 20th century. Whether we look at the start of sound recording, film, television or the Internet, music has been a crucial participant in the social changes brought about by these new tools for making and listening to music. This book examines such changes starting in the late 19th century to the present. From the introduction of the microphone all the way through to music in reality television, the purpose of each section is not simply to move chronologically towards the present, but to focus especially on the tangible social relationships created through specific forms of mediation. With readings at the end of most chapters, key questions to facilitate additional discovery and research, and direction to additional readings and resources on popular websites and news sources, this text serves as the ideal introduction to popular music and media.

The “Schoolhouse Gothic,” undertaken by insiders and outsiders to the academy alike and embodied both in literature and in academic discourse, draws on Gothic metaphors and themes in representing and interrogating contemporary American schools and educators. Curses from the past take the form of persistent power inequities (of race, gender, class, and age) and, rather ironically, the very Enlightenment that was to save the moderns from rigid, ancient, mystified hierarchies. In Schoolhouse Gothic literature, including works by Stephen King, Flannery O’Connor, Toni Morrison, Joyce Carol Oates, and David Mamet, school buildings, classrooms, and/or offices, function as traps, or analogues to the claustrophobic family mansions, monasteries, and convents of old. In Schoolhouse Gothic scholarship, the trap is academic objectivity, viewed not as a lofty goal but rather as an institutional strategy of concealment that blinds the scholar to his or her own prejudices and renders even the most well-meaning complicit with inequitable power structures. The combination of curse and trap common to the Gothic scenario produces paranoia, violence, and monstrosity. In Schoolhouse Gothic literature, schools turn students into psychopaths and machines. In the scholarship, the product is discourse, or “epistemic violence” reified. The Schoolhouse Gothic suggests—at the very least—that Americans have become increasingly uneasy about the role of the academy, increasingly mistrustful of its guardians, and increasingly convinced that something sinister lies behind its officially benevolent exterior.

Amanda Howell offers a new perspective on the contemporary pop score as the means by which masculinities not seen—or heard—before become a part of post-World War II American cinema. Popular Film Music and Masculinity in Action addresses itself to an eclectic mix of film, from Elvis and Travolta star vehicles to Bruckheimer-produced blockbuster action, including the work of musically-innovative directors, Melvin Van Peebles, Martin Scorsese, Gregg Araki, and Quentin Tarantino. Of particular interest is the way these films and their representations of masculinity are shaped by generic exchanges among contemporary music, music cultures, and film, combining American cinema's long-standing investment in violence-as-spectacle with similarly body-focused pleasures of contemporary youth music. Drawing on scholarship of popular music and the pop score as well as feminist film and media studies, Howell addresses an often neglected area of gender representation by considering cinematic masculinity as an audio-visual construction. Through her analyses of music’s role in action and other film genres that share its investment in violence, she reveals the mechanisms by which the pop score has helped to reinvent gender—and gendered fictions of male empowerment—in contemporary screen entertainment.

The first significant collection of new and classic texts on video, bringing together some of the leading international cultural and music critics writing today.