Elliott Murphy Presentará Su Último Libro- Disco Justicia Poética Editado Por Tropo

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Elliott Murphy Presentará Su Último Libro- Disco Justicia Poética Editado Por Tropo

El próximo d omingo 18 de enero a las 16:30 horas , con motivo de su visita y antes de su concierto, el músico Elliott Murphy presentará su último libro- disco Justicia poética editado por Tropo. Además, interpretará alguno de los temas compuestos como banda sonora del libro. Coincidiendo con su gira española, Tropo Editores acaba de publicar la traducción de l a última novela de Elliott Murphy Justicia poética , un “neo- western con toques poéticos”. Incluye un CD con “con tres canciones compuestas e interpretadas especialmente para esta edición por el propio Elliott Murphy, así como el primer capítulo de la novela, en el inglés original, musicado y recitado”. Justicia poética es la historia de un pistolero a sueldo que adora la poesía de Walt Whitman. Corren los últimos años del mítico Oeste Americano cuando Petit Jean, un niño nacido en territorio indio, presencia el asesinato de su padre en una supuesta reyerta de juego. Enviado a Nueva York con su tío, crece en un burdel soñando con volver a su pueblo natal para reunir de nuevo a su familia y vengar a su padre. Justicia poética es una novela de bandidos elegantes, putas con el corazón de oro, gánsteres líricos y sheriffs deshonestos, que mantiene el espíritu de las películas de Sergio Leone o John Ford. Desde los corruptos muelles de Manhattan hasta las polvorientas llanuras de Oklahoma, Elliott Murphy describe con violencia y poesía la historia de un Hamlet en el viejo Oeste”. Elliott James Murphy (16 de marzo de 1949 en Long Island, NY) es un compositor y cantautor de rock, novelista, productor y periodista que vive en París desde hace 25 años. Nacido en Nueva York, dentro de una familia de artistas, comenzó su carrera como cantautor en Europa en 1971 participando con una pequeña obra en la banda sonora de Roma (Federico Fellini, 1972). Desde entonces, su carrera cuenta con 35 discos, donde han colaborado artistas de la talla de Billy Joel, Mick Taylor, Phil Collins o Bruce Springsteen. Como escritor ha publicado los libros de relatos The lion sleep. ... .

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Elliott Murphy & Band
De parijse concerttempel Bercy. Ergens in 1992, haalt Bruce Springsteen een oude vriend Elliott Murphy & Band het podium op, “we zijn beide begonnen met muziek in de zeventiger jaren in New York City” introduceert Bruce de Amerikaan. Samen voor één microfoon en gewapend met akoestische th gitaren brengen ze het mooie ‘Rock ballad’, van het album ‘Just a story from America’ ten Friday, February 7 , 2003 gehore. Vanaf dan kruisen Elliotts en Bruces paden elkaar steeds vaker. Bij Springsteens laatste Belgische doortocht waren ze nog samen te zien in Flanders Expo en ook in Londen en Parijs was Elliott telkens van de partij. Bruce Springsteen is echter niet de enige grote meneer waar Elliott Murphy mee optrok. Hij maakte ook muziek met leden van o.a. The Velvet Underground, Talking Heads, The Violent Femmes, The Smithereens, neo-folkie Shawn Colvin. Ook Phil Collins en Billy Joel behoren tot zijn kennissenkring. In twee decennia heeft de multigetalenteerde Murphy naast zijn platen, een verzameling korte verhalen en een boek uitgebracht en was hij te zien in de film “Roma” van Fellini. Murphy was ook interviewer voor muziekbladen Spin en Rolling Stone. His name is Elliott James Murphy and his is one of the more remarkable stories in modern rock'n roll! Afkomstig uit Long Island - New York, begon Elliott Murphy zijn carrière eind jaren zestig. Hij kende zijn eerste succes in 1973 met het album "Aquashow ". Op dit ogenblik meende zijn platenfirma de nieuwe Bob Dylan ontdekt te hebben. Hij doorkruist zo Amerika in de jaren 70, maar zonder echt een groot commercieel succes te hebben.Het is eerder in Frankrijk dat hij een ware doorbraak zal kennen, dit bracht hem er toe in Parijs te gaan wonen.
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ELLIOTT MURPHY with the NORMANDY ALL STARS Featuring OLIVIER DURAND “It Takes a Worried Man” CD/DVD (LAST CALL/WAGRAM)
ELLIOTT MURPHY With THE NORMANDY ALL STARS Featuring OLIVIER DURAND “It Takes A Worried Man” CD/DVD (LAST CALL/WAGRAM) Lorsque "Aquashow", le tout premier album d'ELLIOTT MURPHY, sort en novembre 1973, les critiques unanimes lui réservent un accueil triomphal. On voit fleurir des articles dans des journaux aussi prestigieux que Rolling Stone, Newsweek, The New Yorker... Radios et télévisions enfoncent le clou et consacrent ELLIOTT comme le nouveau Dylan, le nouveau Lou Reed ou le F. Scott Fitzgerald du Rock'n'roll. Ces comparaisons restent éminemment flatteuses, mais immergent notre homme dans l'habituel et réducteur jeu des comparaisons que connaissent bien des nouveaux venus. En fait, ce que fut ELLIOTT MURPHY - et surtout ce qu'il demeure contre vents et marées depuis plus de trente-cinq ans - se décline sur une riche palette d'adjectifs, de rôles et de compétences qui forcent le respect. Disons le tout de go : MURPHY est avant tout un artiste prolixe, ce compositeur-guitariste inspiré, ce chanteur charismatique, cet infatigable et authentique baladin sans compromission ni souci de séduction facile. Ses admirateurs dans le monde de la musique sont légions. On pourrait citer Peter Buck (REM), The Violent Femmes, Paul Rothchild (le producteur des Doors), Lou Reed, Tom Petty, Elvis Costello et Bruce Springsteen. Parmi les prestigieux musiciens qui l'ont accompagné, on se souvient de certains membres des Smithereens, des Talking Heads, du Velvet Underground, des Violent Femmes, ainsi que l'ex-Stone Mick Taylor, Chris Spedding, Phil Collins, Billy Joë ou encore Bruce Springsteen! Aujourd'hui ELLIOTT MURPHY vit à Paris et il ne cesse de tourner avec son guitariste extraordinaire Olivier Durand et The Normandy All Stars (Alan Fatras – batterie; Laurent Pardo – basse).
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Musiketan-2019.Pdf
Babesleak · Patrocinadores · Sponsors Laguntzaileak · Colaboradores · Collaborators Programa Lekua / Lugar Sala BBK Lizanne Knott Urriak 13 Octubre Ordua / Hora 19.00 h. Gaby Moreno Urriak 27 Octubre Dan Owen Azaroak 10 Noviembre Dom La Nena Azaroak 24 Noviembre Tim Edey Abenduak 22 Diciembre Elliott Murphy & Olivier Durand Urtarrilak 12 Enero Elina Duni & Rob Luft Urtarrilak 26 Enero Sarah McQuaid Otsailak 9 Febrero Iona Fyfe Trio Martxoak 8 Marzo Bianca Gismonti Trio Martxoak 29 Marzo Hat Fitz And Cara Apirilak 19 Abril Martyn Joseph Maiatzak 10 Mayo Maurice Dickson & Catherine Ashcroft Maiatzak 24 Mayo Kate Rusby Ekainak 7 Junio Intro EUS CAS ENG Badira 27 urte Musiketan musikaren Desde hace 27 años Musiketan es un Musiketan has been a showcase for erakusleiho handia dela. Aurtengoan, gran escaparate para la música. En music for 27 years now. This time we Bilboko BBK aretoan zenbait hitzordu la Sala BBK de Bilbao tendremos citas will be able to relish top artists from all saihestezin izango ditugu maila ineludibles con artistas de primer nivel genres at Sala BBK, Bilbao. This festival goreneko artistekin, musika mota ugari de todo tipo de estilos musicales. Este brings high quality artistry closer to jotzen dutenak. Jaialdi honek kalitate festival trae a Bilbao una gran calidad Bilbao. I would like to congratulate artistiko handia ekartzen du Bilbora. artística. Quiero felicitar a los y las the organizers for making Musiketan Antolatzaileak zoriondu nahi ditut, organizadores por hacer de Musiketan a benchmark festival which has beraiei esker Musiketan erreferentziazko un festival de referencia, que se ha gone strong year after year and has jaialdia baita.
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Elliott Murphy the Last Rock Star
NOVELA MEMORIAS VARASEK POESÍA EDICIONES ON THE ROAD Título original: The Last Rock Star Dirección de arte y coordinación editorial: Beatriz Ruibal Diseño gráfico: Jaime Narváez Maquetación: Juanjo Pérez Corrección: Bruno Montané ELLIOTT Foto portada: Lluís Oliver Fotografía contraportada: Jack Mitchell MURPHY © 2019, Elliott Murphy © 2019, de la presente edición en castellano para todo el mundo: Varasek Ediciones, S.L. THE 1.ª edición, Madrid diciembre, 2019 © Varasek Ediciones S. L. Cava Baja, 24, 2.° Dcha. 28005, Madrid, España www.varasekediciones.es LAST © 2019, Peter Redwhite, por la traducción de Tramps y The Last Rock Star © 2019, Antonio Cordero y Marcos Canteli por las traducciones de los poemas y dos canciones ROCK © 2019, Santiago Alcanda por el Prólogo «Cuando no llueve» y listado hipotético de canciones que suenan en la novela Tramps STAR © de la fotografía de cubierta Lluís Oliver. Cortesía de Jorge Arenillas © de la fotografía de contraportada Jack Mitchell. Cortesía de Elliott Murphy MEMORIAS DE Créditos fotográficos: UN OUTSIDER Cortesía del archivo personal de Elliott Murphy: 250, 253, 257, 258, 262, 265, 267, 270, 271, 272, 280, 286, 290, 295, 298, 300, 308, 310, 311, 312, 314, 320, 325, 326, 327, 343, 345, 346, 347, 352, 356, 360, 361, 362,370, 376, 378, 381, 382, 392, 397, 400, 401, 404, 406, 412, 413, 421, 422, 424, 429, 430, 432, 436, 438, 439, 451, 461, 462, 466, 475 © Françoise Viallon-Murphy: 295, 475 © Mark Russo: 329, 330 © Vincent Lignier: 461 TRADUCCIÓN DE © Paul Waldman: 414 © Kate Simon: 418, 441 © Denys Schelfhaut: 447 © Nathalie Vergez: 294 PETER REDWHITE © David Godichaud: 467 © Michel Jolyot: 468 © Pierre Villard: 471 © J.
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Pavia E Provincia: Pavese, Oltrepò Pavese, Lomellina
giovedì, 30 settembre 2021 (252) Qual Buon Vento, navigante! » Entra Manifestazioni Monumenti Musei Oasi Associazioni Gruppi musicali Ricette tipiche Informazioni utili Pagina inziale » Musica » Articolo n. 13129 del 19 maggio 2015 Elliott Murphy a Vigevano Articoli della stessa rubrica Per la prima volta a Vigevano uno degli artisti internazionali più acclamati: Elliott Murphy, uno dei più grandi autori » Vacchi e Bossini agli Incontri Musicali ed interpreti del rock americano, che volta arriva in città accompagnato dall’eclettico chitarrista francese Olivier del Collegio Borromeo Durand, da anni membro fisso della sua Band. » Il Mio Film. III edizione » Il Carnevale degli Animali... al Museo! Il musicista newyorkese, paragonato ad inizio carriera a Bob Dylan ha collaborato con artisti come Bruce » Carnevale al Museo della Storia Springsteen, Lou Reed, Violent Femmes, Billy Joel, Phil Collins, Mick Taylor, ha realizzato più di 30 album e » Nel nome del Dio Web svolge più di 100 concerti all’anno. » Incontro al Caffè Teatro Elliott Murphy, classe 1949, cresce a Garden City, Long Island, prima di cominciare a girare l’Europa con il fratello » Leonardo e Vitruvio. Oltre il cerchio e il quadrato suonando per strada o nelle stazioni della metropolitana. Tornato a New York nel 1973, fonda gli Aquashow e » Vittorio Sgarbi e Leonardo inizia ad esibirsi in alcuni locali al fianco di band come New York Dolls e Patty Smith Group. Ottenuto un » La Principessa Capriccio contratto con la Polydor, pubblica l’album d’esordio Aquashow nel 1973 ottenendo subito ottimi riscontri dalla » Narrare l'Antico: Sole Rosso di Grazia critica. Seguono altri lavori interessanti, ma nel 1978, sotto l’incalzare della disco music, il contratto giunge allo scioglimento e due anni dopo Maria Francese Murphy costituisce la sua etichetta e pubblica un mini album con 6 brani, Affaire, che ebbe un discreto successo in Europa, seguito dal suo » Visual Storytelling.
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The Backstreets Liner Notes
the backstreets liner notes BY ERIK FLANNIGAN AND CHRISTOPHER PHILLIPS eyond his insightful introductory note, Bruce Springsteen elected not to annotate the 66 songs 5. Bishop Danced RECORDING LOCATION: Max’s Kansas City, New included on Tracks. However, with the release York, NY of the box set, he did give an unprecedented RECORDING DATE: Listed as February 19, 1973, but Bnumber of interviews to publications like Billboard and MOJO there is some confusion about this date. Most assign the which revealed fascinating background details about these performance to August 30, 1972, the date given by the King songs, how he chose them, and why they were left off of Biscuit Flower Hour broadcast (see below), while a bootleg the albums in the first place. Over the last 19 years that this release of the complete Max’s set, including “Bishop Danced,” magazine has been published, the editors of Backstreets dated the show as March 7, 1973. Based on the known tour have attempted to catalog Springsteen’s recording and per- chronology and on comments Bruce made during the show, formance history from a fan’s perspective, albeit at times an the date of this performance is most likely January 31, 1973. obsessive one. This booklet takes a comprehensive look at HISTORY: One of two live cuts on Tracks, “Bishop Danced” all 66 songs on Tracks by presenting some of Springsteen’s was also aired on the inaugural King Biscuit Flower Hour and own comments about the material in context with each track’s reprised in the pre-show special to the 1988 Tunnel of Love researched history (correcting a few Tracks typos along the radio broadcast from Stockholm.
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Elliott Murphy It Takes a Worried Man Blue Rose/Sonic Rendezvous
Elliott Murphy It Takes A Worried Man Blue Rose/Sonic RendezVous It’s been 40 years since the American singer/songwriter Elliott Murphy first made his mark on the rock music scene with his debut album Aquashow. The opener of this album that has since gained cult status was entitled ‘Last Of The Rock Stars’ – in some ways that’s a clairvoyant motto for a remarkable career that’s not near its end. The 63-year-old artist who has been living in France for many years still has a few surprises up his sleeve. He never quite became a commercial rock star with #1 hits but Elliott Murphy is still a vital, seeking, creative force and someone who has never let himself be bent or pushed around, even though he might have stood in his own way once or twice. But that didn’t stop him from releasing album after album with admirable regularity and quality. It Takes A Worried Man is his brand new album on Blue Rose Records. It’s not an anniversary record, simply another excellent album by Elliott Murphy who – in his own way – may be a true rock star and certainly is a unique artist. In the New York of the 1970ies, Elliott Murphy was a member of the intellectual troubadour/songwriter scene that flirted with Bob Dylan and Lou Reed and the music of David Bowie and Bruce Springsteen. His peers were Patti Smith, Talking Heads, Ramones, David Johansen, and Velvet Underground. With Aquashow and the following albums Lost Generation, Night Lights and Just A Story From America he became one of the most ambitioned, hopeful singer-songwriters, sounding modern and taking on the zeitgeist – an eccentric and an individualist.
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Music and Literature: a Perfect Pairing
Music and Literature: A Perfect Pairing Canonical Author Title of Canonical Work Song Title Performer Album Year Label Achebe, Chinua Things Fall Apart * “Act Won (Things Fall Apart)” The Roots Things Fall Apart 1999 MCA Albom, Mitch Tuesdays with Morrie "Live Like You Were Dying" Tim McGraw Live Like You Were Dying 2004 Curb Allende, Isabel Paula *"Paula Ausente" Marta Gomez Songs Inspired by Literature-Chapter Two 2003 CD Baby Ambrose, Stephen Nothing Like it in the World *"The Ballad of Poker Alice" Larry Kenneth Potts Songs Inspired by Literature-Chapter Two 2003 CD Baby Anaya, Rudolfo Bless Me, Ultima "Angel in Manhattan" Ellis Paul Translucent Soul 1998 Philo Anderson, Laurie Halse Speak "Vienna" Billy Joel The Stranger 1996 Sony Anderson, Laurie Speak "Stand" Rascal Flatts Halse Me and My Gang 2006 Lyric Street Anderson, Laurie Speak "Just a Girl" No Doubt Halse Tragic Kingdom 1995 Trauma/Interscope Anderson, Laurie Speak "Shock the Monkey" Peter Gabriel Halse Security 1982 UMG Angelou, Maya "Still I Rise" “Cell Therapy” Goodie Mob Dirty South Classics 2003 La Face Angelou, Maya "Still I Rise" “Come Into My House” Queen Latifah All Hail the Queen 1989 Tommy Boy Angelou, Maya "Still I Rise" “The Miseducation of Lauryn Hill” Lauryn Hill The Miseducation of Lauryn Hill 1998 Sony Angelou, Maya "Still I Rise" “Waterfalls” TLC CrazySexyCool 1994 La Face Angelou, Maya I Know Why the Caged Bird Sings "The Cloud Song" Jess Klein Draw Them Near 2000 Slow River Angelou, Maya "Still I Rise" "Still I Rise" Tupac + Outlawz Still I Rise 2001 Polydor Angelou, Maya Phenomenal Woman "Phenomenal Woman" Anu~Sun Bohemian Chocolate 2005 the Bohemian Choc.
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Elliott Murphy & Band Backstage at Barcelona (Spain)
Suite Pressbook (2) ………….par Denis Fouquet……….. Bruno Lechêne Christophe Ithurritze Elliott James Murphy Xavier Lorente-Darracq Elliott Murphy & Band backstage at Barcelona (Spain) Ce disque de Elliott Murphy 'Elliott Murphy Live In Grenoble' présente une sélection de titres joués par Elliott lors de sa prestation à Grenoble le 21 juin 1991. Xavier Lorente-Darracq qui a la lourde tâche de remplacer le bassiste titulaire n'a jamais eu l'occasion de répéter avec Elliott Murphy dont il ne fera connaissance que quelques minutes avant de monter sur scène. Ce soir là, au centre ville de Grenoble, le public rassemble plus de 10 000 personnes. Sur cet enregistrement en public, Elliott Murphy est accompagné du batteur Bruno Lechêne, de Christophe Ithurritze aux claviers et de Xavier Lorente-Darracq à la basse. Quand ce dernier cèdera sa place à Ernie Brook (Modern Lover's) revenu aux affaires, Elliott déclarera que jamais de sa vie il n'aura joué aussi vite, ni surtout aussi fort, que cette tournée 1991. Elliott Murphy est une légende du rock américain installée en France qui a l'habitude de travailler avec des musiciens français. En 1991, Elliott Murphy cherche un bassiste afin de palier l'absence de Ernie Brooks parti se ressourcer aux États Unis. Le remplaçant devra avoir le niveau musical nécessaire, un look adapté, assurera les chœurs et devra apprendre le répertoire en 15 jours. Christophe Ithurritze, claviériste dans la formation de l'époque, propose à Elliott Murphy le nom de Xavier Lorente-Darracq...Quelques mois à peine après cet enregistrement, Elliott Murphy se tournera plus fréquemment vers des prestations scéniques beaucoup plus intimistes et acoustiques, généra- lement accompagné que d'un seul guitariste.
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The Seminal Velvet Underground by Jim Derogatis
The Seminal Velvet Underground By Jim DeRogatis I. Introduction “I have always believed that rock ’n’ roll comes down to myth. There are no ‘facts.’” — Lester Bangs, 1981 “I remember when the Velvet Underground came out, and very few people were interested in them at all. And for a certainty I knew that they were going to become one of the most interesting groups, and that there would be a time when it wouldn’t be the Beatles up there and then all these other groups down there, it would be a question of attempting to assess the relative values of the Beatles and the Velvet Underground as equals.” — Brian Eno, Punk magazine, 1976 “Where does this album fit in?... I think it’s great rock ’n’ roll. I think Alexander the Great, Lord Byron, Jack the Ripper, F. Scott Fitzgerald, Albert Einstein, James Dean, and other rock ’n’ roll stars would agree with me.” — Elliott Murphy, liner notes to 1969: The Velvet Underground Live with Lou Reed (1974) Such is the enduring influence of Lou Reed, John Cale, Sterling Morrison, and Maureen Tucker that it essentially has become a part of their collective name—they are the Seminal Velvet Underground, thank you very much—though in addition to standing as one of rock’s hoariest clichés, that phrase also slights Tucker’s role as one of rock’s instrumental gender pioneers. Fine points like that hardly matter though in the mad competition to hyperbolize the band’s genius. Witness another, even more resonant quote from that erudite musical philosopher Eno, though this one could be apocryphal (I’ve seen variations of it repeated dozens of times, but I’ve never found the original in any of his voluminous writings or interviews): “Only five thousand people ever bought a Velvet Underground album, but every single one of them started a band.” Mull that over for a second and you’ll realize that it’s pure hyperbole: All of those people can’t possibly have formed bands, because many of them clearly became rock critics! Not to mention the fact that by now, we’ve endured many more than five thousand shameless Velvets clones and unapologetic V.U.
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Mark Linga 617.452.3586 [email protected] NEWSRELEASE
Contact: Mark Linga 617.452.3586 [email protected] NEWS RELEASE MIT List Visual Arts Center’s Media Test Wall presents David Van Tieghem Ear to the Ground (1982) Video, 4:25 min. September 8-November 29, 2009 Viewing Hours: Daily 24 Hours Cambridge, MA-August 2009. The MIT List Visual Arts Center is pleased to announce a presentation of David Van Tieghem’s Ear to the Ground (1982). Composer, percussionist, performer, and sound designer Van Tieghem worked with collaborative team Kit Fitzgerald and John Sanborn on this short video work that depicts the artist literally using the physical environment of the streets of Manhattan as a musical instrument. In Ear to the Ground we see Van Tieghem dressed in a suit, tie, and fedora hat using a pair of mallets to create inspired percussive sounds from a wide variety of surfaces, including the pavement, sides of buildings, metal gates, telephone booths, street signs, light posts, and mailboxes. About the Artist: David Van Tieghem was born in Ridgewood, New Jersey in 1955. He currently lives and works in New York, NY. As a free-lance drummer/percussionist, he has worked with Steve Reich, Laurie Anderson, Brian Eno & David Byrne, Arthur Russell, the Manhattan Percussion Ensemble, Talking Heads, Robert Fripp, Robert Gordon, Duran Duran, Ryuichi Sakamoto, Pink Floyd, Michael Oldfield, John Cale, Chris Spedding, Twyla Tharp, Elliott Murphy, Nona Hendryx, Arto Lindsay, Bob Clearmountain, Jerry Harrison, Adrian Belew, Merce Cunningham, Bill T. Jones/Arnie Zane Dance Company, Bill Laswell, Ned Sublette, Tony Williams, Lenny Picett, Michael Nyman, David Moss, John Zorn, Anton Fier, the Golden Palominos, Robert Ashley, Nexus Percussion, and Peter Gordon’s Love of Life Orchestra, among others.
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Queering the Textures of Rock and Roll History
ABSTRACT Title of Dissertation: QUEERING THE TEXTURES OF ROCK AND ROLL HISTORY Vincent Lamar Stephens, Doctor of Philosophy, 2005 Dissertation Directed by: Professor Nancy L. Struna, Department of American Studies My dissertation provides an alternative history to traditional rock histories by exploring how the experiences of several key gay, lesbian and bisexual musicians expose the restrictive sexual and gender economies of the rock era music industry. Industrial discrimination has led many queer performers to downplay their sexualities and simulate conformist gender behavior. Rock historians have consistently overlooked hierarchies of sexuality and gender which necessitates a corrective history. My study begins by challenging historical views of rock music as socially progressive and illuminating how the rock industry failed to correct pre-rock industry racial biases, which are evident in the economic exploitation of early African-American rock performers and the scarcity of African-Americans at the executive levels of rock production and distribution. Premature historical celebrations of racial progress have severely limited critical attention to more invisible forms of sexual and gender discrimination in the industry including homophobia and sexism. I also challenge the dominant historical argument of canonical rock histories that rock music’s corporate expansion fundamentally tainted the rock’s aesthetic quality and social importance during periods when the commercial and creative influence of queer and/or female performers and audiences gained centrality. Rock has maintained its vitality as more diverse performers and sensibilities have informed its cultural scope. My study describes the contributions of several queer performers to rock era music and illustrates how they have resisted sexual and gender invisibility through discernible strategies signifying sexual and/or gender differences.
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