Introduction - Robert Edgar, Fraser Mann and Helen Pleasance Part One: Readings 1. Hiatus: Music, Memory and Liminal Authenticity Robert Edgar, York St John University, UK 2. Paying More Close Anxious Attention to Joy Division Helen Pleasance, York St John University, UK 3. Portrait of the Artist as an Indie Star: Kristin Hersh and the Memoir of Process Fraser Mann, York St John University, UK 4. Poet Is Priest: Julian H Cope's Subversive Biography Nathan Wiseman-Trowse, University of Northampton, UK 5. Grace Jones: Cyborg Memoirist Janine Bradbury, York St John University, UK 6. "Walking the Dead": Memory and Self-Reflexive Intertextuality in Late-Style David Bowie Kevin Holm-Hudson, University of Kentucky, USA 7. Memory, Graffiti and The Libertines: A Walk Down "Up the Bracket Alley" Ben Halligan, University of Wolverhampton, UK 8. Reading Lyrics, Hearing Prose: Morrissey's Autobiography Laura Watson, University of Maynooth, Ireland 9. 'Glory Days': Memory-Related Processes and the Performance of Memory in the Work of Bruce Springsteen Nicola Spelman, University of Salford, UK Part Two: Recollections 10. Time Machines Barbara Frost, Independent Scholar, UK 11. Meeting Your Idols 1: Growing Up Addicted in York Karen Woodall, Independent Scholar, UK 12. Meeting Your Idols 2: Teenage Dreams Steve Leedale, Independent Scholar, UK 13. Meeting your Idols 3: The Soldier in the Box Kate Ramsay, Independent Scholar, UK 14. Meeting your Idols 4: Culture Clash Peter Cook, Independent Scholar, UK 15. Meeting Your Idols 5: Goodbye Tupac Jerry Ibbotson, Independent Scholar, UK 16. "What do I do now?": Encountering Ourselves in Music Memoirs Jon Stewart, BIMM, UK, Benjamin Halligan, University of Wolverhampton, UK, and Louise Wener, Musician 17. The Sacred Scrolls of Pop Henry Priestman, Independent Artist, UK 18. Exploding the Myth Tom Hingley, Independent Artist, UK 19. Remembrance Sunday Bill Drummond, Independent Artist, UK 20. Confessions of Metal and Folk: Remembering and Contextualizing the Creative Process Kimi Karki, University of Turku, Finland Notes on Contributors References Index
Engages with the contemporary phenomenon of the music memoir and interrogates the function of music in shaping personal and cultural memory.
Robert Edgar is Associate Professor in the York Centre for Writing at York St. John University, UK. His publications include Screenwriting (2009), The Language of Film (2015), The Music Documentary: Acid Rock to Electropop (co-editor, 2013) and The Arena Concert (co-editor, 2015). Fraser Mann is Senior Lecturer in English Literature at York St. John University, UK. He is a specialist in war literature and memoir with particular interests in testimony, gender and trauma. Helen Pleasance is Senior Lecturer in Creative Writing and English Literature at York St. John University, UK. Her research interests include contemporary fiction and creative non-fiction in all its forms, especially memoir, biography, true crime and hybrid forms.
Whether you are a fan of Patti Smith, enjoy reading memoirs or you
just miss shopping in record stores, the mix of cultural history,
memoir criticism and personal reflections in Music, Memory and
Memoir explain why music is still so important to so many of us,
and how its stories connect to our own. * Julie Rak, Professor of
English and Film Studies, University of Alberta, Canada, and author
of Boom! Manufacturing Memoir for the Popular Market (2013) *
Music, Memory and Memoir is a collection of invaluable reckonings with the nexus between fandom and intellectual retrospection. It brings much-needed attention to the form of the music memoir and how it shapes our personal and historical narratives of why this music matters. There are so few books that approach these issues with such great breadth and passion that I could easily envision fashioning a course out of its crucial insights. * Erich Hertz, Professor of English and Film Studies, Siena College, USA, and co-editor of Write in Tune: Contemporary Music in Fiction (Bloomsbury, 2014) *
Music, Memory and Memoir panoramically explores the phenomenon of the music memoir, a much-overlooked area of contemporary popular music studies. The book deftly weaves analysis of music, written memoir and memory together to define models that underpin the ways in which music and memory are so closely linked. The way that artists, writers and indeed all of us construct our past through fragments of musical experience is so keenly expressed here, it is a brilliantly incisive collection that prompts both curiosity and deep reflection. * Kirsty Fairclough, Director of International and Senior Lecturer in Media and Performance in the School of Arts and Media at the University of Salford, UK *