by Ann Powers
8. Jeremy Gerard, “Creative Arts Being Reshaped by the Epidemic: Entertainers Confront AIDS Crisis,” New York Times, June 9, 1987.
9. Lindsy Van Gelder, “Death in the Family,” Rolling Stone, February 9, 1983, p. 18.
10. Paul Attinello, “Closeness and Distance: Songs About AIDS,” in Sheila Whitely and Jennifer Rycenga, eds., Queering the Popular Pitch (New York: Routledge, 2006); Etheridge: Judy Wieder, “Melissa Etheridge: Rock’s Great Dyke Hope,” Advocate, July 26, 1994.
11. Gay Men’s Chorus: Meredith May, “Gay Men’s Chorus Carries On,” SF Gate, June 4, 2006; Tim Page, “The Ordeal of Kevin Oldham,” Tim Page on Music: Views and Reviews (Portland, OR: Amadeus Press, 2002).
12. “No point of reference”: David W. Dunlap, “As Disco Faces Razing, Gay Alumni Share Memories,” New York Times, August 21, 1995; “amoeba-like”: Tim Lawrence, “The Forging of a White Gay Aesthetic at the Saint, 1980–84,” Dancecult, July 2, 2013.
13. Walter Hughes, “In the Empire of the Beat: Discipline and Disco,” in Andrew Ross and Tricia Rose, eds., Microphone Fiends: Youth Music & Youth Culture (New York: Routledge, 1994), p. 147.
14. William Hayes, “Out with the Boys,” Mother Jones, July/August 1990, p. 49.
15. Legs McNeil and Gillian McCain, Please Kill Me (New York: Grove Press, 1996), p. 240.
16. “Pathetic hippie crap”: McNeil and McCain, Please Kill Me, p. 16.
17. “Fat arse”: Jon Savage, “Tainted Love: The Influence of Male Homosexuality and Sexual Divergence on Pop Music and Culture Since the War,” in Alan Tomlinson, ed., Consumption, Identity, and Style: Marketing, Meanings, and the Packaging of Pleasure (New York: Routledge, 1990), p. 111; Johnny Rotten: Jon Savage, England’s Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond (New York: St. Martin’s Press, 1992), p. 187; Wolcott: Lucking Out: My Life Getting Down and Semi-Dirty in Seventies New York (New York: Doubleday, 2011), p. 152; John Robb, Punk Rock: An Oral History (Oakland, CA: PM Press, 2012), p. 388.
18. Cheetah Chrome: Mark Huddle, “Interview: Cheetah Chrome of Rocket From the Tombs and Dead Boys,” Verbicide Magazine, July 27, 2010. http://www.verbicidemagazine.com/2010/07/27/interview-cheetah-chrome/; Marky Ramone: Monte A. Melnick and Frank Meyer, On the Road with the Ramones (London: Music Sales Group, 2007); Manitoba “spit trick”: Amy Wallace and Dick Manitoba, The Official Punk Rock Book of Lists (Minneapolis: Hal Leonard Corporation, 2007), p. 69.
19. Greil Marcus, Lipstick Traces: A Secret History of the Twentieth Century (Cambridge: Harvard University Press, 1989), p. 74.
20. Carola Dibbell, “Inside Was Us: Women in Punk,” in Barbara O’Dair, ed., Trouble Girls: The Rolling Stone Book of Women in Rock (New York: Random House, 1997), p. 277.
21. Alex Cox, director, Repo Man (Universal Pictures, 1984).
22. Carol Giacomo, “Senate Unit Told ‘Latchkey Kids’ Growing Problem for US,” Hartford Courant, June 10, 1983; John Kass, “Milk Cartons to Carry Missing Kids’ Pictures,” Chicago Tribune, January 1, 1985.
23. Alice Bag, Violence Girl: East L.A. Rage to Hollywood Stage, A Chicana Punk History (Port Townsend, WA: Feral House, 2011), p. 603.
24. Bret Easton Ellis, Less Than Zero (New York: Simon & Schuster, 1985), p. 11.
25. Steve Abbott, “Colder Than Her Eyes,” in Dennis Cooper, ed., Discontents: New Queer Writers (New York: Amethyst Press, 1992).
26. Bill Zehme, “Madonna: The Rolling Stone Interview,” Rolling Stone, March 23, 1989.
27. Lucy O’Brien, Madonna: Like an Icon (New York: HarperCollins, 2007), p. 24.
28. Harry Dean Stanton, “Madonna,” Interview, December 1985, p. 63.
29. Debbie Miller, Like a Virgin album review, Rolling Stone, January 17, 1985.
30. Erica Jong, “Women and the Fear of AIDS,” Washington Post, June 10, 1986.
31. Robert Hilburn, “Pop Review: Madonna Makes a Hot Topic,” Los Angeles Times, April 22, 1985; “football players”: Jonathan Takiff, “Madonna ‘Boy Toy’ Image,” Philadelphia Daily News, February 28, 1985, p. 35.
32. For a full analysis of the “Lucky Star” video, see Sally Banes, “TV-Dancing Women: Music Videos, Camera-Choreography, and Feminist Theory,” in Before, Between, and Beyond: Three Decades of Dance Writing (Madison: University of Wisconsin Press, 2007), p. 345.
33. Madonna with Steven Meisel and Glenn O’Brien, Sex (New York: Warner Books, 1992).
34. Andrew Goodwin, Dancing in the Distraction Factory (Minneapolis: University of Minnesota Press, 1992), p. 70.
35. Tom Roston, “Mr. Zappa Goes to Washington,” Spin, May 2010, p. 42.
36. Robert Palmer, “Is Prince Leading Music to a True Biracism?,” New York Times, December 2, 1981.
37. Touré examines Prince’s use of porn scenarios in detail in I Would Die 4 U: Why Prince Became an Icon (New York: Atria Books, 2013).
38. Wendy and Lisa: Barry Walters, “The Revolution Will Be Harmonized,” Out, April 16, 2006; Dez Dickerson: Touré, I Would Die 4 U, p. 77.
39. Marie Moore, “Prince Rules Supreme in Sex-citement,” Amsterdam News, December 12, 1981.
40. Pauline Kael, “The Current Cinema,” The New Yorker, August 20, 1984.
41. Raoul Abdul, “Concern About Prince’s Influence on America’s Youth,” Amsterdam News, August 25, 1984.
42. Adam Sherwin, “Madonna Has Now Become ‘Toxic’ Figure for Millennials, Academics Say,” The Independent, March 25, 2016.
43. Kim Gordon, “Meaty, Beaty, Big and Bouncy,” Spin, September 1989.
44. Robin D. G. Kelley, “Kickin’ Reality, Kickin’ Ballistics: Gangsta Rap and Postindustrial Los Angeles,” in William Eric Perkins, ed., Droppin’ Science: Critical Essays on Rap Music and Hip Hop Culture (Philadelphia: Temple University Press, 1996), p. 117–159.
45. Nelson George, “Rappin’ with Kurtis Blow,” New Amsterdam News, July 19, 1980.
46. Gina Arnold, Route 666: The Road to Nirvana (New York: St. Martin’s Press, 1993), p. 13.
47. Stewart Dean Ebersole, Barred for Life: How Black Flag’s Iconic Logo Became Punk Rock’s Secret Handshake (Oakland, CA: PM Press, 2013), p. 165.
48. David Seeley, “The Shaggy Club,” Texas Monthly, May 1985, p. 130.
49. MacKaye: Stephen Blush, American Hardcore: A Tribal History (Port Townsend, WA: Feral House Press, 2010); Rollins: Michael Azerrad, Our Band Could Be Your Life: Scenes from the American Indie Underground, 1981–1991 (New York: Little, Brown and Company, 2001), p. 51.
50. Joan Morgan, When Chickenheads Come Home to Roost: A Hip-Hop Feminist Breaks It Down (New York: Simon & Schuster, 2000), p. 102.
51. Mullen: Marc Spitz and Brendan Mullen, We Got the Neutron Bomb: The Untold Story of L.A. Punk (New York: Three Rivers Press, 2001), p. 162; Hart: Azerrad, Our Band, p. 179.
52. Terrance Dean, Hiding in Hip Hop: Living on the Down Low in the Entertainment Industry—from Music to Hollywood (New York: Simon & Schuster, 2006), p. 268.
53. Nelson George, Hip Hop America (New York: Penguin Books, 1999), p. 49.
54. Dennis Hunt, “TLC: Condom Fashions Are a Political Statement,” Los Angeles Times, April 26, 1992.
55. Imani Perry, Prophets of the Hood: Politics and Poetics in Hip Hop (Durham, NC: Duke University Press, 2004); Eithne Quinn, Nuthin’ but a “G” Thang: The Culture and Commerce of Gangsta Rap (New York: Columbia University Press, 2013), p. 138.
56. Ann Powers, “A Surge of Sexism on the Rock Scene,” New York Times, August 22, 1999.
57. Reynolds and Press, The Sex Revolts, p. 262.
58. Sean Nelson, “Let’s Not Get It On,” The Stranger, June 25, 2009.
59. Clark Humphrey, Loser: The Real Seattle Music Story (Seattle: MiscMedia, 1999), p. 62.
60. Lisa Darms, ed., The Riot Grrrl Collection (New York: The Feminist Press at CUNY, 2013), p. 39.
61. Emily White, “Revolution Girl Style Now,” L.A. Weekly, July 10–16, 1992.
62. “Demonic”: Eric L. Wee and Todd Shields, “Lilith Name ‘Dangerous,’ Falwe
ll Newspaper Says: Editor Cites Tour Title’s Demonic Links,” Washington Post, June 20, 1999; “Breast-fest”: Roger Catlin, “Loving Lilith,” Hartford Courant, July 24, 1998.
63. Grunge and AIDS: Hal Sparks on The Bob & Tom Show, May 7, 2010.
CHAPTER 8: HUNGRY CYBORGS: BRITNEY, BEYONCÉ, AND THE VIRTUAL FRONTIER
1. Ann Gerhart, “Nipped in the Bud: More and More Young Women Choose Surgical ‘Perfection,’” Washington Post, June 23, 1999; Vanessa Grigoriadis, “The Tragedy of Britney Spears,” Rolling Stone, February 21, 2008; “U.S. Teenagers Queue for Breast Implants,” Sunday Times (London), August 1, 1999.
2. Donna Haraway, A Cyborg Manifesto: Science, Technology and Socialist Feminism in the Late 20th Century (Houten Springer Netherland, 2006), p. 11.
3. Sadie Plant, “Coming Across the Future,” in David Bell and Barbara M. Kennedy, eds., The Cybercultures Reader (New York: Routledge, 2000), p. 466.
4. Alex Tresniowski, “Britney’s Wild Ride,” People, February 14, 2000.
5. Neil Strauss, “A Woodstock Concert Where Teeny Is Everything,” New York Times, July 5, 1999.
6. Larry Flick, “After Quiet Build, Jive’s Teen Star Spears Breaks Out,” Billboard, December 12, 1998.
7. Jeff Chu and Hugh Porter, “Top of the Pops,” Time Europe, March 19, 2001, p. 66.
8. “Hot Career Track: The Little Trooper,” Rolling Stone, August 19, 1999; Steve Daly, “Britney Spears: Inside the Heart and Mind (and Bedroom) of America’s New Teen Queen,” Rolling Stone, April 15, 1999; Gina Arnold, “Outrageous Fortune,” The Scotsman, March 18, 2000; Ron Moore, “Click Me, Baby, One More Time: Thousands of Sites to Behold and They’re All About One Girl,” Daily Record (Glasgow), January 20, 2000.
9. Arnold, “Outrageous Fortune”; “computer-literate children”: Moore, “Click Me, Baby, One More Time.”
10. “No feelings”: Daly, “Heart and Mind”; “all those feelings”: Jim Farber, “How Hard She Works: Teen Queen’s Heavy Crown,” New York Daily News, May 14, 2000.
11. Kelefa Sanneh, “Aaliyah, a Pioneer, Briefly, of a New Sound,” New York Times, September 2, 2001.
12. Andy Clark, Natural Born Cyborgs: Minds, Technologies, and the Future of Human Intelligence (New York: Oxford University Press, 2003), p. 138.
13. Chris Mundy, “The Girl Can’t Help It,” Rolling Stone, May 25, 2000; Chuck Klosterman, “The Year in Ideas,” New York Times Magazine, December 9, 2001.
14. Chuck Klosterman, “Bending Spoons with Britney Spears,” Esquire, November 2003.
15. Serge F. Kovaleski and Joe Coscarelli, “Is Britney Spears Ready to Stand on Her Own?,” New York Times, May 4, 2016.
16. Sadie Plant, “On the Matrix,” in R. Shields, ed., Cultures of the Internet: Virtual Spaces, Real Histories, Living Bodies (London: Sage, 1996).
17. Shane Mercado on The Bonnie Hunt Show, https://www.youtube.com/watch?v=C4Udzyn0Ds0&list=PL37A3C961B0056BE5&index=4; Harmony Bench, “‘Single Ladies’ Is Gay: Queer Performances and Mediated Masculinities on YouTube,” in Melanie Bales and Karen Eliot, eds., Dance on Its Own Terms: Histories and Methodologies (New York: Oxford University Press, 2013).
18. Dance parodies: http://www.urlesque.com/2009/10/19/single-ladies -dance-parodies/.
19. Sherry Turkle, Alone Together: Why We Expect More from Technology and Less from Each Other (New York: Basic Books, 2011), p. 227.
20. John G. Palfrey and Urs Gasser, Born Digital: Understanding the First Generation of Digital Natives (New York: Basic Books, 2008); Turkle, Alone Together, p. 169.
21. Ibid., p. 31.
22. Touré, “Beyoncé: A Woman Possessed,” Rolling Stone, March 4, 2004.
23. Zack O’Malley-Greenburg, “The Top-Earning Women in Music 2014,” Forbes, November 4, 2014; “Beyoncé Pregnancy News at the MTV VMAS,” TechCrunch, August 29, 2011.
24. Anne Helen Petersen, “Decoding the Beyoncé Tumblr,” Gawker, April 9, 2012.
25. Keith Caulfield, “It’s Official: Beyoncé Makes History with Fifth No. 1 Album,” Billboard, December 17, 2013; Jenna Wortham, “Bingeing on Beyoncé: The Ripple Effect,” New York Times, December 20, 2013.
26. Neil McCormick, Beyoncé, album review, The Telegraph, December 13, 2013.
27. bell hooks et al., “Are You Still a Slave?: Liberating the Black Female Body,” panel discussion, The New School, May 6, 2014.
28. Ben Todd, “Children ‘at Risk from Pop Charts Porn,’” Daily Mail, August 11, 2010.
29. Jon Caramanica, “Business and Pleasure,” New York Times, September 5, 2012.
30. Chris Richards, “T-Pain: In Auto-Tune with His Audience,” Washington Post, November 26, 2008; Sasha Frere-Jones, “The Gerbil’s Revenge,” The New Yorker, June 6, 2008.
31. Alison Fensterstock, “Stripper Chic: A Review Essay,” in Danielle Egan, Katherine Frank, and Merri Lisa Johnson, eds., Flesh for Fantasy: Producing and Consuming Exotic Dance (Seattle: Seal Press, 2005), p. 194.
32. Ariel Levy, Female Chauvinist Pigs: Women and the Rise of Raunch Culture (New York: Simon & Schuster, 2005).
33. Elizabeth Bernstein, Temporarily Yours: Intimacy, Authenticity, and the Commerce of Sex (Chicago: University of Chicago Press, 2010).
34. Palfrey and Gasser, Born Digital, p. 36.
35. John Schwartz, “File-Swapping Is New Route for Internet Pornography,” New York Times, July 28, 2001; Saul Hansell, “Aiming at Pornography to Hit Music Piracy,” New York Times, September 7, 2003.
36. Samuel Craig Watkins, The Young and the Digital: What the Migration to Social-Network Sites, Games, and Anytime, Anywhere Media Means for Our Future (Boston: Beacon Press, 2009), p. 43.
37. James Rettig, “Will Someone Please Right-Swipe Adam Duritz on Tinder?,” Stereogum, August 7, 2014; Hanna Rosin, “Why Kids Sext,” The Atlantic, November 2014.
38. Eric Ducker, “Q&A: Veteran Music Video Director Diane Martel on Her Controversial Videos for Robin Thicke and Miley Cyrus,” Grantland, June 26, 2013; Jocelyn Vena, “Robin Thicke’s ‘Blurred Lines’ Director Filmed Clothed Version as a ‘Favor,’” MTV News, July 16, 2013.
39. “Robin Thicke’s Naked ‘Blurred Lines’ Video Gets YouTube Ban,” Associated Press, March 1, 2013; Lisa Huynh, “Robin Thicke’s Rape Song,” Feminist in L.A. blog, April 2, 2013; Sezin Koehler, “From the Mouths of Rapists: The Lyrics of Robin Thicke’s ‘Blurred Lines,’” Sociological Images blog, September 17, 2013; Maura Johnston, “The Way You Grab Me,” Maura Magazine, July 23, 2013.
EPILOGUE
1. Beyoncé, Lemonade CD/DVD, Sony Music, 2016.
2. Kimberly Kindy et al., “A Year of Reckoning: Police Fatally Shoot Nearly 1000,” Washington Post, December 26, 2015.
3. Kanye West sampled Nina Simone’s 1965 version of “Strange Fruit” in his song “Blood on the Leaves,” but the political message in the rapper’s reference was unclear; his lyrics were about a romantic relationship, not racial violence.
4. Cyrus interview: Fay Strang, “‘They took out literally everything’: Cyrus Reveals Raunchy Video for ‘We Can’t Stop’ Was MORE Explicit as She Opens Up About Shedding Her Squeaky Clean Past,” Daily Mail, July 20, 2013.
5. Hopper: Annie Zaleski, “Music Writer’s Twitter Feed Exposes Industry’s Harsh Sexism, Marginalization,” A.V. Club, August 26, 2015; Kesha: Danielle Bacher, “The Saga of Kesha, Dr. Luke and a Mother’s Fight: ‘He Almost Destroyed Us,’” Billboard, March 10, 2016.
6. Vanessa Grigoriadis, “Meet the Women Who Are Starting a Revolution Against Campus Sexual Assault,” New York, September 21, 2014.
LIST OF ILLUSTRATIONS
Introduction and epilogue illustrations by Jessi Zazu.
Chapter 1: E. W. Kemble, “The Bamboula,” 1886
Chapter 2: Gilda Gray photographed by Madam D’Ora, circa 1920
Chapter 3: The Spirit of Memphis Quartet, promotional photograph, circa 1951, from the collection of Kip Lornell
Chapter 4: Little Richard and fans from Sepia magazine, courtesy of the African America
n Museum, Dallas, Texas
Chapter 5: Dancers at the Human Be-In, San Francisco, 1967, by Jim Marshall, courtesy of the estate of Jim Marshall
Chapter 6: Mom’s Apple Pie album cover, 1972, from the collection of Andy Zax
Chapter 7: Gay Men’s Health Crisis Showers invitation poster, 1982, courtesy of the New York Public Library
Chapter 8: Beyoncé wearing her cyberglove, used with permission of Getty Images.
INDEX
The pagination of this electronic edition does not match the edition from which it was created. To locate a specific entry, please use your e-book reader’s search tools.
NOTE: Page references in italics refer to illustrations and photos.
A
Aaliyah, 148, 307–308
“Aba Daba Honeymoon,” 122
Abbey, Diana, 140
Abbott, Steve, 265
Acid Tests, Grateful Dead and, 165, 167
ACT UP, 256, 257
adolescents. see teenagers
After Dark (publication), 241
AIDS backlash and music industry (1977–1997), 245–298. see also AIDS epidemic
disco and, 245–246
grunge and, 283, 293–295, 297–298
hardcore punk and, 285–288
Madonna and, 265–274, 279–280
Michael Jackson and, 277–279
overview, 245, 246–257
Prince and, 274–277, 279
punk rock and, 257–265
rap and hip-hop, 280–285, 288–293
AIDS (Acquired Immune Deficiency Syndrome) epidemic awareness promoted by Madonna, 270–273
drugs for management of, 299
early deaths from, 225, 242–243, 249–257
Gay Men’s Health Crisis on, 245, 248–250
grunge and, 298
intravenous drug use and, 275
rap music on, 289–291
Reagan and, 247–249, 251
AIDS! The Musical, 254
Åkerlund., Jonas, 319
Aletti, Vince, 223–224
Algerian Village (Chicago World’s Fair), 43–44
Ali, Muhammad, 179
Alice Cooper (band), 205