Good Booty
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Sasha Fierce alter ego of, 313–314, 321
“Single Ladies,” 311, 313–318
“Video Phone,” 319–320
Knuckles, Frankie, 239–240
Kofsky, Frank, 194
“Kool Thing” (Gordon), 284, 293
Korn, 292
Kramer, Michael, 163–164, 248
Krieger, Robby, 187
Kristofferson, Kris, 231
Kupferberg, Tuli, 170–171
L
Labelle (band), 227–228
LaBelle, Patti, 227–228
“La Belle Zoraïde” (Chopin), 15–17, 28, 33
LaBostrie, Dorothy, 36, 129
Lady Gaga, 310, 319–320, 336
“Lady Marmalade” (Labelle), 229
LaHara, Brianna, 333
Laing, Dave, 133
LaLaurie, Madame, 19
Lamar, Kendrick, 348
Lambert, Adam, 223
Lamplighters, 118
Landau, Deborah, 184
Landis, John, 277
Landis, Paul H., 149
lang, k.d., 253–254
Lanham, Richard, 118–119
“Larger Than Life” (Backstreet Boys), 305
Larson, Lydia, 100
“Last Song, The” (John), 253
“latchkey kids,” 262, 263
Latin Lover characterization, 62
La Torre, Jorge, 255
Latrobe, Benjamin, 8–9, 31
Lauper, Cyndi, 252–254
Lawrence, Tim, 255
“Leader of the Pack” (Shangri-Las), 117
Leary, Timothy, 172
Led Zeppelin, 148, 203–204, 207–211, 215
LeGaspi, Larry, 227, 228
Leggett, Steve, 114
Leiber, Jerry, 109
Lemonade (Knowles), 17–18, 343–344, 346, 349
Lennear, Claudia, 243
Lennon, John, 152
lesbian community. see LGBTQ
Less Than Zero (Ellis), 263
Let’s Listen to Youth, 134
“Let Your Conscience Be Your Guide” (Gaye), 160
Levan, Larry, 247, 255
Lewis, Jerry Lee, 106, 122, 125, 144–146
Lewis, Steve, 146
Lewis, Terry, 307
Lewis, Theophilus, 70
LGBTQ
AIDS epidemic, 225, 242–243, 245, 246–257
bisexuality and Joplin’s music, 191–192
bisexuality in 1970s, 220–221
equality issues, 336
gospel and, 109
hip-hop and, 288–291
lesbian visibility, 253–254
Morrison and sexual identity, 191–193
punk music and, 257
“queercore” scene, 289
sexual identity and music of 1970s, 221–229, 230–238
“The Children and Their Secret Closet” (Heilbut), 89
Lhamon, W. T., 129
Liberating Masturbation (Dodson), 229
Lido (New York), 55–56
Light, Alan, 145
Lightning, Lori. see Mattix, Lori
Like a Prayer (Madonna; album), 271
“Like a Prayer” (Madonna; song), 272–273
“Like a Virgin” (Madonna), 272, 274, 279
Lilith Fair, 296–297
Lil’ Kim, 291
Lil Wayne, 330
Limp Bizkit, 292
Lincoln, Rixford J., 10–11
Lincoln Square Variety Theater (New York), 49
Linda, Solomon, 122
“Lion Sleeps Tonight, The” (Tokens), 122
Lipstick Traces (Marcus), 260
“Lisette Quitté la Plaine” (La Mahautière), 21–22
Lister, Hovie, 106
Little Egypt (dance character), 44
Little Lillian, 44
“Little Queenie” (Berry), 142
“Little Red Corvette” (Prince), 275
Little Richard
Angel and, 131, 147
Beatles and, 152–153
biographical information, 130
Buddy Holly and, 130–131
as candio, 26
gospel influence on, 89, 145
photo, 111
Presley and, 127–128
“Tutti Frutti,” xxiv, 35–36
Live Through This (Hole), 298
LL Cool J, 281, 284, 293
Locke, Dixie, 103, 108
“Lock Up Your Sons” (magazine article), 182
Loft (New York disco), 239
“Lola” (Kinks), 219, 222
“Lollipop” (Lil Wayne), 330
Long, Alecia P., 11
“Long Tall Sally” (Little Richard), 129
Long Walk Home, The (film), 93
Lopes, Lisa “Left Eye,” 291
Lorde, Audre, 76
Los Angeles Times, 112
Lost and Found (club), 250
Lott, Eric, xxiii, 6
“Louie, Louie” (Berry), 118
Love, Courtney, 297
Love, Willie, 92
“love and theft,” xxiii
“Love Comes in Spurts” (Hell), 259
Lovelace, Linda, 206, 208, 225
“Love Me” (Leiber, Stoller), 109
“Love Saves the Day” (disco parties), 239–240
Love’s Body (Brown), 194
“Love the Way You Lie” (Rihanna, Eminem), 335
“Love to Love You Baby” (Summer), 241
LSD
free-love music and, 162–169
Leary and, 172
at “Love Saves the Day” (disco parties), 239–240
“Lucky Star” (Madonna), 272
Lydon, Michael, 183
Lyles, Bill, 104–109
Lymon, Frankie, 119–120, 122
Lynn, Loretta, 235
Lynne, Jeff, 286
M
Madonna
AIDS awareness promoted by, 270–273
biographical information, 267–268
characterization of, 265–270, 272–274, 277
Knowles compared to, 323
Maggot Brain (Funkadelic), 228
Magnificents, 102, 117
Main Ingredient, 243
Making Love (book), 233
male performers. see also gender roles of 1970s; individual names of performers and artists
doo-wop and, 120–121
early gospel ensembles with men and women, 88
gospel quartets, 93–100
rap performers, 282–285
rock and roll and, 136
Maltz, Robin, 215
“Mama, He Treats Your Daughter Mean” (Brown), 112
Mancuso, David, 239–240
“Manic Depression” (Hendrix), 179
Manitoba, Dick, 260
Mann Act, 143–144
Manna Loulou (Chopin character), 15–17
Manzarek, Ray, 187
Marcus, Greil, 190, 260, 264
Marcuse, Herbert, 156, 176, 179
Mardi Gras, 14
Margaret Fleming (Herne), 47
“market women,” of Congo Square, 31
Markham, Dewey “Pigmeat,” 45
marriage, “open,” 220, 224, 233, 243
Martel, Diane, 329, 338
Martin, Janis, 125, 136
Martin, Max, 304, 306
Martin, Roberta, 85, 88
Martin, Sallie, 82
Martin, Trayvon, 344
Marvelettes, 161
“Ma Says I Can’t Go for a Ride,” 47
masked balls, 13–15
Massa, Pele, 148
mass media, advent of, 48
“Master Race Rock” (Dictators), 60
Masters, William, 156
Matassa, Cosimo, 128
Mathis, Joan, 144
Matrix (films), 309
Matsoukas, Melina, 36–37
Mattix, Lori, 148, 202–203
Maurice’s Art of Dancing (Mouvet), 57
May, Brother Joe, 91
Mayweather, Cindi (Monáe), 310
/>
Mazhar, Fahreda, 45
McCartney, Paul, 152
McCrado, Nancy, 203
McLaren, Malcolm, 260
McMillon, Chris, 314–315
McNally, Dennis, 165
McNeely, Big Jay, 114
McPhatter, Clyde, 127, 133
McQueen, Steve, 9
“Me and a Gun” (Amos), 296
“Me and Bobby McGee” (Joplin), 231
Medallions, 121
“Me” Decade, 221
“Meet the G That Killed Me” (Public Enemy), 289
melisma, 86
Melnick, Jeffrey, 117
Melvoin, Wendy, 276
Memphis, gospel in, 88–89, 95, 97, 100–105, 107
Memphis Recording Service, 123
Mendelsohn, John, 211
Menjo’s (Detroit club), 268
men’s choruses, 254
Mercado, Shane, 314–315
Mercury (record label), 159
Mercury, Freddie, 226, 253
Merry Pranksters, 165
Methodist Error (Watson), xv
Metro-Goldwyn-Mayer, 45
Metropolitan Opera (New York), 49
“Michie Preval” (Creole song), 24
“Michieu Banjo” (Creole song), 25
Midnight Cowboy (film), 237
“Midnight Rambles” (Rainey’s live show), 77
Millennials
“digital natives,” 316–317
Madonna shunned by, 279–280
Millennium (Backstreet Boys), 305
Mills, Florence, 66–71, 74
Minaj, Nicki, 336, 346–347
minstrelsy, 6, 41, 52
Miracles, 160
Miseducation of Lauryn Hill, The (Hill), 292
Mistinguett, 63
Mitchell, Joni, 201, 234, 267, 274
Mitchell, Mitch, 175
“Moan, You Moaners” (Smith), 81, 99
Mom’s Apple Pie, 199, 213
Monáe, Janelle, 310
Money, Constance, 206
Monkey Grip (Wyman), 213
Monroe, Mina, 24
Monterey Pop Festival (1967), 171
Moonglows, 102
Moore, Dwight “Gatemouth,” 101
Moral Majority, 277
“More Than a Woman” (Sanneh), 307
Morgan, Joan, 288
Moroder, Giorgio, 241
Morrison, Craig, 125
Morrison, Jim
abusive behavior by, 193
biographical information, 188
characterization of, 187–197
death of, 188
free-love music and, 168
with Joplin, Morrison at the Scene (New York), 169
mental health of, 190
notoriety of, 169–172
sexual identity of, 191–193
Morton, Jelly Roll, 15, 46–47
“mothers,” gospel, 85–93
Mothership Connection (Parliament), 228
Motown, 169–172
Moulton, Tom, 246
Mouvet, Maurice, 56–57, 59, 62
“Move On Up a Little Higher” (Brewster), 89, 102
MTV, music videos of, 267, 272–273, 273–274
Mudhoney, 294
Mullen, Brendan, 288
Murray, Charles Shaar, 173
music-video era
Madonna, 265–274, 279–280
Michael Jackson, 277–279
overview, 273–274
Prince, 274–277, 279
“My Guy” (Wells), 160
“My Man” (Brice), 62–66
N
Napster, 333
National Association of Negro Musicians, 17
National Baptist Conventions, 78, 82
Nava, Jake, 313
Near, Holly, 235
Nelson, Sean, 294
New Orleans (1800–1900), 1–37
cocottes and candios of, 21–27
Congo Square and influence on modern-day music, 27–37
Creole song tradition, 15–21
masked balls, 13–15
quadroon balls, 10–13
race relations in, overview, 1–3
social dancing and balls, overview, 3–10
New Orleans Item-Tribune, 20–21
New Wave, 263, 264, 268
New York (1900-1929), 39–74
apache dances, 55–59, 63
blues in, 57–59, 71–74
Brice’s popularity, 62–66, 73
Mills’s popularity, 66–71, 74
music and sexual openness, overview, 39–42
partner dancing in, 58–62
ragtime in, 46–47
shimmy and hootchie-kootchie, 43–47
shimmy and race “mixing,” 47–55
New York Dolls, 205, 222–223
Nicholls, Thomas C., 3–5
Nickerson, Camille “Louisiana Lady,” 17, 25
Nig-Heist, 285
Nightbirds (Labelle), 228
Nilsson, Harry, 237
Nine Inch Nails, 298
“Nipplegate,” xix
Nirvana, 294–295, 297–298
Nix, A. W., 78, 80, 81, 84
Nix, W. M., 78
Nixon, Richard, 201
“Nocturnal Dream Show” (Cockettes), 218
Nolan, Kenny, 229
Nomi, Klaus, 224
“nonsense” lyrics of doo-wop, 114–123
Northup, Solomon, 9, 22–23, 25
No Strings Attached (*NSync), 305–306
Notorious B.I.G., 282
NSync, 303, 304, 305–306
Nugent, Ted, 148
Nyong’o, Tavia, 6
Nyro, Laura, 229
O
Obama, Barack, 283, 346
O’Brien, Lucy, 268
Okeh Records, 23, 81
Oldham, Kevin, 254
Oliver, King, 26–27
O’Neill, George, 233
O’Neill, Nena, 233
“Only Sixteen” (Cooke), 142
Onri, Adele Purvis, 41
On the Run World Tour (Knowles, Jay Z), 343
“On Your Radio” (Tempto-Tones), 118–119
“Oops! . . . I Did It Again” (Spears), 306, 311
Open Marriage (O’Neill, O’Neill), 233
“open marriage,” 220, 224, 233, 243
Oracle (San Francisco), 177
orgasm
soft rock and, 229–238
as sound in music, 208–211
Orioles, 121
Otis, Clyde, 159
Otis, Johnny, 117
Our Bodies, Ourselves (Boston Women’s Health Book Collective), 233
“Over the Moon” (Blackwood Brothers), 104
Owens, Shirley, 158
P
Pacheco, Patrick, 240–241
Page, Jimmy, 148, 203–204, 208–211
Page, Patti, 127
Page, Tim, 254
Paglia, Camille, 303
Palfrey, John, 316, 332–333
Palladino, Grace, 135
Palmer, Bee, 49–52
Palmer, Betty, 140
Palmer, Robert (music critic), 275
Pansy Division, 288
Paradise Garage, 247, 250
Paramount Records, 95
Pareles, Jon, 307–308
parenting, changing sex roles of 1950s and, 151
Parents Music Resource Center (PMRC), 274
Parker, Sean, 333
Parliament, 227–228
Parmar, Daniella, 239
Parnell, Clarence Dennis “Tooter,” 94, 98
“participatory minstrelsy,” 52
Parting Glances (film), 253
“Partition” (Knowles), 322–323
Parton, Dolly, 235
Pattersonaires, 102
“Peace in the Valley” (Presley), 108
Pearl (Joplin), 185
Pearl Jam, 294
Peck, Nathaniel, 102
peculium, 31
peer-to-peer systems, 326–327, 333–334
&nbs
p; Penniman, Richard Wayne. see Little Richard
Pennington, Ann, 53–54
“pep,” Joplin and, 186–187
Perkins, Carl, 124
Perry, Imani, 291
Perry, John, 175, 177
Perry, Katy, 310, 336
Petersen, Anne-Helen, 321
Pet Shop Boys, 253
Petty, Norman, 132–133
Phair, Liz, 296
Phifer, Alexis, 331
Phillips, Adam, 116
Phillips, Dewey, 101, 102–103
Phillips, Sam, 123–125
“Philosophy of Dancing, The” (Ellis), 47
pickaninnies (character), 68
Pickard, Herbert “Pee Wee,” 91
Pickett, Wilson, 99
“Pilgrimage to the Holy Land, A” (Charles; concert), 101–102
Pilgrim Baptist Church, 82
Pilgrim Travelers, 91, 108
pimp image, of rap, 285, 292
pitch-correction programs, 326
Pittsburgh Courier, 137
plaçage, 10–13
Plant, Robert, 208, 215
Plant, Sadie, 301
Plantation Revue (play), 74
Plantation Room (New York), 68
Playboy (magazine), 190–191, 201
Playboy Clubs, 156
“Please Please Me” (Beatles), 152–153
Pollock, Channing, 63
“pompatus of love,” origin of term, 121
Pop, Iggy, 219–221, 222
Popham, Paul, 250
pornography
Beyoncé (Knowles) and, 323–325
Deep Throat (film), 202, 206–207, 213
file sharing compared to, 333–334
hard-core, and music of 1970s, 206–211
Internet and, 305
music videos compared to, 273
social media compared, xix–xx
soft-core, and music of 1970s, 201–202
strip-club culture of music, 328–332
“post-human,” 300–301
post-punk rock, 282
Powers, Kid Congo, 212
“Precious Lord” (Dorsey), xxii, 84–85, 92, 107, 108, 415
Presley, Elvis
in army, 145
early popularity of, 124–128
fans of, 141–142
gospel and, 103–109
marriage of, 146–147
Tucker compared to, 54
Presley, Gladys, 108
Presley, Priscilla Beaulieu, 146–147
Press, Joy, 246, 294
“Pretty Hurts” (Knowles), 324–325
Price, Zella Jackson, 86
Pridgon, Lithofayne, 174
Prince, 98, 274–277, 279
Princess Rajah (performer), 44–45
Propes, Steve, 115
psychedelic bands, 163
Public Enemy, 289, 293
“pumping” technique, 99–100
punk rock
characteristics of, 257–261, 263–265
domestic abuse and, 262–263
fashion of, 260
female performers, 257–258, 261–262
hardcore punk, 285–288
New York Dolls and, 222–223
queer punk aesthetic, 257
Purple Rain (Prince), 274, 276, 277
“PYD” (Bieber), xx
Q
quadrille dance
overview, xxii–xxiii, 10