Rock Music Studies Volume 4 Issue 3, October 2017
Published three times a year, Rock Music Studies publishes articles, book and audio reviews, and opinion pieces on rock music and its numerous subgenres.
To best focus this international journal, the editors of Rock Music Studies, which evolved from Popular Music and Society, limit the usually all-inclusive definition of rock to exclude other genres such as doo-wop, country, jazz, soul, and hip hop, but include roll and roll, rockabilly, blues rock, country rock, jazz rock, folk rock, hard rock, psychedelic rock, prog rock, metal, punk, alternative, and other subgenres of rock.
The editors welcome articles on rock’s interaction with other styles and are receptive to all disciplinary, methodological, and theoretical approaches.
All research articles will undergo a rigorous peer review process by at least two anonymous referees, based on an initial screening by the editors. The journal is also open to special issues focusing on an artist, a subgenre, or a topic. For more information please see the Authors and Submissions tab. Queries are encouraged via email.
My Regeneration: „Heroes and Villains“ and the Salvation of Brian Wilson Presents Smile
“Heroes and Villains” is often identified as a key to the Smile project, on which Beach Boys’ leader Brian Wilson and lyricist Van Dyke Parks collaborated in 1966 and 1967. That role has not been closely analyzed, however. This close reading of the song’s structure, lyrics, themes, and social and cultural referents shows that it offers an index to the album. Using its frontier setting and a variety of sacred and secular myths, symbols, and icons, “Heroes and Villains,” like Smile as a whole, offers historically informed visions of national decline, crisis, and regeneration that are at once critical and patriotic.
This article examines the idea of the Woodstock festival and the pervasive influence of its afterlives in the creation of post-1960s’ global political consciousness, emergent “world music,” and the culture of festivalization, in light of a consideration of international inflections in 1960s’ popular music and the different narratives at work in the film Woodstock.
Displaying the Guitar: The Rock and Roll Hall of Fame and the Museum of Pop Culture
Being Lemmy Kilmister: Performativity and Metal
This essay discusses how the late Lemmy Kilmister, the driving force behind Motörhead, is framed in the film Lemmy as a rock and metal star who has fully incorporated and embodied his stage persona. This conflation of on-stage and off-stage personas brings to the fore the inherent fiction of authenticity as it is commonly attached to rock and metal music. The film, alongside other iconographic objects that present alternative Lemmies, also undermines the essentialist notion of authentic rock personalities, thereby making visible the constructed nature of such performative identities.
Swim Through the Darkness: My Search for Craig Smith and the Mystery of Maitreya Kali
Thomas M. Kitts
The History of Rock & Roll: Volume One, 1920–1963
B. Lee Cooper
“And Settlin’ Down”: An Interview with Richie Furay
Thomas M. Kitts