Rereading Musicians and Their Audiences

Tom Attah has published many chapters and journal articles on popular music and popular culture, and has produced public-facing mainstream broadcast work on blues music for the BBC. He is a creative musician, he has toured internationally and has composed original works for public projects. Recent published chapters include work on Prince (Bloomsbury, 2020), Robert Johnson (2022), Little Richard (Bloomsbury, 2022), and has co-edited a text on popular music narratives (2019).Kirsty Fairclough is Head of Research and Knowledge Exchange and Reader in Screen Studies at the School of Digital Arts (SODA) at Manchester Metropolitan University, UK. She is the co-editor of The Music Documentary: Acid Rock to Electropop (2013), The Arena Concert: Music, Media and Mass Entertainment (Bloomsbury, 2016), Music/Video: Forms, Aesthetics, Media (Bloomsbury, 2017), The Legacy of Mad Men: Cultural History, Intermediality and American Television (2020), Prince and Popular Culture (Bloomsbury, 2020), and author of the forthcoming Beyoncé: Celebrity Feminism and Popular Culture (Bloomsbury). She is the curator of Sound and Vision: Pop Stars on Film and In Her View: Women Documentary Filmmakers film seasons at HOME, Manchester and Chair of Manchester Jazz Festival.Christian Lloyd has taught and published on a wide range of subjects in popular and literary cultures. He was involved in researching the reconstruction of Jimi Hendrix's London flat and wrote the accompanying book: Hendrix at Home: a Bluesman in Mayfair (2016).

• AcknowledgementsIntroduction: New Selves, New Stories, New Scenes Tom Attah (Leeds Arts University, UK), Kirsty Fairclough (Manchester Metropolitan University, UK) and Christian Lloyd (Queen’s University, Canada)Section I: Navigating Personal and Cultural Histories1. Remixing Popular Music History: Two Producer Perspectives from 2022Mike Alleyne (Middle Tennessee State University, USA)2. ‘Frost and Fire’: Autobiographical Reticence in The Work of Tracey Thorn and Others Peter Clandfield (MacEwan University, Canada)3. Rita Lee and the Phantom: Visible Editing and Experimental Technique in Women's AutobiographyAna Leorne (Independent, Paris)4. Re-evaluating the Past: Reclaiming Oppositional Popular Music Scenes Through Female Musicians’ Autobiographical WritingSini Timonen (Confetti London, UK)5. Handcuffed to Andy Warhol, Meeting Madonna at LiveAid, Hell Bent for Leather at Fire Island: Considering Queerness in Rob Halford’s “Confess” and “Biblical” Autobiographies Mike Wyeld (London College of Communication, UK)Section II: Experimental, Multi-Modal, and Digital Narratives6. ‘We’re brown and nobody knows where the Philippines is’: Cultural Identity in Fanny’s Virtual AutobiographyCarljohnson Anacin (Griffith University, Australia)7. High Blues Fidelity: The Fragmentary Autobiography of ‘Queen’ Victoria Spivey (1906-1976) Lawrence Davies (University of Huddersfield, UK)8. A Life Spent Chasing the Band: Female Fans' Autobiographies Mark Duffett (University of Chester, UK)9. Graphically Speaking: CUD, Graphic Memoir, Indie Authenticity, and AutofictionRobert Edgar (York St John University, UK)10. ‘You’ll need a good companion for this part of the ride’: Navigating Bruce Springsteen’s sonic persona in the Born to Run audiobook Richard Elliott (Newcastle University, UK)11. ‘You are the only one who gets to decide what you will be remembered for’: Fan Mediations of Autobiographical Lyrics in the Context of Taylor Swift’s Digital PresenceHannah Judson (SUNY Stony Brook, USA) and Nas Ferns (SUNY Stony Brook, USA)Section III: Cultural Memory And Legacy: Musicians And Their Posthumous Or Rematerialised Lives 12. Popular Musicians’ Homes as Rematerialised Autobiography: Jones, Jagger, Richards, Phelge, Lennon, McCartney Christian Lloyd (Queen’s University, Canada)13. Gloria, Jennifer, and Camila: The Autobiographical Writing of Latinx pop Divas on Social Media from a Historiographic and Intersectional PerspectiveIgor Lemos Moreira (Federal University of São Paulo, Brazil) 14. Autobiography, Genealogy, and Anthology: The Beatles and Autobiography – ‘The Beat Goes On’Kenneth Longden (University of Salford, UK)15. Retro-Futuristic ‘ABBAtars’: Interpreting New Performer-Audience RelationshipsAbigail May Parker (University of Nottingham, UK)16. ‘You Know I’m No Good’: Cultural Memory, Archive, Ephemera, and (Re)writing the Legacy of Amy WinehouseLeanne Weston (Independent, UK)Section IIII: Performance, Identity, and Self-Representation in Music 17. ‘A tidal wave of dopesickness’: Addiction, Music and Pathography in Mark Lanegan’s Sing Backwards and WeepFraser Mann (York St. John University, UK)18. ‘It’s not an imitation, it’s a becoming’: Lady Gaga’s Wildean Self-RepresentationsVictoria Roskams (University of Oxford, UK)19. Turbulent Flow: Autobiography through Family in the Lyrics of Kendrick LamarSameer Thomas (Ashoka University, India)20. Bob Stanley: I’ll be Your MirrorJason Wood (British Film Institute, UK)List of Contributors Index

From Victoria Spivey to John Lennon, from Rob Halford to Camila Cabello and Taylor Swift: much like the diverse artists it examines, this compelling volume on pop music autobiography challenges expectations at every turn. Against the backdrop of digital and social media, it explores self-narration in both traditional forms—books and lyrics—and in emerging, unconventional spaces, such as audio books, social media, and museum exhibits. The result is a vital, timely, and inclusive contribution that compels us to rethink self-representation by musicians and fans alike.