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Kirsty Fairclough is Professor of Screen Studies at the School of Digital Arts (SODA) at Manchester Metropolitan University, UK. She is the co-editor of The Music Documentary (2013), The Arena Concert (Bloomsbury, 2015), The Legacy of Mad Men, Music/Video (2019), Prince and Popular Culture (Bloomsbury, 2020) and author of the forthcoming Beyoncé: Celebrity Feminism and Popular Culture. She is the Chair of Manchester Jazz Festival. Benjamin Halligan is the Director of the Doctoral College of the University of Wolverhampton, UK. His publications include Michael Reeves (2003), Desires for Reality: Radicalism and Revolution in Western European Film (2019), and Hotbeds of Licentiousness: The British Glamour Film and the Permissive Society (2022). He has co-edited: Mark E. Smith and The Fall (2010); Reverberations (Bloomsbury, 2012); Resonances (Bloomsbury, 2013); The Music Documentary (2013); The Arena Concert (Bloomsbury, 2016); Stories We Could Tell (2019); Politics of the Many (Bloomsbury, 2021) and Adult Themes (forthcoming). Nicole Hodges Persley is Professor of American Studies and African and African American Studies at the University of Kansas, USA. Her books include Sampling and Remixing Blackness in Hip-Hop Theater and Performance and Black Matters: Lewis Morrow Plays (2021) and, as co-editor, Breaking it Down: Audition Techniques for Actors of the Global Majority and Hip-Hop in Musical Theater (2021). Shara Rambarran is Senior Lecturer at the University of Brighton, UK. She is a musicologist for the award-winning Spotify music podcast, Decode, co-runs the Art of Record Production conferences, and is an editor for the Journal on the Art of Record Production. Her publications include Virtual Music: Sound, Music, and Image in the Digital Era (Bloomsbury, 2021) and (as co-editor) The Oxford Handbook of Music and Virtuality (2016), and The Routledge Research Companion to Popular Music Education (2020).
"""This book is a work of ideological expansion in which 15 essays about how charismatic female 'stars' choose to perform and represent themselves to the public are compiled to produce data intended to encourage the formulation of a truly global, truly intersectional, style of feminism. Because we know the semantically unstable term 'diva' can be deployed to either praise or damn any female actor, pop star, comedian, or drag queen who dares to use their Dionysian stagecraft to defy repressive stereotypes of how women are allowed to behave, the four editors of Diva: Feminism and Fierceness from Pop to Hip-Hop encourage scholars to embrace the word's semantic drift the better to affirm that for truly gifted performers there is no self-mythologizing body image, social media post, song lyric, or verbal quip so transgressive that it cannot function as effective cultural critique and resistance."" --Dr. Carol Cooper, journalist, cultural critic, and Adjunct Professor, Clive Davis Institute for Recorded Music, New York University, USA ""Diva: Feminism and Fierceness from Pop to Hip-Hop will forever change the way you define diva! From Grace Jones to Mariah Carey to Cardi B, the book highlights the complexity and multivalent narratives of the diva in contexts inside and outside of popular music. The ever-shifting identity of the diva is interrogated as a far more intricate and nuanced view than the stereotype allows, affirming the term diva as an empowering, multifaceted cultural icon."" --De Angela L. Duff, Industry Professor & Associate Vice Provost, New York University, USA"
Heartbreak is the National Anthem...
How Taylor Swift Reinvented Pop...
Hardback
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