She was the unchallenged queen of the New York rock scene...Dorothy Parker of Max's Kansas City' - Rolling Stone From the pubs of the Sydney Push to New York's legendary nightclubs, Lillian Roxon set the pace for an era that changed the world. Born in Mussolini's Italy, she arrived as a child in Brisbane at the height of the Second World War. Audacious, independent and fiercely intelligent, by eighteen she was cutting her writing teeth in the colourful world of Sydney tabloid journalism and was a key member of the Sydney Push. She moved to New York in 1960, just in time for a cultural revolution that celebrated youth, sexual freedom, women's liberation - and rock and roll. Embracing the new scene with gusto, she became the centre of a circle that included Andy Warhol, Lou Reed, Jim Morrison and David Bowie. Linda Eastman confided in her about her first date with Paul, and Germaine Greer dedicated The Female Eunuch to her. Her Rock Encycylopedia, published in 1969, was the first book of its kind and established Roxon as a leading critic and chronicler of rock culture. When she died suddenly in 1973, she left behind a body of work full of the energy, irreverence and idealism of her times. Drawing on Roxon's personal papers and extensive interviews with those who knew her, Mother of Rock is a riveting portrait of an Australian trailblazer. It also contains a generous selection of Roxon's own writing, including material from her Rock Encyclopedia, which revolutionised the way rock music was perceived.

Audacious, independent, and fiercely intelligent, Lillian Roxon cut her teeth as a reporter in the lively world of 1950s tabloid journalism. Her rapid success soon saw her interviewing stars like Rock Hudson and Richard Burton. She moved to New York City in the 1960s, just in time for a cultural revolution that celebrated youth, sexual freedom, women's liberation—and, of course, rock 'n' roll. In New York, Lillian was the universally acknowledged queen of Max's Kansas City, one of the greatest nightspots ever. It was the club where Jimi Hendrix, Mick Jagger, Janis Joplin, and other stars in waiting came to hang out. Linda McCartney confided in Lillian about her first date with Paul; Germaine Greer knocked on her door for a place to stay. The 1969 publication of Lillian's Rock Encyclopedia—excerpted in this volume—confirmed her status. It was the first book of its kind and established her as one of America's leading chroniclers of rock culture. Here was the "queen of Max's Kansas City" who ruled the world of rock—the only critic to give Lester Bangs a run for his money.

Full-tilt, hardcore, down-home, and groundbreaking, the women of country music speak volumes with every song. From Maybelle Carter to Dolly Parton, k.d. lang to Taylor Swift—these artists provided pivot points, truths, and doses of courage for women writers at every stage of their lives. Whether it’s Rosanne Cash eulogizing June Carter Cash or a seventeen-year-old Taylor Swift considering the golden glimmer of another precocious superstar, Brenda Lee, it’s the humanity beneath the music that resonates. Here are deeply personal essays from award-winning writers on femme fatales, feminists, groundbreakers, and truth tellers. Acclaimed historian Holly George Warren captures the spark of the rockabilly sensation Wanda Jackson; Entertainment Weekly’s Madison Vain considers Loretta Lynn’s girl-power anthem “The Pill”; and rocker Grace Potter embraces Linda Ronstadt’s unabashed visual and musical influence. Patty Griffin acts like a balm on a post-9/11 survivor on the run; Emmylou Harris offers a gateway through paralyzing grief; and Lucinda Williams proves that greatness is where you find it. Part history, part confessional, and part celebration of country, Americana, and bluegrass and the women who make them, Woman Walk the Line is a very personal collection of essays from some of America’s most intriguing women writers. It speaks to the ways in which artists mark our lives at different ages and in various states of grace and imperfection—and ultimately how music transforms not just the person making it, but also the listener.

"To be a fan is to scream alone together." This is the discovery Hannah Ewens makes in Fangirls: how music fandom is at once a journey of self-definition and a conduit for connection and camaraderie; how it is both complicated and empowering; and how now, more than ever, fandoms composed of girls and young queer people create cultures that shape and change an entire industry. This book is about what it means to be a fangirl. Speaking to hundreds of fans from the UK, US, Europe, and Japan, Ewens tells the story of music fandom using its own voices, recounting previously untold or glossed-over scenes from modern pop and rock music history. In doing so, she uncovers the importance of fan devotion: how Ariana Grande represents both tragedy and resilience to her followers, or what it means to meet an artist like Lady Gaga in person. From One Directioners, to members of the Beyhive, to the author's own fandom experiences, this book reclaims the "fangirl" label for its young members, celebrating their purpose, their power, and, most of all, their passion for the music they love.

Jessica Hopper's music criticism has earned her a reputation as a firebrand, a keen observer and fearless critic not just of music but the culture around it. With this volume spanning from her punk fanzine roots to her landmark piece on R. Kelly's past, The First Collection leaves no doubt why The New York Times has called Hopper's work "influential." Not merely a selection of two decades of Hopper's most engaging, thoughtful, and humorous writing, this book documents the last 20 years of American music making and the shifting landscape of music consumption. The book journeys through the truths of Riot Grrrl's empowering insurgence, decamps to Gary, IN, on the eve of Michael Jackson's death, explodes the grunge-era mythologies of Nirvana and Courtney Love, and examines emo's rise. Through this vast range of album reviews, essays, columns, interviews, and oral histories, Hopper chronicles what it is to be truly obsessed with music. The pieces in The First Collection send us digging deep into our record collections, searching to re-hear what we loved and hated, makes us reconsider the art, trash, and politics Hopper illuminates, helping us to make sense of what matters to us most.

Lola Bensky is a nineteen-year-old rock journalist who irons her hair straight and asks a lot of questions. A high-school dropout, she's not sure how she got the job – but she's been sent by her Australian newspaper right to the heart of the London music scene at the most exciting time in music history: 1967. Lola spends her days planning diets and interviewing rock stars. In London, Mick Jagger makes her a cup of tea, Jimi Hendrix (possibly) propositions her and Cher borrows her false eyelashes. At the Monterey International Pop Festival, Lola props up Brian Jones and talks to Janis Joplin about sex. In Los Angeles, she discusses being overweight with Mama Cass and tries to pluck up the courage to ask Cher to return those false eyelashes. Lola has an irrepressible curiosity, but she begins to wonder whether the questions she asks these extraordinary young musicians are really a substitute for questions about her parents' calamitous past that can't be asked or answered. As Lola moves on through marriage, motherhood, psychoanalysis and a close relationship with an unexpected pair of detectives, she discovers the question of what it means to be human is the hardest one for anyone – including herself – to answer. Drawing on her own experiences as a young journalist, the bestselling author of Too Many Men has created an unforgettable character in the unconventional and courageous Lola. Genuinely funny and deeply moving, Lola Bensky shows why Lily Brett is one of our most distinctive and internationally acclaimed authors. 'Brett delivers an entertaining story that is also full of heart.' Australian Bookseller and Publisher 'A touching look at a woman's quest for self-understanding.' Who Weekly 'Funny, warm and insightful.' Herald Sun 'For Brett, resolution has come through creative remembering and retelling, and by constructing a fine comic novel from an unspeakable tragedy.' Australian Book Review 'A witty novel you'll struggle to put down.' Grazia 'A book that will entertain legions of readers.' Courier Mail 'An entertaining story that is also full of heart.' Bookseller+Publisher 'Lily Brett's heroines exude curiosity and Lola Bensky is no exception.' Sun-Herald 'Brett's sixth book hooks you in, not just because of her characteristic wit, but because she was a rock journalist herself back in the day.' Melbourne Times Weekly 'Lola Bensky will thrill [Brett's] fans: finally a book based on her extraordinary experiences as a reporter for Australia's first music magazine, Go-Set, during the most exciting era in pop music history.' Australian Jewish News

In Beyond Belief, John Button looks at what has gone wrong with the Labor Party. What has happened to the faith of the True Believers and why is the ALP so bad at recruiting new members? He offers a tough-minded analysis of what went wrong in the last election and asks why the Labor Party has turned its back on its destiny as a party of reform. Here is a very cool account of the factions which seem to stand for nothing but their own power bases, and the unions who both give and get little from the ALP. In a withering analysis, John Button looks at the quality of Labor members and the short-sightedness of a party turning its back on ideas. This is an essay by a man who still believes in Chifley's light on the hill but who thinks the only hope lies with New Believers. 'Beyond Belief represents one of the coolest and most disheartening accounts of a great political party this country has seen. This is the Australian Labor Party seen from the perspective of an elder statesman who has an absolute belief ... in the moral superiority of the Labor cause but who seriously doubts whether the ALP will ever achieve government again and who distinctly implies that in its present state it is not fit for it.' -Peter Craven, Introduction 'After the election debacle some people blamed the Tampa and September 11. But the simple fact is that the ALP had not built an adequate policy profile or built up sufficient enthusiasm and respect for its style of politics. Without these, it had no hope of differentiating its position on refugees and asylum seekers from the government's when this became the key issue of the election.' -John Button, Beyond Belief This issue also contains correspondence discussing Quarterly Essay 5, Girt by Sea, from Alison Broinowski, Gerard Henderson, John Hirst, Philip Ruddock, Angela Shanahan, Robyn Spencer, and Mungo MacCallum.