Lexington Books
Pages: 242
•
Trim: 6¼ x 9¼
978-1-7936-2525-0 • Hardback • August 2020 • $105.00 • (£81.00)
978-1-7936-2526-7 • eBook • August 2020 • $99.50 • (£77.00)
Christopher T. Keaveney is assistant professor at Rikkyo University.
Introduction: I Want You to Want Me: Western Rock Artists and Japan
Chapter 1: You Say You Want a Revolution: The Ventures, the Beatles, Group Sounds, and the Soundtrack for a Miracle
Chapter 2: Japan’s Temple of Rock: Budokan and the Golden Age of Live in Japan
Chapter 3: Unleashed in the East: Negotiating Western Imaginaries of Japan
Chapter 4: Big in Japan: The Western Gaze in Rock Songs About Japan
Chapter 5: I Think I’m Turning Japanese: Orientalism in Rock Videos and Images
Chapter 6: Pinkerton’s Apology: The Maturing of the Western Rocker’s Gaze
Epilogue: Rockin’ On: The Continuing Appeal of Japan to Western Artists
Taking his readers on a rock 'n roll tour of Japan from the 1960s through the 1990s, Christopher Keaveney reveals the Orientalist dreams influencing many Western musicians from their kimono-clad album covers and geisha-inspired lyrics to their reflections on their Japanese fandom. Informative, erudite, and wonderfully fun to read, Keaveney's study compels rethinking the legacy of Madame Butterfly, samurai masculinity, and discovery of the Western self in the exotic East.
— Rebecca Copeland, Washington University in St. Louis
Christopher T. Keaveney shifts our focus from the impact of rock music on Japan to the impact of Japan on rock music. He places rock and roll in the long history of japonisme, demonstrating how both explicitly gendered ‘imaginaries’ and real experiences of Japan influenced the economic and cultural development of AOR and rock video. Throughout the book, Keaveney’s passion for the music comes through.
— E. Taylor Atkins, Northern Illinois University
This knowledgeable, lovingly written, accessible book records the many ways orientalist stereotypes of Japan have influenced American and British rock musicians during the ‘Age of Album Rock’ (1960s–1990s) and beyond, as heard in their songs, seen on their album covers, enacted on their concerts at the Budokan, performed in photographs and music videos, and reported by journalists.
— Alisa Freedman, University of Oregon