Peter Gabriel, From Genesis to Growing Up

Cover
Half Title
Dedication
Title Page
Copyright Page
Contents
General Editor’s Preface
List of Figures
List of Tables
List of Musical Figures
Notes on Contributors
Abbreviations
1 Peter Gabriel: From Genesis to Growing Up
	Genesis
	Growing up
	Identity and Representation
	Politics and Power
	Production and Performance
Part I: Identity And Representation
	2 From the New Jerusalem to the Secret World: Peter Gabriel and the Shifting Self
	3 Peter Gabriel and the Question of Being Eccentric
		The Cultural History of Eccentricity
			English rock eccentrics before and after early Genesis
		Peter Gabriel and the Formation of his Performative Eccentricity
			The man without masks and qualities
			Peter Gabriel and the age of ‘normality’
	4 How Peter Gabriel Got His Mozo Working
	5 Staging Masculinities: Visual imagery in Peter Gabriel’s ‘Sledgehammer’ Video
		Performing Gender
		Staging the Glance
		Imaging Masculinities
		Conclusion
	6 Peter Gabriel’s Elegy for Anne Sexton: Image and Music in ‘Mercy Street’
		Reading ‘Mercy Street’
		Introduction
		Contour
		Verse 1: Shots 1, 2
		Verse 1: Shots 5, 6
		Bridge Fragment
		Continuity
		Verse 1: Shot 10
		Lyrics
		Verse 1: Shot 12; Chorus 1: Shots 13–17
		Chorus 1: Shots 13–17
		Sectional Divisions
		Instrumental 1
		Arrangement
		Verse 2
		Local Transformation of Material
		Chorus 2
		Harmony
		Bridge 2: Shots 33–7
		Rhythm and Articulation
		Structural Overview / Formal Unity
			Large-scale Divisions
			The Relations among Shots, both Contiguous and Non-contiguous
		Chorus 3: Shots 39–46
Part II: Politics and Power
	7 The Eyes of the World Are Watching Now: The Political Effectiveness of ‘Biko’ by Peter Gabriel
		Introduction
		Biko’s Death: An Historical Context
		‘Biko’ by Peter Gabriel as a Political Message in the Mix
		Individual Experiences of ‘Biko’ by Peter Gabriel
		The Apartheid State Censors’ Reading of the Song
		Gabriel’s Intervention as an Instance of Counter-hegemony
		Conclusion
	8 Musical Markers as Catalysts in Social Revolutions: The Case of Gabriel’s ‘Biko’
		Introduction
		Bi-directional Causality: The Place of ‘Biko’ in the Music Indaba
		Components of a Social Revolution
		Gabriel the Outsider Becomes Gabriel the Insider
		Biko: The Music Behind the Man
		Conclusion
	9 ‘Nothin’ but the Same Old Story’: Old Hegemonies, New Musics
		Introduction
		Peter Gabriel: Us
	10 ‘Hand-Made, Hi-Tech, Worldwide’: Peter Gabriel and World Music
		What Is World Music?
		The World Music Creator
		The Autodidact of World Music
		The World Music Entrepreneur
		Conclusion: Anxiety and Celebration
Part III: Production and Performance
	11 Nursery Crymes and Sirens’ Cries: Peter Gabriel’s Use of the Flute
		Introduction
		Background
		Trespass (1970)
		Flute technique and style
		Later Albums
		Semantics
		The Lamb Lies Down on Broadway (1974)
		Beyond Genesis
		Conclusion
	12 ‘I’d Like my Record to Sound Like This’: Peter Gabriel and Audio Technology
		Pointing at the Sound
		Technology’s Champion Speaks Out
		Layering Sound
		Electronic Skiffle
		Gradus ad Parnassum in the 1980s
	13 ‘I Need Contact’ – Rock’n’Roll and Ritual: Peter Gabriel’s Security Tour 1982–83
		Playtime 1988
		Plays Live Tour
	14 Plasticine Music: Surrealism in Peter Gabriel’s ‘Sledgehammer’
		Verses: Unpacked Metaphors and Audiovisual Remainders
		Verses II: Audiovisual Microrhythms and Synchretic Exchange
		Choruses: Surrealism as Subversion
		Coda: Toward a Genealogy of Surrealist Avant-pop
	15 The Introspectionist: The Phonographic Staging of Voice in Peter Gabriel’s ‘Blood of Eden’ and ‘Digging in the Dirt’
		Introduction
		Phonographic Staging: The Model
		The Analyses
			‘Blood of Eden’
		Conclusion
	16 Turning the Axis: The Stage Performance Design Collaboration Between Peter Gabriel and Robert Lepage
		Introduction
		Playing Games without Frontiers
		Inside a Secret World
		Growing up with Stage Technology
		Conclusion: The Struggle for Intimacy
Bibliography
	Articles and Books
	Discography
	Films and Videos
Index