Shakin’ All Over: Popular Music and Disability

243 Pages·2013·11.844 MB·English

by  George McKay

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Shakin’ All Over

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Shakin’ All Over
Popular Music and Disability
George McKay
The University of Michigan Press
Ann Arbor
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Copyright © by the University of Michigan 2013
All rights reserved
This book may not be reproduced, in whole or in part, including illustrations, in any form
(beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and
except by reviewers for the public press), without written permission from the publisher.
Published in the United States of America by
The University of Michigan Press
Manufactured in the United States of America
c Printed on acid- free paper
2016 2015 2014 2013 4 3 2 1
A CIP catalog record for this book is available from the British Library.
Library of Congress Cataloging- in- Publication Data
McKay, George, 1960–
Shakin’ all over : popular music and disability / George McKay.
pages cm
Includes bibliographical references and index.
ISBN 978- 0- 472- 07209- 5 (cloth : alk. paper) — ISBN 978- 0- 472- 05209- 7 (pbk. : alk.
paper) — ISBN 978- 0- 472- 12004- 8 (e- book)
1. Disabilities and popular music. 2. Musicians with disabilities. I. Title.
ML3470.M44 2013
781.64087— dc23
0 1 3 0 2 28357
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. . . anything that rhymes with “me.”
—Kevin Coyne, In Living Black and White (1976)
. . . although it amounts to rebellion and a near- utopia:
let’s love the difference.
—Henri- Jacques Stiker, A History of Disability (1997, 10– 11)
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For Dora
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Acknowledgments
This book would not have been possible without an Arts & Humanities
Research Council research leave grant in 2010 (project title and number:
“Spasticus: Popular Music and Disability”; AH/H005021/1), and a Univer-
sity of Salford sabbatical the same year. I am hugely grateful for both.
I owe thanks to musicians Steve Harley, David Rohoman, Penny Rim-
baud, David Liebman, for discussions about music and disability; to Tony
Gould for the transcription of his 1991 Ian Dury interview; to Peter Cox for
sending me a transcription of his interview with Peggy Seeger about The
Body Blow; to Christopher J. Rutty for sending me a copy of his Neil Young
“Helpless” essay; and to Jessy Franklin and her brother Sean Stanley for the
photograph of his tattoo.
To my University of Salford colleagues Dave Sanjek (RIP), Gareth
Palmer, Tim Wise, Ben Halligan, Tony Whyton, Nicola Spelman, Beth
Hewitt, Deborah Woodman, Michael Goddard, Adam Garrow, Peter Buse.
Also to Petra Kuppers, Neil Foxlee, Les Back, Andy Bennett, Charles
Fairchild, Tony Mitchell, Hilary Pilkington, Mat Fraser, Ross from the Crip-
ples, Bruce Johnson, Barbara Bradby, Simon Warner, Andy Simons, Gillian
Pitter, Alison Wilde, Irene Rose, Rebecca Mallett, Claire Molloy, David
Bolt, Paul Carr, my Scottish neuromuscular consultant Prof. Douglas
Mitchell (RIP), Hilary Boone, Pauline Eyre, Mark Goodall, Paul Long, Ben
Higham, Maran McKay Senior, Ken Johnson, Nick Gebhardt, Mike Weaver,
Paul Dumke, Jorge Cortes, Chris Lines, Micah Levi Spangler, Petina-D ixon
Jenkins, Giselle R. Bratcher.
To the contributors to and reviewers of a special issue of Popular Music
on disability I edited in 2009— in particular, Nikki Dibben, Laurie Stras,
Cheryl Herr, for critical or musical suggestions. The anonymous reviewers