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This call for papers invites submissions that explore the staging of singers’/musicians’ bodies in musical performances, especially from the 1960s to the present day. We seek to investigate how these performances have defied conservative values and norms to become iconic (Regev, 1994). We are particularly interested in articles that provide novel insights into the historical contexts of past performances by lead singers or bands. We welcome interdisciplinary and cross-disciplinary approaches that delve into the interplay between musical performance, physicality, theatricality, and the presentation of the performer. This includes, but is not limited to, analyses within rock, metal, punk, rap, and K-Pop genres (Railton & Watson, 2011). Potential areas of exploration—not limited to Europe or the US—include: • Decency and Decorum: Investigations into how singers have historically challenged notions of decency and decorum through their on-stage presentations, including clothing, hairstyles, makeup, tattoos, and nudity. This also involves examining the cultural and historical contexts that influenced these presentations (Hebdige, 1979; Reynolds & Press, 1995; Oh & Park, 2020). • Performance Styles of Rap, Rock or K-Pop Singers etc.: Detailed examinations of the performance styles of iconic figures like Jim Morrison, Iggy Pop, Led Zeppelin, Jimmy Hendrix, Red Hot Chili Peppers, David Bowie, Freddie Mercury, Téléphone, Shaka Ponk, Biffy Clyro, Kendrick Lamar among others. This may include analyses of how these artists have aged and continued to perform, as well as the staging of their performances involving movements, trance, and dance (Clarke, 1982; Fast, 2001; Lee, 2019). • The Theatricalization of Musical Performances: Exploration of the use of technology and special effects in performances, set design, and the overall theatrical experience to convey specific messages. This includes the impact of such elements on the audience’s experience and the performers’ stage personas (Auslander, 1999; Beebe & Fulbrook, 2010; Jung, 2015). • The Reception of the Performances: Studies on audience reactions to iconic shows, including phenomena such as hysteria, collective hallucination, and physical altercations. This section also invites research on media coverage of these unparalleled performances and their impact on contemporary popular culture and the formation of countercultures (Thornton, 1996; Frith, 1981; Kim, 2020). • Vocalising Hegemonies: Critical analyses of the normative stereotypes within the music industry, particularly concerning intersectional issues of gender, race, and sexuality in musical live performances. This includes examining how performers navigate and challenge these hegemonies through their stagecraft (Hooks, 1994; McRobbie, 1991; Choi & Maliangkay, 2014).
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