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Book SynopsisStephanie Shonekan is Professor of Ethnomusicology and Dean of the College of Arts and Humanities at the University of Maryland, USA. Her dual heritage combining West Africa with the West Indies allows her to straddle the Black world comfortably. Her publications explore the nexus where identity, history, culture and music meet. Her books include The Life of Camilla Williams: African American Classical Singer and Opera Diva (2011), Soul, Country, and the USA: Race and Identity in American Music Culture (2015), Black Lives Matter & Music (2018) and Black Resistance in the Americas (2018), and Race and the American Story (2024).

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Book SynopsisThe connection of Judaism to music has been a lively discourse topic in recent years, and the musical awakening in religious circles is one expression of it. This book is the first comprehensive research project on the encounter of music and Judaism in the theological and philosophical realms, tracing the historical evolution of the music motif in Jewish thought. It describes the course of music as a tool serving religious, psychological, and instrumental goals until it developed into an independent aesthetic experience. Discussions also encompass various assessments of music in Jewish thought and the special connection of the Jewish people to music. Table of ContentsIntroduction Methodological Aspects Assessing the Role of Music Music and the Jewish People Music as a Tool Toward Music as an Independent Field: Representation, Language, Dialogue Music, Zionism, Religion Summing Up By Way of an EpilogueSelected BibliographyIndex

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Book SynopsisAn essential exploration of Nordic composers and musicians, and the distinctive culture that continues to shape themTrade Review“The Nordic lands have become a musical powerhouse, from Grieg and Sibelius to Björk and Eurovision winners. Over a decade or more a passion for all things northern has taken Mellor on an exploration of Nordic culture, its folklore and landscapes, the Nordic noir mindset and, above all, its musical richness.”—Richard Fairman, Financial Times, “Best summer books of 2022: Classical music”"Andrew Mellor’s The Northern Silence: Journeys in Nordic Music and Culture (Yale) brings together, with a discoverer’s verve and an expert’s attentive accuracy, the paradox behind the five Nordic countries’ artistic achievements. Their awed reverence for nature, combined with deep respect for preceding generations, goes with insistence on maintaining progressive institutions for the furtherance of the arts. Mellor compellingly presents their stress on music in school curriculums, their training of musicians and their widespread provision of conducive buildings and locations."—Paul Binding, Times Literary Supplement 'Books of 2022'“The book is above all a profuse and expert love letter to music and life in the Nordic countries. Mellor’s expertise in and enthusiasm for his subject comes clearly across in the text.”—Lasse Lehtonen, Finnish Music Quarterly“Above all, The Northern Silence is an extraordinary achievement for Mellor’s ability on the one hand to find commonalities among disparate threads, and on the other to tease out the implications of a single theme: neither with any expectation of a definitive answer.”—Will Yeoman, Limelight“In [Mellor’s] free-ranging journeys through the region, people, places and history, sounds and silences tumble over each other in an excitement of discovery against the backdrop of landscapes that are as psychological as they are elemental—and broodingly intense.”—Steph Power, BBC Music Magazine“There’s no aspect of Scandinavian or Nordic life that doesn’t illuminate Mellor’s understanding of the whole. . . . In short, then, the best kind of music book—one that takes literally Nielsen’s declaration that ‘Music is life,’ and makes it the heart and soul of something infinitely wider and more fascinating.”—Richard Bratby, Gramophone“This magical part of the world is Mellor’s home and this book is a journey in his company, basking in his knowledge and passion for music and people. . . . It’s a walk through a forest listening to thoughts and stories and the silences.”—Fiona Talkington, Songlines“This absorbing read says a great deal for Mellor’s breadth of outlook and his depth of sympathies. In the Prelude and Postlude, the reaching-out of Sibelius’s masterpiece Tapiola towards silence is pertinently considered as exemplifying Nordic culture. Hopefully this book’s authorial voice will stay resilient for a long while yet.”—Richard Whitehouse, Arcana.fm“Mellor brings to his accounts of Grieg, Nielsen and Sibelius stimulating freshness of approach. But he also writes compellingly—and with galvanising attention to detail—about those composers not as yet hallowed by time.”—Paul Binding, Anglo-Norse Review“The Northern Silence is a compelling take on music and its place in a society . . . It deserves to be read by anyone interested or involved in the arts today, or by anyone concerned by the direction in which Western, and not just Nordic countries, appear to be going."—Stuart Millson, The Quarterly Review“Andrew Mellor leads us on an evocative journey through the rich and sonorous pine forest of Nordic music, acting as our faithful and knowledgeable guide and discovering treasures at every turn.”—Víkingur Ólafsson, Pianist“A sense of deep listening and of silence underpins this brilliant book; an impressive thought-map of interconnected journeys, from the forest to the heart of the Nordic psyche. Mellor presents his insightful ideas with an intensely personal clarity, one that seems infused with the crisp, clean air of the Nordic wilderness.”—Tansy Davies, composer“An outstanding account. Andrew Mellor takes us on a sonic journey that is as ferociously thrilling and uncommonly beautiful as the Nordic landscape which he now calls home. Fascinating, nuanced and ear-opening. I am listening anew.”—Clemency Burton-Hill, broadcaster, musician, and author“I have long admired and respected Andrew Mellor’s work. He always writes with a deep knowledge and love of his subject matter and his particular expertise in the field of Nordic music is unparalleled.”—Leif Ove Andsnes, pianist“I was entranced by this pitch perfect journey through Scandinavia, evoking the people, the places and most uniquely, the music; inspired by the silence and the snow, the long, dark winters and frantic bursts of summer that make life and culture feel so visceral there.”—Mariella Frostrup, broadcaster and author

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Book SynopsisCanadian performer k.d. lang broke new ground in the 1980s by blending the genres of punk and country, dubbed cowpunk, with her band, the Reclines. Despite Grammy-award-winning recordings and frequent North American TV spots, mainstream country radio excluded lang from airplay due to her unconventional gender presentation and perceived sexuality. Not until lang's 1992 pop album Ingénue, the release of the single Constant Craving, and her subsequent coming out in The Advocate did lang earn critical acclaim worldwide.The book addresses lang's rise to fame after switching genres, the successful reinvention of her sound and persona, and how she found herself immersed in the whirlwind of MTV and the lesbian chic aesthetic of 1990s pop culture. As an LGBTQ author, Joanna McNaney Stein discusses her adolescence and sexual development by weaving in short narrative prose pieces with her analysis of lang and Ingénue. Also included are interviews with lang''s musicTable of ContentsAcknowledgments Introduction Part I - Pre-Ingénue Primer 1. k.d. lang’s American TV Debut 2. In Search of a Missing Identity 3. The Tonight Show, Patsy Cline & “Crying” 4. Torch and Twang Days Part II - Ingénue 5. Ben Mink on Ingénue 6. Ingénue Track-by-Track 7. Critics & Coming Out 8. MTV Mania Part III - Post-Ingénue 9. Collaborators on k.d. 10. Pop Culture References 11. Canadian Music Hall of Fame and Ingénue's 25th Anniversary Works Cited

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Book SynopsisListen Up! is the world's first publication to take a look at American radio art as a distinct sound art practice. Analytical essays by leading media art historians and practitioners discuss how the field took shape in the context of changing broadcast environments and socio-political realities, while manifestos and other original documents provide vivid glimpses into the concerns of artists seeking to insert their alternative visions into the mass medium radio. The volume also elucidates the role of prominent artists who worked extensively for European broadcasters and considers the difference between sound works for broadcast radio and their internet incarnations.

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Book SynopsisClaudia Lonkin is a historian of popular music and culture based in the United States. Her research focuses on global music trends in the 1970s and 1980s, examining congruences and points of contrast between scenes in Europe and the Americas. She has been published in the Journal of Popular Music Studies and Punk & Post-Punk.

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Book SynopsisMath rock sounds like blueprints look: exact, precise, architectural. This trance-like progressive metal music with indie rock and jazz influences has been captivating and challenging listeners for decades. Bands associated with the genre include King Crimson, Black Flag, Don Caballero, Slint, American Football, Toe, Elephant Gym, Covet, and thousands more. In an online age of bedroom producers and sampled beats and loops, math rock is music that is absolutely and resolutely played: men and woman in rooms with instruments creating chaos, beauty, and beautiful chaos.This is the first book-length look at the global phenomenon. Containing interviews with prominent musicians, producers, and critics spanning the globe, Math Rock will delight longtime fans while also serving as a primer for those who want to delve deeper. It shows why and how an intellectually complex, largely faceless, and almost entirely instrumental form of music has been capturing the attention of listeners fo

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Book SynopsisMamie Smith''s 1920 recording of ''Crazy Blues'' is commonly thought to signify the beginning of commercial attention to blues music and culture, but by that year more than 450 other blues titles had already appeared in sheet music and on recordings. In this examination of early popular blues, Peter C. Muir traces the genre''s early history and the highly creative interplay between folk and popular forms, focusing especially on the roles W. C. Handy played in both blues music and the music business. Long Lost Blues exposes for the first time the full scope and importance of early popular blues to mainstream American culture in the early twentieth century. Closely analyzing sheet music and other print sources that have previously gone unexamined, Muir revises our understanding of the evolution and sociology of blues at its inception.Trade ReviewReceived a Certificate of Merit in the Best Music History category from the Association for Recorded Sound Collections (ARSC), 2011. "Required reading for lovers of the blues and historians of American popular music."--Notes"One of the most important and original books on blues to be published in the past decade."--The Journal of Southern History, David Evans"Muir's revealing book contributes significantly to understanding how sheet music and the pop music industry influenced the blues. An important work."--Tim Brooks, author of Lost Sounds: Blacks and the Birth of the Recording Industry, 1890-1919"This fascinating work discusses the genesis and introduction of a minority music genre into mainstream culture in a way that is impossible to ignore, given the importance of blues connections to other genres. Essential reading for anyone interested in American popular music."--Dick Spottswood, host of The Dick Spottswood Show on BlueGrassCountry.org and editor of Ethnic Music on RecordsTable of ContentsAcknowledgments ix A Word about the Music Examples xi Introduction 1 1. The Popular Blues Industry, 1912-1920 7 2. The Identity and Idiom of Early Popular Blues 28 3. Curing the Blues with the Blues 80 4. The Blues of W. C. Handy 104 5. The Creativity of Early Southern Published Blues 141 6. Published Proto-Blues and the Evolution of the Twelve-Bar Sequence 181 Appendix: Titular Blues, 1912-1915 217 Notes 221 Major Works Consulted 243 General Index 245 Song Index 251

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Book SynopsisTwentieth-century composers created thousands of original works for solo percussion and percussion ensemble. Concise and ideal for the classroom, Artful Noise offers an essential and much-needed survey of this unique literature. Percussionist Thomas Siwe organizes and analyzes the groundbreaking musical literature that arose during the twentieth century. Focusing on innovations in style and the evolution of the percussion ensemble, Siwe offers a historical overview that connects the music to scoring techniques, new instrumentation and evolving technologies as well as world events. Discussions of representative pieces by seminal composers examines the resources a work requires, its construction, and how it relates to other styles that developed during the same period. In addition, Siwe details the form and purpose of many of the compositions while providing background information on noteworthy artists. Each chapter is supported with musical examples and concludes with a sTrade Review"The author's perspective as a student, and later pedagogue, of the percussion program pioneered at the University of Illinois lends the work a humble authority that ultimately makes for a compelling account of recent percussion history." --Music Educators Journal"Recommended." --Choice”This book makes it possible for everyone to benefit from Professor Siwe's decades of research concerning the history of percussion in the twentieth-century and the music composed by many of that century’s most important composers. Percussion music holds a special place in the twentieth century, and its story is told here by one of the twentieth century's most knowledgeable percussion practitioners and pedagogues. Thomas Siwe has written an indispensable book, drawn from a lifetime of experience and research. Everyone interested in the essential role percussion played the last century should read this book!”—Christopher Shultis, author of Silencing the Sounded Self: John Cage and the American Experimental Tradition”Simply stated, this is a singular contribution detailing the history of percussion literature in the twentieth century made by one of the most knowledgeable percussion educators who was witness to many of the composers and compositions he discusses.”—Kathleen Kastner, Wheaton College Conservatory of Music

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Book Synopsis A Variety Best Music Book of 2022 A No Depression Most Memorable Music Book of 2022 A Library Journal Best Arts and Humanities Book of 2022 A Pitchfork Best Music Book of 2022 A Boot Best Music Book of 2022 A Ticketmaster Best Music Book of 2022 A Happy Magazine Best Music Book of 2022 Woody Guthrie First Book Awardwinner Awarded a Certificate of Merit in the 2023 ARSC Awards for Excellence in Historical Recorded Sound Research in the category Best Historical Research in Country, Folk, Roots, or World Music. Though frequently ignored by the music mainstream, queer and transgender country and Americana artists have made essential contributions as musicians, performers, songwriters, and producers. Queer Country blends ethnographic research with analysis and history to provide the first Trade Review"A dynamic, much-needed read." --Variety "Essential Reading." --No Depression"Dazzling." --Country Queer"An important work." --Washington Blade "Shana Goldin-Perschbacher's examination of the history of the artists that proudly declared their sexuality displays how the fearlessness of earlier generations made things possible for today's artists that previously weren't." --The Boot​"An empathetic and illuminating study, sure to expand country playlists. For scholars interested in queer studies and fans of country music." --Library Journal​"Thought-provoking. The author offers a number of valuable insights into the music and you find yourself considering the white patriarchy that has dominated most genres of the music industry, but in particular, aspects of roots music, especially country, and how that has worked not only against LGBT musicians but also women, Black artists and other marginalized sections of society. On the surface, this would appear to be a book aimed at a niche market. In fact, it addresses issues that should be important to all of us." --Americana UK"Goldin-Perschbacher's research is meticulous, making the book particularly welcome. . . . Recommended." --Choice"Goldin-Perschbacher uncovers a treasure trove of non-binary and queer artists working in what has long been a conservative, male-dominated field." --Ticketmaster"At this unprecedented moment when queer artists dominate the Americana Awards nominations, Shana Goldin-Perschbacher's Queer Country arrives offering a timely, necessary, and radically fresh perspective on roots music--as a space for expression of sincerity by queer and trans artists." --Nadine Hubbs, author of Rednecks, Queers, and Country Music "Shana Goldin-Perschbacher's Queer Country shines a light on the long-overlooked but persistent and subversive community of queer musicians in country music history. Of course, we have been there all along! Her in-depth explorations into the voice of each musician explored are lively, personal, and emotional depictions. In French, the word for gender is genre. This is no coincidence! Goldin-Perschbacher connects the dots for us in her exploration of many transgender and queer folks playing country music. The connections are sheer magic, obvious at second glance, and very insightful. Discover why transgender artists defy genre--get it? Just because we are queer doesn't mean we are carbon copies. Goldin-Perschbacher allows each of us to share our light in personal, social, and political motifs. We are all unique, but bound to one another in our struggles to liberate country music from its stereotypical and corporate confinements. Queer Country rips the cover off these and exposes the truths that have existed from the beginning."--Patrick Haggerty, recording artist, Lavender Country (1973)Table of ContentsAcknowledgments viiIntroduction 1CHAPTER ONE: Queer Country and Sincerity 25CHAPTER TWO: Genre Trouble 70CHAPTER THREE: Rurality and Journey as Queer and Trans Musical Narratives 125CHAPTER FOUR: (Mis)representation, Ownership, and Appropriation 153CHAPTER FIVE: Masks, Sincerity, and (Re)claiming Country Music 172Notes 201Discography 229Bibliography 235Index 251

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Book SynopsisThe Cambridge Songs is the most important anthology of songs from before the thirteenth-century Carmina Burana. It contains panegyrics and dirges, political poems, comic tales, religious and didactic poems, and poetry of spring and love. This edition includes a substantial introduction, the Latin texts and English prose, and extensive commentary.

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Book SynopsisTrade Review"Startling insights on every page."---Henrietta Bredin, Country Life Magazine"A provocative and beautiful collection of twenty-six often deeply personal essays. . . . The works in Ways of Hearing point to the magic in music . . . its ability to enrich and affirm life, to express depths that words cannot reach, to provide hope and healing, and perhaps most importantly, to connect us to other people, near and far, and to all that exists and moves around us. . . . The volume . . . is a pleasure."---Thomas M. Kitts, Popular Music and Society"Across the 26 easily digestible essays that span subjects from Olivier Messiaen to Charles Mingus, this book gives the reader a unique insight into the role music plays in the lives of some of the world’s great artists and thinkers."---Angus McPherson, Limelight Magazine

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Book SynopsisTold in personal interviews, this is the collective story of a punk community in an unlikely town and region, a hub of radical counterculture that drew artists and musicians from throughout the conservative South and earned national renown.Trade Review“This beautifully crafted page-turner presents the outsider history of a thriving southern punkhouse where military brats, rocker chefs, queerdoe artists, revivified veterans, a newborn, and a rotating pack of dogs lived nearly cash-free in a filthy and vibrant wonderland they made imperfectly together.”- Anna Joy Springer, author of The Vicious Red Relic, Love;“A Punkhouse in the Deep South is a ray of light from a completely unexpected direction: a lucid, humble, sweet-natured account of building a small DIY utopia that would continue to flourish for more than 25 years in ostensibly hostile terrain. Its success may not be replicable, but that it happened at all is cause for wonder.”- Luc Sante, author of Low Life: Lures and Snares of Old New York;“The first punk oral history to illuminate a chronically undervalued context for southern misfit life: that it thrives because of its relationship to its community, not despite it.”- Nate Powell, artist of the March trilogy;“This book celebrates the punks who do the grunt work to build places where they can conspire to make a better way of life. It is an essential contribution to the history of music, counterculture, and cities.”- James Tracy, coauthor of Hillbilly Nationalists, Urban Race Rebels, and Black Power: Community Organizing in Radical Times.

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Book SynopsisIn Songbooks, critic and scholar Eric Weisbard offers a critical guide to books on American popular music from William Billings''s 1770 New-England Psalm-Singer to Jay-Z''s 2010 memoir Decoded. Drawing on his background editing the Village Voice music section, coediting the Journal of Popular Music Studies, and organizing the Pop Conference, Weisbard connects American music writing from memoirs, biographies, and song compilations to blues novels, magazine essays, and academic studies. The authors of these works are as diverse as the music itself: women, people of color, queer writers, self-educated scholars, poets, musicians, and elites discarding their social norms. Whether analyzing books on Louis Armstrong, the Beatles, and Madonna; the novels of Theodore Dreiser, Gayl Jones, and Jennifer Egan; or varying takes on blackface minstrelsy, Weisbard charts an alternative history of American music as told through its writing. As Weisbard demonstrates, thTrade Review“Entertaining scholarship! Entertaining criticism! What a revelation! Eric Weisbard is one of those rare writers who understands that in mirroring the music it addresses, literary analysis should provide pleasure as well as insights. With great verve, Songbooks provides both.” -- David Ritz, co-composer, “Sexual Healing”“Embracing the fact that there's no hearing any music without mediations of crosstalk, mythography, humbug, gatekeeping, and taste war, Eric Weisbard's exuberant and encyclopedic history of music writing delivers two and a half centuries of vernacular bounce—sheets of sound, if you will. Heroic, acutely discerning, compulsively readable, and bound to be enduringly useful.” -- Eric Lott, author of * Black Mirror: The Cultural Contradictions of American Racism *“Eric Weisbard is the rare critic who can pair a deep, intersectional, and breathtakingly intelligent survey of music writing with the nuance and joy of someone who has actually done the strange, difficult work of parsing sound on paper. Songbooks is an extraordinary look at how we try to make sense of the music that buoys and destroys us. It made me rethink what criticism can do, what music can do, and how both can change our lives.” -- Amanda Petrusich, author of * Do Not Sell at Any Price: The Wild, Obsessive Hunt for the World’s Rarest 78 rpm Records *"Weisbard reshuffles the canon, paying close attention to Black, gay and other voices that have often been pushed to the margins. . . . He doesn’t penetrate his subjects so much as hurl himself at them and bounce off, like a bird smacking into a window. Weisbard falls to the ground, dusts himself off, then counts the intellectual change that’s fallen from his pockets." -- Dwight Garner * New York Times *"Weisbard’s comprehensiveness means he may introduce many music fans to works they might not know otherwise. . . . A valuable literature review of American pop. . . ." * Kirkus Reviews *"Weisbard’s book will be required reading for all music critics and journalists." -- Henry Carrigan * No Depression *"Could you perchance use an overview of everything that’s been thought in the 50-plus years since rock critics turned popular music journalism into an intellectually and for a while economically viable enterprise? Songbooks is it, only it goes back a lot further—two and a half centuries. . . . An inspiring, provocative vision of the many ways popular music matters." -- Robert Christgau"Songbooks is the kind of book you keep picking up and dipping into for the rest of your life." -- Michaelangelo Matos * Rock and Roll Globe *"Weisbard's book is a valuable resource for those who are interested in researching and learning more about the history of American popular music." -- Kristine Dizon * European Journal of American Studies *"In 500-some pages that read like 200 — the writing is fluid, playful, funny, tough, fast on the eye — Weisbard lightly packs more critical judgment and original phrase-making into each of his two- or three-page chapters than most scholars can manage in 50. This is a literary history of American popular music, but it’s also a map of the country so many other writers have marked out. . . . Songbooks is a great reference book, but before and after that it’s a funhouse." -- Greil Marcus * Chronicle of Higher Education *"Songbooks is a Herculean achievement of both research and tribute, a book that excavates and illuminates the intellectual history that it promises and so much more." -- Jack Hamilton * Journal of Popular Music Studies *"... Serious students of American popular music will find the book a strong introduction to the literature and scholarship that have defined American popular music. Highly recommended. Upper-division undergraduates through faculty." * Choice *"On more than one occasion, I was reminded of late-night conversations I have enjoyed at popular music conferences – witty, erudite, entertaining debates, in which a variety of connections and comparisons, explanations and opinions compete for attention, often straying from the original topic. . . . [T]he essays here illuminate the diverse histories and circumstances of popular song. In that regard, the essays here are not unlike the musics of the past two centuries to which they refer: revelatory, confusing, dynamic, irritating, rewarding, ephemeral, unexpected, disruptive and always provocative." -- Ian Inglis * Popular Music *"[Weisbard's] task, distilling the American music experience into under 600 pages, is ambitious, and his efforts to incorporate a broad range of titles are noteworthy and commendable. . . . Weisbard’s expertise, passion, and knowledge are undeniable." -- Gregory Stall * Library Journal *"As a valuable resource for scholars of popular music, Songbooks should encourage more writers to enter the discussion. Eric Weisbard has now provided a guidebook to the sometimes chaotic but always vital conversation in popular music studies." -- Leigh H. Edwards * American Literary History *"Songbooks takes us on a fascinating journey through an alternative American popular music history, written not just by experts, but by people usually at the fringes – women, people of color, practitioners, and non-academics. Reading this book from start to finish will give one the best overview of this journey, but the book is perhaps better enjoyed by just dipping in and skipping around as time or interest permits. This book is recommended for all readers interested in popular music and for library collections of popular music." -- Mary Huisman * Music Reference Services Quarterly *Table of ContentsIntroduction 1 Part I: Setting the Scene First Writer, of Music and on Music: William Billings: The New-England Psalm-Singer, 1770 20 Blackface Minstrelsy Extends Its Twisted Roots: T.D. Rice, "Jim Crow," c. 1832 22 Shape-Note Singing and Early Country: B.F. White and E.J. King, The Sacred Harp, 1944 25 Music in Captivity: Solomon Northup, Twelve Years a Slave: 1853 26 Champion of the White Male Vernacular: Walt Whitman, Leaves of Grass, 1855 28 Notating Spirituals: William Francis Allen, Charles Pickard Ware, and Lucy McKim Garrison, eds., Slave Songs of the United States, 1867 30 First Black Music Historian: James Trotter, Music and Some Highly Musical People: The Lives of Remarkable Musicians of the Colored Race, 1878 32 Child Ballads and Folklore: James Child, The English and Scottish Popular Ballads, 5 vols., 1882-1898 33 Women Not Inventing Ethnomusicology: Alice Fletcher, A Study of Omaha Indian Music, 1893 35 First Hit Songwriter, from Pop to Folk and Back Again: Morrison Foster, Biography, Songs and Musical Compositions of Stephen C. Foster, 1896 39 Americana Emerges: Emma Bell Miles, The Spirit of the Mountains, 1905 44 Documenting the Story: O.G. Sonneck, Bibliography of Early Secular American Music, 1905 45 Tin Pan Alley's Sheet Music Biz: Charles K. Harris, How to Write a Popular Song, 1906 47 First Family of Folk Collecting: John A. Lomax, Cowboy Songs and Other Frontier Ballads, 1910 50 Proclaiming Black Modernity: James Weldon Johnson, The Autobiography of an Ex-Colored Man, 1912 52 Songcatching in the Mountains: Olive Dame Campbell and Cecil Sharp, English Folk Songs from the Southern Appalachians, 1917 54 Part II: The Jazz Age Stories for the Slicks: F. Scott Fitzgerald, Flappers and Philosophers, 1920 62 Remembering the First Black Star: Mabel Rowland, ed., Bert Williams, Son of Laughter, 1923 64 Magazine Criticism across Popular Genres: Gilbert Seldes, The Seven Lively Arts, 1924 67 Harlem Renaissance: Alain Locke, ed., The New Negro: An Interpretation, 1925 69 Tin Pan Alley's Standards Setter: Alexander Woollcott, The Story of Irving Berlin, 1925 71 Broadway Musical as Supertext: Edna Ferber, Show Boat, 1926 74 Father of the Blues in Print: W.C. Handy, ed., Blues: An Anthology, 1926 76 Poet of the Blare and Racial Mountain: Langston Hughes, The Weary Blues, 1926 78 Blessed Immortal, Forgotten Songwriter: Carrie Jacobs-Bond, The Roads of Melody, 1927 80 Tune Detective and Expert Explainer: Sigmund Spaeth, Read 'Em and Weep: The Songs Your Forgot to Remember, 1927 82 Pop's First History Lesson: Isaac Goldberg: Tin Pan Alley: A Chronicle of the American Popular Music Racket, 1930 84 Roots Intellectual: Constance Rourke, American Humor: A Study of the National Character, 1931 85 Jook Ethnography, Inventing Black Music Studies: Zora Neale Hurston, Mules and Men, 1935 87 What He Played Came First: Louis Armstrong, Swing That Music, 1936 90 Jazz's Original Novel: Dorothy Baker, Young Man with a Horn, 1938 94 Introducing Jazz Critics: Frederic Ramsey Jr. and Charles Edward Smith, eds., Jazzmen, 1939 95 Part III: Midcentury Icons Folk Embodiment: Woody Guthrie, Bound for Glory, 1943 104 A Hack Story Soldiers Took to War: David Ewen, Men of Popular Music, 1944 106 From Immigrant Jew to Red Hot Mama: Sophie Tucker, Some of These Days, 1945 108 White Negro Drug Dealer: Mezz Mezzrow and Bernard Wolfe, Really the Blues, 1946 110 Composer of Tone Parallels: Barry Ulanov, Duke Ellington, 1946 111 Jazz's Precursor as Pop and Art: Rudi Blesh and Harriet Janis, They All Played Ragtime: The True Story of an American Music, 1950 114 Field Recording in the Library of Congress: Alan Lomax, Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and "Inventor of Jazz," 1950 118 Dramatizing Blackness from a Distance: Ethel Waters with Charles Samuels, His Eye Is on the Sparrow, 1951 120 Centering Vernacular Song: Gilbert Chase, America's Music, 1955 122 Writing about Records: Roland Gelatt, The Fabulous Phonograph: From Tin Foil to High Fidelity, 1955 124 Collective Oral History of Document Scenes: Nat Shapiro and Nat Hentoff, eds., Hear Me Talkin' to Ya: The Story of Jazz as Told by the Men Who Made It, 1955 127 The Greatest Jazz Singer's Star Text: Billie Holiday with William Dufty, Lady Sings the Blues, 1956 129 Beat Generation: Jack Kerouac, On the Road, 1957 133 Borderlands Folklore and Transnational Imaginaries: Américo Paredes, "With His Pistol in His Hands": A Border Ballad and Its Hero, 1958 136New Yorker Critic of a Genre Becoming Middlebrow: Whitney Balliett, The Sound of Surprise: 46 Pieces on Jazz, 1959 141 Part IV. Vernacular Counterculture Blues Revivalists: Samuel Charters, The Country Blues, 1959; Paul Oliver, Blues Fell This Morning: The Meaning of the Blues, 1960 148 Britpop in Fiction: Colin MacInnes, Absolute Beginners, 1959 151 Form-Exploding Indeterminacy: John Cage, Silence, 1961 153 Science Fiction Writer Pens First Rock and Roll Novel: Harlan Ellison, Rockabilly [Spider Kiss], 1961 155 Pro-Jazz Scene Sociology: Howard Becker, Outsiders: Studies in the Sociology of Deviance, 1963 159 Reclaiming Black Music: LeRoi Jones (Amiri Baraka), Blues People: Negro Music in White America, 1963 159 An Endless Lit, Limited Only in Scope: Michael Braun, "Love Me Do!": The Beatles Progress, 1964 162 Music as a Prose Master's Jagged Grain: Ralph Ellison, Shadow and Act, 1964 167 How to Succeed in . . .: M. William Krasilovsky and Sidney Schemel, This Business of Music, 1964 169 Schmaltz and Adversity: Sammy Davis Jr. and Burt Boyar, Yes I Can, 1965 171 New Journalism and Electrified Syntax: Tom Wolfe, Kandy-Kolored Tangerine-Flake Streamline Baby, 1965 173 Defining a Genre: Bill C. Malone, Country Music, U.S.A.: A Fifty-Year History, 1968 175 Swing's Movers as an Alternate History of American Pop: Marshall and Jean Stearns, Jazz Dance: The Story of American Vernacular Dance, 1968 177 Rock and Roll's Greatest Hyper: Nik Cohn, Awopbopaloobop Alopbamboom, 1969/1970 182Ebony's Pioneering Critic of Black Pop as Black Power: Phyl Garland, The Sound of Soul: The Story of Black Music, 1969 184 Entertainment Journalism and the Power of Knowing: Lillian Roxon, Rock Encyclopedia, 1969 185 An Over-the-Top Genre's First Reliable History: Charlie Gillett, The Sound of the City: The Rise of Rock and Roll, 1970 187 Rock Critic of the Trivially Awesome: Richard Meltzer, The Aesthetics of Rock, 1970 188 Black Religious Fervor as the Core of Rock and Soul: Anthony Heilbut, The Gospel Sound: Good News and Bad Times, 1971 190 Jazz Memoir of "Rotary Perception" Multiplicity: Charles Mingus, Beneath the Underdog, 1971 193 Composing a Formal History: Eileen Southern, The Music of Black Americans, 1971 194 Krazy Kat Fiction of Viral Vernaculars: Ishmael Reed, Mumbo Jumbo, 1972 196 Derrière Garde Prose and Residual Pop Styles: Alec Wilder, American Popular Song: The Great Innovators, 1900–1950, 1972 198 Charts as a New Literature: Joel Whitburn, Top Pop Records, 1955–1972, 1973 201 Selling Platinum across Formats: Clive Davis with James Willwerth, Clive, Inside the Record Business, 1975 203 Blues Relationships and Black Women's Deep Songs: Gayl Jones, Corregidora, 1975 205 "Look a the World in a Rock 'n' Roll Sense . . . What Does That Even Mean?": Greil Marcus, Mystery Train: Images of America in Rock 'n' Roll Music, 1975 207 Cultural Studies Brings Pop from the Hallway to the Classroom: Hall and Tony Jefferson, eds., Resistance Through Rituals: Youth Subcultures in Post-War Britain, 1976 211 Life in Country for an Era of Feminism and Counterculture: Loretta Lynn with George Vecsey, Coal Miner's Daughter, 1976 214 Introducing Rock Critics: Jim Miller, ed., The Rolling Stone Illustrated History of Rock & Roll, 1976 216 Patriarchal Exegete of Black Vernacular as "Equipment for Living": Albert Murray, Stomping the Blues, 1976 219 Reading Pop Culture as Intellectual Obligation: Roland Barthes, Image—Music—Text, 1977 221 Paging through Books to Make History: Dean Epstein, Sinful Tunes and Spirituals: Black Folk Music to the Civil War, 1977 223 Historians Begin to Study Popular Music: Lawrence Levine, Black Culture and Black Consciousness: Afro-American Folk Thought from Slavery to Freedom, 1977 225 Musicking to Overturn Hierarchy: Christopher Small, Music, Society, Education, 1977 226 Drool Data and Stained Panties from a Critical Noise Boy: Nick Tosches, Country: The Biggest Music in America, 1977 229 Part V: After the Revolution Punk Negates Rock: Julie Burchill and Tony Parsons, The Boy Looked at Johnny: The Obituary of Rock and Roll, 1978 236 The Ghostwriter behind the Music Books: Ray Charles and David Ritz, Brother Ray: Ray Charles' Own Story, 1978 240 Disco Negates Rock: Andrew Holleran, Dancer from the Dance, 1978 242 Industry Schmoozer and Black Music Advocated Fills Public Libraries with Okay Overviews: Arnold Shaw, Honkers and Shouters: The Golden Years of Rhythm and Blues, 1978 245 Musicology's Greatest Tune Chronicler: Charles Hamm, Yesterdays: Popular Song in America, 1979 247 Criticism's Greatest Album Chronicler: Robert Christgau, Christgau's Record Guide: Rock Albums of the '70s, 1981 248 Rock's Frank Capra: Cameron Crowe: Fast Times at Ridgemont High: A True Story, 1981 251 Culture Studies/Rock Critic Twofer!: Simon Frith, Sound Effects: Youth, Leisure, and the Politics of Rock'n'Roll, 1981 252 A Magical Explainer of Impure Sounds: Robert Palmer, Deep Blues, 1981 255 Feminist Rock Critic, Pop-Savvy Social Critic: Ellen Willis, Beginning to See the Light: Pieces of a Decade, 1981 257 New Deal Swing Believer Revived: Otis Ferguson, In the Spirit of Jazz: The Otis Ferguson Reader, 1982 259 Ethnomusicology and Pop, Forever Fraught: Bruno Nettl, The Study of Ethnomusicology: Twenty-Nine Issues and Concepts, 1983 260 Autodidact Deviance, Modeling the Rock Generation to Come: V. Vale and Andrea Juno, eds., RE/Search #6/7: Industrial Culture Handbook, 1983 263 The Rolling Stones of Rolling Stones Books: Stanley Booth, The True Adventures of the Rolling Stones, 1984 266 Finding the Blackface in Bluegrass: Robert Cantwell, Bluegrass Breakdown: The Making of the Old Southern Sound, 1984 268 Cyberpunk Novels and Cultural Studies Futurism: William Gibson, Neuromancer, 1984 269 Glossary Magazine Features Writer Gets History's Second Draft: Gerri Hirshey, Nowhere to Run: The Story of Soul Music, 1984 272 Theorizing Sound as Dress Rehearsal for the Future: Jacques Attali, Noise: The Political Economy of Music, 1977; Translation 1985 274 Classic Rock, Mass Market Paperback Style: Stephen Davis, Hammer of the Gods: The Led Zepplin Saga, 1985 275Love and Rockets, Signature Comic of Punk Los Angeles as Borderland Imaginary: Los Bros Hernandez, Music for Mechanics, 1985 277 Plays about Black American Culture Surviving the Loss of Political Will: August Wilson, Ma Rainey's Black Bottom, 1985 280 Putting Pop in the Big Books of Music: H. Wiley Hitchcock and Stanley Sadie, eds., The New Grove Dictionary of American Music, 1986 282 Popular Music's Defining Singer and Swinger: Kitty Kelley, His Way, The Unauthorized Biography of Frank Sinatra, 1986 284 Anti-Epic Lyricizing of Black Music after Black Power: Nathaniel Mackey, Bedouin Hornbook, 1986 288 Lost Icon of Rock Criticism: Lester Bangs, Psychotic Reactions and Carburetor Dung, 1987 290 Veiled Glimpses of the Songwriter Who Invented Rock and Roll as Literature: Chuck Berry, Chuck Berry: The Autobiography, 1987 292 Making "Wild-Eyed Girls" a More Complex Narrative: Pamela Des Barres, I'm with the Band: Confessions of a Groupie, 1987 294 Reporting Black Music as Art Mixed with Business, Nelson George, The Death of Rhythm & Blues, 1988 295 Sessions with the Evil Genius of Jazz: Miles Davis with Quincy Troupe, Miles: The Autobiography, 1989 298 Part VI: New Voices, New Method Literature of New World Order Americanization: Jessica Hagedorn, Dogeaters, 1990 308 Ethnic Studies of Blended Musical Identities: George Lipsitz, Time Passages: Collective Memory and American Popular Culture, 1990 310 Ballad Novels for a Baby Boomer Appalachia: Sharyn McCrumb, If Ever I Return, Pretty Peggy-O, 1990 312 Pimply, Prole, and Putrid, but with a Surprisingly Diverse Genre Literature: Chuck Eddy, Stairway to Hell: The 500 Best Heavy Metal Albums in the Universe, 1991 314 How Musicology Met Cultural Studies: Susan McClary, Feminine Endings: Music, Gender, and Sexuality, 1991 318 Idol for Academic Analysis and a Changing Public Sphere: Madonna, Sex, 1992 320 Black Bohemian Cultural Nationalism: Greg Tate, Flyboy in the Buttermilk: Essays on Contemporary America, 1992 324 From Indie to Alternative Rock: Gina Arnold, Route 666: On the Road to Nirvana, 1993 326 Musicology on Popular Music—In Pragmatic Context: Richard Crawford, The American Musical Landscape, 1993 330 Listenign, Queerly, Wayne Koestenbaum, The Queen's Throat: Opera, Homosexuality, and the Mystery of Desire, 1993 332 Blackface as Stolen Vernacular: Eric Lott, Love and Theft: Blackface Minstrelsy and the American Working Class, 1993 334 Media Studies of Girls Listening to Top 40: Susan Douglas, Where the Girls Are: Growing Up Female with the Mass Media, 1994 338 Ironies of a Contested Identity: Peter Guralnick, Last Train to Memphis: The Rise of Elvis Presley, 1994 339 Two Generations of Leading Ethnomusicologists Debate the Popular: Charles Keil and Steven Feld: Music Grooves: Essays and Dialogues, 1944 344 Defining Hip-Hop as Flow, Layering, Rupture, and Postindustrial Resistance: Tricia Rose, Black Noise: Rap Music and Black Culture in Contemporary America, 1994 346 Regendering Music Writing, with the Deadly Art of Attitude: Evelyn McDonnell and Ann Powers, eds., Rock She Wrote: Women Write about Rock, Pop, and Rap, 1995 348 Soundscaping References, Immersing Trauma: David Toop, Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds, 1995 348 Sociologist Gives Country Studies a Soft-Shell Contrast to the Honky-Tonk: Richard Peterson, Creating Country Music: Fabricating Authenticity, 1997 354 All That Not-Quite Jazz: Gary Giddins, Visions of Jazz: The First Century, 1998 355 Jazz Studies Conquers the Academy: Robert G. O'Meally, ed., The Jazz Cadence of American Culture, 1998 357 Part VII: Topics in Progress Paradigms of Club Culture, House and Techno to Rave and EDM: Simon Reynolds, Energy Flash: A Journey through Rave Music and Dance Culture, 1998 368 Performance Studies, Minoritarian Identity, and Academic Wildness: José Esteban Muñoz, Disidentification: Queers of Color and the Performance of Politics, 1999 372 Left of Black: Networking a New Discourse: Mark Anthony Neal, What the Music Said: Black Popular Music and Black Public Culture, 1999 375 Aerobics as Genre, Managing Emotions: Tia DeNora, Music in Everyday Life, 2000 377 Confronting Globalization: Thomas Turino, Nationalists, Cosmopolitans, and Popular Music in Zimbabwe, 2000 378 Evocations of Cultural Migration Centered on Race, Rhythm, and Eventually Sexuality: Alejo Carpentier, Music in Cuba, 2001 (1946) 382 Digging Up the Pre-Recordings Creation of a Black Pop Paradigm: Lynn Abbott and Doug Seroff, Out of Sight: The Rise of African American Popular Music, 1889–1895, 2002 386 When Faith in Popular Sound Wavers, He's Waiting: Theodor Adorno, Essays on Music, ed. Richard Leppert, 2002 388 Codifying a Precarious but Global Academic Field: David Hesmondhalgh and Keith Negus, eds., Popular Music Studies, 2002 391 Salsa and the Mixings of Global Culture: Lise Waxer, City of Musical Memory: Salsa, Record Grooves, and Popular Culture in Cali, Colombia, 2002 393 Musicals as Pop, Nationalism, and Changing Identity: Stacy Wolf, A Problem Like Maria: Gender and Sexuality in the American Musical, 2002 396 Musical Fiction and Criticism by the Greatest Used Bookstore Clerk of All Time: Jonathan Lethem, Fortress of Solitude, 2003 399 Poetic Ontologies of Black Musical Style: Fred Moten, In the Break: The Aesthetics of the Black Radical Tradition, 2003 401 Rescuing the Afromodern Vernacular: Guthrie Ramsey Jr., Race Music: Black Cultures from Bebop to Hip-Hop, 2003 402 Sound Studies and the Songs Question: Jonathan Sterne: The Audible Past: Cultural Origins of Sound Reproduction, 2003 404 Dylanologist Conventions: Bob Dylan, Chronicles: Volume One, 2004 405 Two Editions of a Field Evolving Faster Than a Collection Could Contain: Murray Forman and Mark Anthony Neal, eds., That's the Joint! The Hip-Hop Studies Reader, 2004, 2012 410 Revisionist Bluesology and Tangled Intellectual History: Elijah Wald, Escaping the Delta: Robert Johnson and the Invention of the Blues, 2004 412 Trying to Tell the Story of a Dominant Genre: Jeff Chang, Can't Stop, Won't Stop: A History of the Hip-Hop Generation, 2005 415 Refiguring American Music—And Its Institutionalizations: Josh Kun, Audiotopia: Music, Race, and America, 2005 419 Country Music Scholars Pioneer Gender and Industry Analysis: Diane Pecknold, The Selling Sound: The Rise of the Country Music Industry, 2007 423 Where Does Classical Music Fit In?: Alex Ross, The Rest Is Noise: Listening to the Twentieth Century, 2007 426 Poptimism, 33 1/3 Books, and the Struggles of Music Critics: Carl Wilson, Let's Talk about Love: A Journey to the End of Taste, 2007 429 Novelists Collegial with Indie Music: Jennifer Egan, A Visit from the Goon Squad, 2010 432 YouTube, Streaming, and the Popular Music Performance Archive: Will Friedwald, A Biographical Guide to the Great Jazz and Pop Singers, 2010 437 Idiosyncratic Musician Memoirs—Performer as Writer in the Era of the Artist as Brand: Jay-Z, Decoded, 2010 438 Acknowledgments 443 Works Cited 447 Index 513

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Book SynopsisThis is the first study to explore fully the myth of America as reflected in the nation's popular music. Beginning with the songs of the Pilgrims and continuing through more than two centuries of history and music, Born in the U.S.A. shows the emerging American myth and gives a close reading of the compositions of songwriters as diverse as William Billings, Henry Clay Work, Irving Berlin, Woody Guthrie, Bob Dylan, and Bruce Springsteen.So that the full and diverse narrative of this complex nation might be recorded, this insightful study is focused both upon the national myth and upon the songwriters and performers representing subcultures and alternative viewpoints that are the text of America's story. Through hymnlike paeans and through discordant lamentations protesting the realities of the contemporary workaday world, popular music is an astonishing mirror of American history.

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Book SynopsisHonorable Mention, 2019 Foreword INDIES Awards - Performing Arts & Music Honorable Mention, Graphis 2021 Design Annual Competition Popular music has long been a powerful force for social change. Protest songs have served as anthems regarding war, racism, sexism, ecological destruction, and so many other crucial issues. Music Is Power takes us on a guided tour through the past one hundred years of politically conscious music, from Pete Seeger and Woody Guthrie to Green Day and NWA. Covering a wide variety of genres, including reggae, country, metal, psychedelia, rap, punk, folk, and soul, Brad Schreiber demonstrates how musicians can take a variety of approaches— angry rallying cries, mournful elegies to the victims of injustice, or even humorous mockeries of authority—to fight for a fairer world. While shining a spotlight on Phil Ochs, Gil Scott-Heron, the Dead Kennedys and other seminal, politicized artists, he also gives readers a new appreciation of classic acts such as Lesley Gore, James Brown, and Black Sabbath, who overcame limitations in their industry to create politically potent music Music Is Power tells fascinating stories about the origins and the impact of dozens of world-changing songs, while revealing political context and the personal challenges of legendary artists from Bob Dylan to Bob Marley. Supplemental material (Artist and Title List): https://d3tto5i5w9ogdd.cloudfront.net/wp-content/uploads/2020/07/24001955/Music_Is_Power_Supplementary_Artist_Title_List.doc Trade Review"Talk with Ted" interview with Brad Schreiber https://www.podbean.com/media/share/pb-s3b37-e5cbf5— Talk with Ted podcast "Madame Perry's Salon" interview with Brad Schreiber, part two https://www.blogtalkradio.com/madameperryssalon/2020/05/14/writer-producer-brad-schreiber— Madame Perry's Salon, part two Parallax Views with J.G. Michael interview with Brad Schreiber https://parallaxviews.podbean.com/e/schreiber/— Parallax Views "Coast to Coast AM" interview with Brad Schreiber, part 3— Coast to Coast AM, part 3 "A fun and informative read from first page to last."— Midwest Book Review Louisiana Radio Network "Talk Louisiana" interview with Jim Engster and Brad Schreiber https://www.wrkf.org/post/monday-january-20th-faye-williams-daryl-glasper-brad-schreiber— Louisiana Radio Network “Brad Schreiber understands both music and politics, as well as the jagged lines where they overlap and intersect. His clarity, intelligence, and insight provide lasting rewards.” — Anthony DeCurtis, Grammy Award–winning journalist, for Rolling Stone, author of Lou Reed: A Life "Brad Schreiber Visits Madame Perry's Salon" podcast interview https://podcasts.apple.com/us/podcast/brad-schreiber-visits-madame-perrys-salon/id1063919048?i=1000465223311 — Madame Perry's Salon "Coast to Coast AM" interview with Brad, Schreiber, part 1— Coast to Coast AM, part 1 "Episode 37: "Music Is Power: Popular Songs, Social Justice, and The Will to Change" with Brad Schreiber" https://allmusicbooksdeepdive.podbean.com/e/episode-37-music-is-power-popular-songs-social-justice-and-the-will-to-change-with-brad-schreiber/— Deep Dive podcast "Brad Schreiber talks about this topic perfectly...You did a lot of research." https://www.youtube.com/watch?v=8Gaim6C8E3wfeature=youtu.be— The Allan Handelman Show interview with Brad Schreiber: Music Is Power" "How Tom Odell’s Another Love became an unlikely anthem for Ukraine," by James Hall— The Telegraph Unstructured Podcast interview with Brad Schreiber https://unstructuredpod.com/psychotically-eclectic-author-brad-schreiber/— Unstructured Podcast Music Is Power mention in Planet Proctor, December 2019 issue— Planet Proctor Brad Schreiber's Playlist for His Book "Music is Power: Popular Songs, Social Justice, and the Will to Change"— Largehearted Boy "Passing Through" KAAD-LP 103.5 FM interview with Brad Schreiber — Passing Through “A stirring survey of the sometimes sad, sometimes joyful, sometimes angry but ever hopeful music that is the soundtrack for America’s struggle to become a more fair and just society.” — Seth Rosenfeld, journalist, winner of the George Polk Award, author of Subversives: The FBI’s War on Student Radical "Brad Schreiber interview – Episode 288" http://readingandwritingpodcast.com/brad-schreiber-interview/— Reading and Writing podcast "Tuesday, December 8th: Andrea Gallo, Brad Schreiber"— "Talk Louisiana," WRKF "Coast to Coast AM" interview view Brad Schreiber, part 2— Coast to Coast AM, part 2 The Stuph File Program interview with Brad Schreiber— The Stuph File Program "Music Is Power covers the socio-political history of important music, from Bob Dylan to hip-hop, including genres like punk, comedy, folk, psychedelia, RB/soul and major musicals, and encourages listeners to respond to this powerful music with real world activism. It’s a timeless New Year’s gift!"— Planet Proctor "What’s better than a book you didn’t know you needed? Music Is Power is a history of the nexus of music and protest, from Wobbly-turned-musician Joe Hill to Green Day, from folk to hip-hop."— Razorcake "Chatting with Sherri," BlogTalkRadio interview with Brad Schreiber https://www.blogtalkradio.com/rithebard/2020/06/25/chatting-with-sherri— Chatting with Sherri - Blog Talk Radio "Music is Power: Author Brad Schreiber digs into he history and power of protest music" interview with Brad Schreiber https://wgnradio.com/2019/12/10/music-is-power-author-brad-schreiber-digs-into-he-history-and-power-of-protest-music/— Nick Digilio Show - WGN INTERVIEW WITH BRAD SCHREIBER ON ‘MUSIC IS POWER’: PART 1—DIXIE CHICKS, MARVIN GAY https://shadowproof.com/2020/03/31/music-is-power-interview-schreiber-dixie-chicks-marvin-gaye/— Shadowproof "Much has been written about these artists elsewhere, but Schreiber’s focus sets this study apart. He goes beneath the surface to detail how their social consciousness evolved during the course of their careers, and how they came to understand their music’s power to address social ills. This carefully researched book is suitable for fans and scholars alike. Recommended." — Choice "In Music Is Power, Brad Schreiber argues that socially or politically conscious music emerges from practically every genre of popular music, and he takes the reader on a journey through the various ways that musicians have addressed the issues of their day."— Shalon Van Tine, Western Folklore journal “Music Is Power - Part 3: Black Sabbath, Gil Scott-Heron, Public Enemy” https://shadowproof.com/2020/04/28/music-is-power-schreiber-gil-scott-heron-black-sabbath/— Shadowproof, Part 3 "Brad Schreiber, 'Music Is Power: Popular Songs, Social Justice And The Will To Change'" https://www.wortfm.org/brad-schreiber-music-is-power-popular-songs-social-justice-and-the-will-to-change/— Madison Bookbeat Interview with Brad Schreiber on The Stuph File Program— The Stuph File "MWN Episode 144 – Music is Power (Part 2) with Brad Schreiber" https://midnightwriternews.com/mwn-episode-144-music-is-power-part-2-with-brad-schreiber/— Midnight Writer News Interview on "Deep Dish Radio with Tim Powers" with Brad Schreiber https://play.acast.com/s/deepdishradio/7424927b-bdc3-4183-a884-a84f4ba85c5f— Deep Dish Radio with Tim Powers Brad Schreiber interview on “Passing Through” on KAAD-LP 103.5 FM— Passing Through, part 2 "INTERVIEW WITH BRAD SCHREIBER ON ‘MUSIC IS POWER’: PART 2—JIMI HENDRIX, PINK FLOYD"— Shadowproof, Part 2 “An inspiring tour through the history of making change with music and an important call for retrieving music’s intrinsic ability to challenge power.” — Douglas Rushkoff, documentarian, professor of Media Theory and Digital Economics at CUNY/Queens, author of Team Human *Special episode * Music is Power: Donna and Dr Adam in conversation with author Brad Schreiber— Love's A Secret Weapon podcast "An intensively researched yet rollicking tour of socially charged music...A compelling read on the intersection of popular music and social activism, from Pete Seeger to Zappa to Public Enemy and beyond."— American Songwriter Beyond Reality Paranormal Podcast - Hidden History episode interview with Brad Schreiber https://anchor.fm/brparanormal/episodes/Hidden-History---Brad-Schreiber---102020-elclvh— Beyond Reality Paranormal podcast MWN Episode 136 – Popular Songs , Social Justice, and the Will to Change with Brad Schreiber— Midnight Writer News Law and Disorder Radio interview with Brad Schreiber https://lawanddisorder.org/2019/11/law-and-disorder-november-25-2019/— Law and Disorder High Road to Humanity - Music Is Power! Popular Songs, Social Justice, with Guest Brad Schreiber https://www.youtube.com/watch?v=55j15fa54NIfeature=youtu.be— Nancy Yearout's High Road to Humanity Music's Connection to Societal Issues The Patty Hearst/SLA Case - interview with Brad Schreiber https://www.youtube.com/watch?v=7AHdxbXK6Ys— Beyond Reality Radio "In-Depth Interview: Author Brad Schreiber Talks..." interview on the Peter B. Collins Show https://www.stitcher.com/podcast/peter-b-collins-newscomment/e/66984975— The Peter B. Collins Show "A fun read. It provides the old timer with a quick sail down the streams of memory and the younger reader with a useful and concise look at the music of the West that helped form the culture of today."— CounterPunchTable of ContentsIntroduction Chapter 1: Musical Workers of the World Unite: Joe Hill, Woody Guthrie, Pete Seeger Chapter 2: There For More Than Fortune: Phil Ochs, Joan Baez, Bob Dylan Chapter 3: Caged Artists: Lesley Gore, Janis Ian, P.F. Sloan Chapter 4: Parody and Poetry: Tom Lehrer, Peter, Paul and Mary, The Smothers Brothers Chapter 5: Psychedelicate Situation: Jimi Hendrix and Pink Floyd Chapter 6: Reason and Blues: Marvin Gaye and The Temptations Chapter 7: Say It Loud, We’re Blocked but Proud: James Brown and Curtis Mayfield Chapter 8: Hard Rock Turns Metallic: The Who and Black Sabbath Chapter 9: More Than a Working Class Hero: John Lennon Chapter 10: Out of Place and In Your Face: The Dead Kennedys and The Sex Pistols Chapter 11: Word: Gil Scott Heron and Grandmaster Flash Chapter 12: Global Music Consciousness: Bob Marley and Peter Gabriel Chapter 13: Weird, Funny, Angry: Frank Zappa vs. Everybody Chapter 14: Rap, Not Hip Hop: N.W.A. and Public Enemy Chapter 15: Weapons of Mass Deconstruction: Dixie Chicks and Green Day Epilogue Bibliography

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Book SynopsisThe Companion is an essential, interdisciplinary tool for those both familiar and unfamiliar with Wagner''s Ring. It opens with a concise introduction to both the composer and the Ring, introducing Wagner as a cultural figure, and giving a comprehensive overview of the work. Subsequent chapters, written by leading Wagner experts, focus on musical topics such as ''leitmotif'', and structure, and provide a comprehensive set of character portraits, including leading players like Wotan, Brünnhilde, and Siegfried. Further chapters look to the mythological background of the work and the idea of the Bayreuth Festival, as well as critical reception of the Ring, its relationship to Nazism, and its impact on literature and popular culture, in turn offering new approaches to interpretation including gender, race and environmentalism. The volume ends with a history of notable stage productions from the world premiere in 1876 to the most recent stagings in Bayreuth and elsewhere.Trade Review'This Companion fully captures the richness and all too human complexity of this astonishing work, offering up multiple paths for us each to find our way to its heart.' Hugo Shirley, OperaTable of ContentsList of figures; List of music examples; List of contributors; Preface; List of abbreviations; Introduction Mark Berry and Nicholas Vazsonyi; Part I. Myth: 1. Greek tragedy and myth Jason Geary; 2. Wagner and the rise of modern mythology Stefan Arvidsson; Part II. Aesthetics: 3. The Ring in theory and practice Arnold Whittall; 4. Form and structure J. P. E. Harper-Scott; 5. Listening for leitmotifs: concept, theory, practice Christian Thorau; 6. The Bayreuth concept and the significance of performance Roger Allen; Part III. Interpretations: 7. Characters in the 'world' of the Ring Mark Berry; 8. The Ring as a political and philosophical drama Anthony Arblaster; 9. The idea of nature Thomas Grey; 10. Gender and sexuality Chris Walton; Part IV. Impact: 11. Critical responses Barbara Eichner; 12. Placing the Ring in literary history David Trippett; 13. Specters of Nazism Tash Siddiqui; 14. The Ring in cinematic and popular culture Adrian Daub; 15. Notable productions Barry Millington; Bibliography; Index.

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Book Synopsis* The first book to analyse every Queen song - giving equal weight to album tracks alongside the hits . * Includes analysis of about 20 classic songs using the original 24 track master tapes. * Queen remain ever popular and active, and continue to tour despite the death of Freddie Mercury in 1991. This book examines Queen's music, album by album, track by track, in detail. Where possible, recourse to the original multi-track master tapes has provided extra insight. Those familiar hits are revisited, but those classic album cuts - like `Liar', `March of the Black Queen', `Death on Two Legs', and `Dragon Attack', `are given equal precedence. The book also examines the changes that these same four musicians went through - from heavy and pomp rock to pop as the chart hits began to flow - with a keen and unbiased eye. Whether as a fan your preference is for the albums `A Night at the Opera', `Jazz' or `Innuendo' this detailed and definitive guide will tell you all you need to know. Queen had strength in depth. These are the songs on which a legend was built.

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Book SynopsisLeah Kardos is a senior lecturer in music at Kingston University London, UK. She is the author of Blackstar Theory: The Last Works of David Bowie (Bloomsbury, 2022), which was included as one of The Wire's Best Books of 2022'.

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Book SynopsisIt was the year their records were burned in America after John’s explosive claim that the group was "more popular than Jesus," the year they were hounded out of the Philippines for "snubbing" its First Lady, the year John met Yoko Ono, and the year Paul conceived the idea for Sgt.Trade Review"A pleasing romp through the Beatles' annus mirabilis...Turner does a nice job of capturing them at their best." -- Kirkus Reviews "Reading Beatles '66, I'm right there-and where else would you want to be if you love music?" -- Bono "1966 was a crucial year in the Beatles' amazing journey from being the Fab Four to becoming the princes of psychedelia...By concentrating on just this one year, Steve Turner has been able to examine every influence, document every detail, and fit the jigsaw together. An extraordinary achievement." -- Barry Miles, author of Paul McCartney: Many Years from Now and In the Sixties "1966 was the year of my marriage to George, our first visit to India, and the Beatles' last concert. It was a really exciting time of innovation and exploration- the world, our oyster. Everything is captured most vividly and in such detail in this book. " -- Pattie Boyd "A fascinating dissection of these best and worst of times for the Beatles. Steve Turner's research is impressive." -- Philip Norman, author of Shout! The True Story of the Beatles, John Lennon: The Life, and Paul McCartney: The Biography "The most comprehensive coverage of Revolver and the events in the Beatles' lives and times in 1966. Splendid!" -- Tony Bramwell, author of Magical Mystery Tours: My Life with the Beatles "Turner succeeds in creating an illuminating portrait of the Beatles, both as a band and as individual artists." -- Publishers Weekly "This book guides Beatles fans through that year in an engaging, interesting and compelling way. Beatles '66 is a major achievement-for Beatles fans, yes of course, but also for anyone interested in how creativity works and is affected by its surroundings." -- New York Journal of Books "Turner's well-researched, in-depth, quote- and photo-filled precis will thrill all Beatles fans." -- Booklist "What music journalist Turner brings...is fantastic access (the book draws upon his interviews with The Beatles, as well as producer George Martin and George Harrison's mentor Ravi Shankar) and an extraordinary, Peter Guralnick-like (Last Train to Memphis: The Rise of Elvis Presley) attention to detail." -- USA Today "Turner tackles the year from all angles, incorporating a wealth of source material and new quotes from people involved to shed some fresh light on these incidents ... This book is the work of an expert, and expertly written at that." -- Paste Magazine "A wonderfully compelling look into the year that changed everything for the band." -- BookPage "This is a Beatles book to read many times. An extraordinary book." -- Beatles Magazine

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Book SynopsisHot Rats, the second solo album by Frank Zappa, is considered by his fans and critics alike to be a groundbreaking, important record, as well as one of his most innovative efforts of all time.The first recording project after the dissolution of the original Mothers of Invention, Zappa composed, arranged, and produced all of the music on Hot Rats while playing electric guitar on all tracks. The album contains the song Peaches en Regalia, widely recognized as a modern jazz-fusion standard. This entire groundbreaking and historical recordincluding using new sixteen-multitrack recording and overdub technics for the first time everwas captured in photos by Bill Gubbins, who shot the recording sessions and live performances of the record immediately following its release. Most of these images have never before been published in book form, appearing here for the first time. The Hot Rats Book: A Fifty-Year Retrospective of Frank Zappa's Hot Rats: also contains essays by author Bill Gubbins; Ia

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Book SynopsisGrunge, also known as the Seattle Sound', emerged from the Pacific north-west in the early part of the 1980s. With the unexpected success of Nirvana's single Smells Like Teen Spirit' in 1991, grunge became a household word overnight and launched an American music movement on a par with punk and hip-hop. In Everybody Loves Our Town , Mark Yarm draws from exclusive interviews to tell the whole story: the founding of originators like Soundgarden and the Melvins, the early successes of the Sub Pop record label, the rise of powerhouses Nirvana and Pearl Jam, the media hype, the suicide of Kurt Cobain, and finally, the genre's mid-to-late-nineties decline.

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Book SynopsisRed Hot + Blue is a meditation on music's capacity to find us, transform us, and help us make sense of our historical moment. Blending memoir and cultural history, Garrison recalls his coming out at the height of the AIDS crisis alongside the music industry's first major response to the epidemic. In 1990, a groundbreaking effort by musical artists sought to combat the silence and stigma about the disease. The resulting tribute album to legendary composer Cole Porter was evocatively titled Red Hot + Blue, capturing both the joy and melancholy that accompany love during turbulent times. It re-imagined those iconic songs including Don't Fence Me In, Every Time We Say Goodbye, Night and Day not just to celebrate the composer but also to offer a shared vision for survival. In this book, Garrison reflects on his own life story through the lens of Porter's life and music to illuminate the emotional landscape we all navigate in the search for love. R

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Book SynopsisIn this behind-the-scenes look at the making of Fleetwood Mac's epic, platinum-selling double album, Tusk, producers and engineers Ken Caillat and Hernan Rojas tell their stories of spending a year with the band in their new million-dollar studio trying to follow up Rumours, the biggest rock album of the time. Following their massive success, the band continued its infamous soap opera when its musical leader and guitarist, Lindsey Buckingham, threatened to quit if he didn't get things his way, resulting in clashes not only with his band but especially Caillat, who had been essential to the band's Grammy-winning sound. Hernan Rojas's story recounts a young man who leaves Chile after General Pinochet's coup to seek his future in the music industry of Los Angeles, where he finds success at one of the hottest studios in town. When Fleetwood Mac arrives, Rojas falls in love with its star singer, Stevie Nicks, and the two of them become romantically involved.Throughout the book, both Caillat

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Book SynopsisNoted organist and scholar Anthony Hammond tells the full story, for the first time, of one of the great organists of the twentieth century. Described by his teacher Marcel Dupré as "a phenomenon without equal in the history of the contemporary organ," Pierre Cochereau is considered one of the twentieth century's greatest French organists.This book tells, for the firsttime, the full story of of his extraordinary life and glittering, worldwide career. In 1955 Cochereau was appointed Organiste Titulaire at Notre-Dame de Paris, where he restored the cathedral's musical glory and oversawa far-reaching and controversial transformation of its organ. As a recitalist, he toured South America, Australia, Asia, Canada, and Europe in addition to twenty-five tours of the United States. He was the first western organist to perform in the former Soviet Union., played with many major orchestras under the batons of distinguished conductors, participated in numerous music festivals in Europe, made over eighty recordings, and was one of the founders of the Chartres International Organ Competition. He was honored several times for his achievements, including being named an Officer of the Legion of Honor (1978). A tireless campaigner for standards in music education, Cochereau also served as director at many of France's prominent conservatories, including Le Mans, Lyons, and Nice, which under his directorhsip became one of the leading music schools in France. Biographer AnthonyHammond draws from a variety of of prominent primary sources, notably Marcel Dupré's papers in the Bibliothèque Nationale, Paris, but also from Cochereau's surviving family and friends, and uses recordings and previously overlooked archive films in the Institut National de l'Audiovisuel, France to construct this definitive account and critical appraisal of one of France's most distinguished organists. Anthony Hammond is an English concert organist, improviser, and musicologist who specializes in French Romantic and twentieth-century organ music.Trade ReviewA layered and affectionate portrait. . . Figure 4.4, modestly described as 'summariz(ing) the essential features of Cochereau's style, is in fact a tiny masterpiece. . . . Hammond's manner of discussing improvisation is readable and practical. . . . His writing is sharp and deeply knowledgeable, [with] inspiring originality and enormous energy. Anthony Hammond makes me think of a young Charles Rosen, enthusiastic and sincere, . . . an advocate for performance as an intellectual act. -- Christina Linklater * MUSIC LIBRARY ASSOCIATION NOTES *A compelling read for all organists and, especially today, for the new breed of improvisers. . . . . In the discussions of Cochereau the improviser the story really comes to life. . . . A fine tribute to one of the 20th century's true musical geniuses--and a great read. -- Rollin Smith * THE AMERICAN ORGANIST *Fascinating and welcome. . . . Daring, brave, and brilliant. . . . Defines and reintroduces us to a spectacular church musician, organist, educator, and 'Premier Prix' in all his accomplishments. . . . Be sure to read this charming and intelligent book. -- William Tortolano * PASTORAL MUSIC *Fascinating. . . . A most respectful account of his compositions, at a length and thoroughness to satisfy anyone as keen on the French conception of organ-music and organ-playing as he clearly is. -- Peter Williams * MUSICAL TIMES *Hammond here offers a thorough account of the work of this passionate, attractive, and generous artist, . . . showi[ng] how Pierre Cochereau's legacy would inspire generations to come. . . . Can be consulted with great interest even by non-English-speakers. -- Carolyn Shuster Fournier * ORGUES NOUVELLES *In this most welcome first biography of Pierre Cochereau, Anthony Hammond gives us just what one would hope for: a detailed account of Cochereau's life, a thorough look at the influences that shaped his work, a valuable assessment of his craft as an interpreter, and new understanding of his art as an improviser. --Lawrence Archbold, Carleton College * . *'A model of scholarly research, Pierre Cochereau's legendary career is extensively recounted and the influence forming his mature style as an improviser and composer expertly documented. The post-1955 history of the Notre-Dame organ is by far the most accurate account in print today. -- Jesse Eschbach, University of North TexasTable of ContentsIntroduction Cochereau: The Life and Career of the Organist of Notre-Dame An Apostolic Succession?-Studies with Marcel Dupré Pierre Cochereau as Interpreter The Musical Language of Pierre Cochereau The Improvisations of Pierre Cochereau In Conclusion: The Legacy of Pierre Cochereau Notes Bibliography Index

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Book SynopsisNew York City in the 1970s was an urban nightmare: destitute, dirty, and dangerous. As the country collectively turned its back on the Big Apple, two musical vigilantes rose out of the miasma. Armed only with amplified AC current, Suicide''s Alan Vega and Marty Rev set out to save America''s soul. Their weaponized noise terrorized unsuspecting audiences. Suicide could start a riot on a lack of guitar alone. Those who braved their live shows often fled in fear--or formed bands (sometimes both). This book attempts to give the reader a front-row seat to a Suicide show. Suicide is one of the most original, most misunderstood, and most influential bands of the last century. While Suicide has always had a dedicated cult following, the band is still relatively unknown outside their musical coterie. Arguing against the idea of the band''s niche musical history, this book looks at parallels between Marvel Comics'' antiheroes in the 1970s and Suicide's groundbreaking first album. Andi Coulter tTrade ReviewThe text is accessible, the neat compact size of the book is a delight, it’s a book that could be read over a couple of commutes; and as we approach Christmas Day it would form an ideal gift for any inquisitive music lover. * Louder than War *Table of ContentsTrack Listing 1. Prelude to a Private Armageddon 2. Two Against Death 3. Wheels on Fire 4. A Specter Stalks the Soundstage 5. A Legend is Born 6. The Hell-bound Hero 7. Resurrection Bibliography Notes

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Book SynopsisBy 1976, Elton John was the best-selling recording artist and the highest-grossing touring act in the world. With seven #1 albums in a row and a reputation as a riveting piano-pounding performer, the former Reggie Dwight had gone with dazzling speed from the London suburbs to the pinnacles of rock stardom, his songs never leaving the charts, his sold-out shows packed with adoring fans. Then he released Blue Moves, and it all came crashing down.Was the commercially disappointing and poorly reviewed double album to blame? Can one album shoot down a star? No, argues Matthew Restall; Blue Moves is a four-sided masterpiece, as fantastic as Captain Fantastic, as colorful as Goodbye Yellow Brick Road, a showcase for the three elements--piano-playing troubadour, full orchestra, rock band--with which Elton John and his collaborators redirected the evolution of popular music. Instead, both album and career were derailed by a perfect storm of circumstances: Elton's decTrade ReviewRestall makes the case for renewed examination and appreciation of this often misunderstood album in the Elton John catalog. * Under the Radar Magazine *Table of ContentsTrack Listing 1. A Dumb but Gorgeous One-Night Stand 2. Just as Good 3. Best of, Volume 300 4. Our Mount Everest 5. A Few Surprises 6. A Sad, Sad Situation 7. It Could Be Me 8. One of My Favorite Albums 9. The Queen Mum of Pop Acknowledgments Notes Index

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Book SynopsisU2 planted the seeds for The Joshua Tree during an existential journey through America. As Irishmen in the 1970s, the band grew up with the belief that America was a place of freedom and prosperity, a symbol of hope and a refuge for all people. However, global politics of the 1980s undermined that impression and fostered hypocritical policies that manipulated Americans and devastated people around the world. Originally conceived as The Two Americas, The Joshua Tree was U2''s critique of America. Rather than living up to the ideal that the country was an idea that belongs to people who need it most, the band found that America sacrificed equality and justice for populism and fascism. This book explores the political, social, and cultural themes rooted in The Joshua Tree when it was originally released in 1987 and how those themes resonated as a response to the election of Donald Trump when U2 toured for the album''s 30th anniversary. The author juxtaposes the band''s ex

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Book Synopsis With this beautifully produced book, relive the extraordinary history of the of the hottest band in the land through 50 milestone events.Formed in New York City in 1973, Kiss became one of the most popular and best-selling bands in rock history with their inventive stage presence and heavy, hook-filled catalog, both ideally suited for packing hockey arenas and football stadiums. This richly illustrated book from prolific rock journalist Martin Popoff pays tribute to the band on the occasion of their 50th anniversary by curating and examining the 50 most significant milestones. This exquisite volume features:  Sturdy hardcover format Stunning concert and candid offstage photography, much of it never before published Images of memorabilia, including gig posters, 7-inch picture sleeves, ticket stubs, and more Gatefold Kiss timeline Popoff covers everything down through the decades:Trade Review"...gets into the nitty gritty detail that a card-carrying member of the KISS Army can appreciate...what makes Popoff’s writing a bit refreshingly different here is that he seems to give voice to many varied and common opinions of fans about both the high and low points of KISStory." * Houston Press *"All the important stand out moments are covered here, making this a welcoming engagement for KISS fans to see how one of their own, found in Martin Popoff, offers explanations, and gets critical in his case studies." * Spill Magazine *"I would be remiss not to discuss how gorgeous this book is....you wanted the best, you got the best. Popoff and Motorbooks combine forces for a fine tribute to the hottest band in the land." * Metal-Rules.com *Table of ContentsContents Introduction Part 1: Kiss Major “Rock and Roll All Nite”: Kiss form, in New York City. “Sweet Pain”: Kiss sign with Casablanca Records. “Kissin’ Time”: Kiss issue their self-titled debut album. “See You in Your Dreams”: Kiss appear on ABC’s In Concert. Recording Kiss “C’mon and Love Me”: Gene Simmons is interviewed on The Mike Douglas Show. “Two Timer”: Kiss issue Hotter Than Hell, their second album. “A Million to One”: Two fans unofficially form the Kiss Army. “Great Expectations”: Kiss issue Dressed to Kill, their third album. “Hotter Than Hell”: Kiss issue Alive!, a double live album. “Baby Driver”: Kiss take over Cadillac, Michigan. “Strutter”: Alive! goes gold, representing the band’s first RIAA certification. “Heaven’s on Fire”: Kiss issue Destroyer. “Creatures of the Night”: Kiss appear on The Paul Lynde Halloween Special. “Rockin’ in the USA”: Kiss issue Rock and Roll Over. “A World Without Heroes”: Kiss and Marvel Comics collaborate on a comic book. “Love’s a Deadly Weapon”: Kiss issue Love Gun. “Deuce”: Kiss issue Alive II. Part 2: Kiss Minor “Got to Choose”: Each member of Kiss issues a solo album. “Is That You?”: NBC airs a feature film called Kiss Meets the Phantom of the Park. Ace for the Win “I Was Made for Lovin’ You”: Kiss issue Dynasty. “When Your Walls Come Down”: Kiss’s appearance on the Tomorrow show doesn’t go well. “Two Sides of the Coin”: Kiss issue Unmasked. “Fits Like a Glove”: Eric Carr plays his first show with Kiss. “Dark Light”: Kiss issue a concept album called Music from the Elder. “I Love It Loud”: Kiss issue Creatures of the Night. Part 3: MTV, Hair Metal, and Kiss “Naked City”: Kiss issue Lick It Up, featuring new guitarist Vinnie Vincent. “Turn on the Night”: Kiss issue Animalize, featuring new guitarist Mark St. John. From Kiss to Disco: Larry Harris on Casablanca “Trial by Fire”: Kiss issue Asylum, featuring new guitarist Bruce Kulick. “While the City Sleeps”: Kiss issue Crazy Nights. “Firehouse”: Kiss issue Hot in the Shade. “Comin’ Home”: Longtime Kiss drummer Eric Carr succumbs to cancer. “Bang Bang You”: Kiss issue Revenge, featuring new drummer Eric Singer. “Shout It Out Loud”: Kiss issue Alive III. Part 4: Reunion “Get All You Can Take”: Kiss execute their first Official Worldwide Kiss Convention. “Any Way You Want It”: Kiss perform on MTV Unplugged. “Unholy”: Kiss issue Carnival of Souls: The Final Sessions. “I Still Love You”: The classic-era Kiss lineup issue a reunion album called Psycho Circus. Bill Aucoin: A Kiss Goodbye from Head Office “Outta This World”: Kiss perform at Super Bowl XXXIII. “Cadillac Dreams”: New Line Cinema issue a Kiss-themed feature film called Detroit Rock City. “You Wanted the Best”: Kiss issue The Box Set. “Raise Your Glasses”: Kiss issue Kiss Symphony: Alive IV. “Hooligan”: Peter Criss tours for the last time as part of Kiss. Part 5: Legacy “King of the Night Time World”: Kiss are honored at the first VH1 Rock Honors show, held in Las Vegas. “Black Diamond”: Gene Simmons Family Jewels premiers on A&E. “Rocket Ride”: Kiss issue Sonic Boom, featuring new guitarist Tommy Thayer. “Getaway”: Kiss launch their first Kiss Kruise. Paul Stanley: Reflections on the Kiss Kast “Almost Human”: Kiss issue Monster, their last album to date. “All the Way”: Kiss are inducted into the Rock & Roll Hall of Fame. “When Lightning Strikes”: Kiss set the record for most gold records by any American band. “100,000 Years”: Kiss embark on their final tour, entitled the End of the Road World Tour. Discography About the Author

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Book SynopsisHow is musical practice connected with everyday life? Eva-Maria Houben shows that performing music as an activity - indeed, as playing - is a meaningful shift from an approach based on structural analysis. Musical practice, Eva-Maria Houben contends, can be understood as open and never finished. Such an emphasis on repetition offers freedom from perfection, productivity, and purpose, thus allowing meaning to unfold in specific situations, places, and relationships. Musical practice can become a form of life and a reality in its own right. The study includes musical examples from the 17th, 18th, 19th, and 20th centuries as well as contemporary music.Trade ReviewBesprochen in: The Wire, 430 (2019), Tim Rutherford-Johnson

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Book SynopsisThe Suburbs is an incredibly sentimental and nostalgic album, which generally moved critics but was jarring to others. But it also made a heavy impact on fans and to the surprise of many won Album of the Year at the 2011 Grammy Awards. This immensely visceral album triggers a sincere celebration of not formative years spent in a cookie-cutter development, but of feeling self-important, immortal, and desperate to escape. It examines youth and amplifies an innate sense of longing and remembrance.Eric Eidelstein's The Suburbs explores this weird, utopic recollection of youth by comparing the album to suburban scenes in film and television, such as Blue Velvet, Mad Men, The Americans, and Spike Jonze's Scenes from the Suburbs. Through the close examination of film and televised depictions of the suburbs, both past and present, Eidelstein delves into the societal factors and artistic depictions that make the suburbs such a fascinating cultural conTrade ReviewMusicians, music lovers and music educators in the post-secondary field are likely to find The Suburbs of interest. It leaves the reader wondering how comparative studies of other creative works in connection to a diversity of sociological factors might be beneficial. * Canadian Association of Music Libraries *Table of ContentsTrack Listing Introduction 1 — Who is Arcade Fire? 2 — What are the suburbs? 3 — Where do you kids live? 4 — What’s up dog? 5 — Why do I have these headaches? 6 — Why are there people like Frank? 7 — Why are you so profoundly sad? 8 — Surely expulsion is not the answer? 9 — Should I move past the feeling?

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Book SynopsisSympathy for the Drummer: Why Charlie Watts Matters is both a gonzo rushcapturing the bristling energy of the Rolling Stones and the times in which they livedand a wide-eyed reflection on why the Greatest Rock ''n'' Roll Band in the World needed the world''s greatest rock ''n'' roll drummer. Across five decades, Rolling Stones drummer Charlie Watts has had the best seat in the house. Charlie Watts, the anti-rock staran urbane jazz fan with a dry wit and little taste for the limelightwas witness to the most savage years in rock history, and emerged a hero, a warrior poet. With his easy swing and often loping, uneven fills, he found nuance in a music that often had little room for it, and along with his greatest ally, Keith Richards, he gave the Stones their swaggering beat. While others battled their drums, Charlie played his modest kit with finesse and humility, and yet his relentless grooves on the nastiest hard-rock numbers of the era (Gimme Shelter, Street Fighting Man, Brown Sugar,Trade ReviewCharlie Watts lays it down, and the others follow. He is the Law. This book explains why. Clem Burke, Blondie. Required reading for any Stones fan. Bun E. Carlos, Cheap Trick. The most colorfully graphic and, arguably, the most accurate description extant of the Rolling Stones at the absolute pinnacle of their career. All About Jazz. [Edison] shoots from the hip from the first line to the last in this extremely entertaining celebration... Edison s frenzied, gunned up prose repeatedly reminds one and all of exactly why Charlie Watts Matters... Stones fans and jazzers, bluesers and rockers alike all owe Mike Edison a massive thank you. ? ? ? ? Shindig Sympathy thankfully is not a ponderous academic treatise, and while Edison occasionally leans into gonzo flights of fancy, he takes the reader on a grand tour of forty years of Watts contributions to the Rolling Stones... As Keith Richards has said, No Charlie, no Stones, and Edison wrote the book to prove it. Modern Drummer. Sympathy for the Drummer is so much more than an incisive appreciation of Charlie Watts, it is an effusively infectious tribute to art in all of its myriad forms. Edison s insights into the Rolling Stones are backed up by a fluent scope of cultural historicity, and peppered with an array of no-nonsense broadsides. Compelling evidence to convince even the most non-partisan reader that Charlie is indeed the WORLD S GREATEST ROCK N ROLL DRUMMER! Jim Sclavunos, Nick Cave and the Bad Seeds. A great voice of authority and knowledge, dispensed with free-wheeling fluidity. Super entertaining, and right on. Katherine Turman, coauthor, Louder Than Hell: The Complete Oral History of Heavy Metal. A wild ride through six-plus decades of music history... An illuminating and massively entertaining book. Epstein, author Big Hair and Plastic Grass. Mike Edison s libertine prose swings and hits like Charlie Watt s right hand. Meredith Ochs, author Rock-and-Roll Woman. It s not hard to fathom why a former editor of both Screw and High Times magazines would find writing about the Rolling Stones, one of the most dissolute champions of sex and drugs, right in his conceptual wheelhouse. But Edison takes a unique approach by focusing his investigation on Charlie Watts, the woefully underappreciated lynchpin of the Stones sound. This book is a delightful look at the Stones through the eyes and the beats of their most reticent member. Finally someone gave this drummer some. Larry Ratso Sloman, author On the Road with Bob Dylan. Charlie Watts is the backbone of the Rolling Stones. In this affectionate yet unflinching biography, Mike Edison shows how integral his jazz sensibility makes them a true band: keeping time, creating space, and hitting the crash cymbal at just the right moment. Lenny Kaye, guitarist, author of You Call It Madness: the Sensuous Song of the Croon. An imaginative consideration of the Rolling Stones, one which will let you hear utterly familiar tracks with entirely fresh ears. Ira Robbin.

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Book SynopsisThroughout the 1990s, Dave Thompson was the Seattle-based contributing editor to Alternative Press magazineAmerica''s biggest-selling and most influential alternative rock monthlyand a regular contributor to other publications both nationally and internationally.Throughout this decade, grunge music ruled the world and Seattle was its birthplace and focal point. Thompson was an eyewitness to it all. His writings and interviews chronicled the entire history of grungefrom its roots in the earliest explosion of punk in the mid-1970s to its rise and ultimate fall from grace in the late 1990s.Drawing from Thompson''s extensive experience and researchfrom personal files and journals and hours of interviews with both musicians and fans, other music industry figures, and a wealth of characters from the Seattle sceneThe Grunge Diaries is an exhaustive account of this unique era.Featured are all of the major actsNirvana, Pearl Jam, Mudhoney, Soundgardenand many lesser know

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Book SynopsisThis volume concentrates on the composer's vocal music, including the late Rueckert Lieder, the 8th Symphony and Das Lied von der Erde.A monument in Mahler studies, this volume concentrates on the composer's vocal music and, in particular, on some of his most famous, most original and best loved compositions: the late Rueckert orchestral songs and Kindertotenlieder; Das Lied von der Erde, one of the composer's supreme masterpieces, and the vast Eighth Symphony. Much new ground is broken but the author bases his conclusions on a meticulous examination of the principal manuscript sources, especially those for Das Lied. He offers an unprecedented exploration of the original Chinese texts for that work and indeed of the whole Oriental dimension of Mahler's last and greatest song-cycle. Time and time again, the composer's sketches back up the author's reading of these massive scores and there will be few among this book's readers who will not find a familiar passage or movement sharply illuminated by fresh insights and information. The scope of the book, despite its concentration, is immensely wide; and so is the readership it addresses: Mahler scholars, performers, and general readers. DONALD MITCHELL was Founder Professor of Music at the University of Sussex. He is currently Visiting Professor at Sussex and York, and formerly at King's College, London.Trade ReviewHe is...an enthusiast, and his enthusiasm, which lights up every page, is reinforced by an unsurpassed knowledge of his subject. However well one thinks one knows Das Lied von der Erde, one's knowledge and understanding of it will be enhanced by reading this book. -- Michael Kennedy * MUSICAL TIMES *Anyone genuinely interested in this composer should acquire this book at the earliest opportunity. It is magnificently produced, as befits the depth of scholarship the author continues to impart to his subject. * MUSIC AND MUSICIANS *No book I have read on any composer brings one closer to the act of composition itself, to imagining the creative decisions that occupied Mahler, especially in Das Lied... If ever a book forced one to reconsider every detail of a masterpiece it is this. * NEW STATESMAN *

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Book SynopsisThe term Minimalism appeared in the mid-1960s, primarily with reference to the stripped-down sculpture of artists like Robert Morris and Donald Judd. Investigating the origins of Minimalism in postwar American culture, the author redefines it as a movement that developed radically reductive stylistic innovations in numerous media.Trade Review... a landmark work, the first attempt to write a pre-history of minimalism that embraces all the arts. Its importance cannot be overestimated." --K. Robert Schwarz, Institute for Studies in American Music "All told, this book is mandatory reading for anyone who wishes to understand the history and nature of minimalism." --i/e NINETable of ContentsPaintSoundSpaceEndBibliographyIndex

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Book SynopsisAn engaging overview of dance from the Medieval era through the BaroqueTrade ReviewA big bite of dance history scholarship is undertaken in this study, and it does not seem to be too big for Jennifer Nevile, the editor of the volume, to chew. She manages to weave an introduction into the book, and each of its six subsections make the promise of its lofty title (and the ideas it appears to embrace) within her grasp. Given the book's vast chronological sweep-rather more than the 500 years suggested in the title, since the very useful essay on 'Plato's Philosophy of Dance' by Graham Pont increases the range substantially-it was my guess, when I embarked on my journey through its pages, that I would find some themes on spectacle or the carnivalesque that would override chronology. Or maybe there would be a sociological/anthropological approach to the embodiment of status relationships (politics) through dance that would render chronology secondary to social configurations. With excited anticipation I dove in, expecting to find something along these lines. Although I was not disappointed, I discovered something quite different. The book features a nice selection of generally excellent essays by some leading authorities in historical dance. Each essay offers information situated in its own time frame, and each presents a secure control of primary and secondary sources and includes a very useful list of recommended reading at its conclusion. Some essays provide tantalizing new details (John S. Powell's piece on Beauchamps and public theaters in 17th-century France and David R. Wilson's review of the basse danse are good examples). Some interpret well-known material in new and promising ways. Jennifer Thorp's piece on 'Dance in the London Theatres c.1700-1750' makes me look forward to her important new work. Two essays review material the authors have already addressed, but nevertheless do so here in a compellingly compact way; Ken Pierce's offering on the choreographic structure of Barouque dance and Margaret M. McGowan's essay on court dancing in 16th and 17th-century France. Only a pair of essays (not counting the deceptively erudite and versatile 'Introduction and Overview' by Nevile herself) really fit the themes of bodies, politics, and spectacle announced by the title. Julia Prest's offering on politics and ballet in Louis XIV's France is pretty perfunctory. But Linda J. Tomko's essay on 'Mr. Issac's The Pastorall and Issues of "Party"' really does embrace the kind of inquiry I was expecting. Tomko's is a truly analytical study that responds with vibrancy to the themes called for by the volume's editor. Most of the authors represented here undertake their tasks with precision and skill. Many succeed, and all should be acknowledged for their contribution: those not already mentioned include Alessandro Arcangeli; Katherine Tucker McGinnis, and Karen Silen. Jennifer Nevile's multiple contributions to the volume cannot be praised sufficiently; her essays on Renaissance dance are impressive, her introduction to the volume full of perception. I suppose we must await some future in which an individual truly finds a connection among the various manifestations of social, stage, and court dancing over the ages. But I wonder if this is really important. Dance, after all, is body, is spectacle, is 'politik' (however we configure it). I'm just not sure that Guglielmo Ebreo (15th century), Cesare Negri (c. 1535-after 1604), or Mr. Isaac (late 17th, early 18th century) shared some common agenda (let alone believed they did) when they created their splendid dances. Nevile, nevertheless, would have us believe that something like the same bodies, the same spectacles, the same kinds of politics were enacted (perhaps unintentionally) over and over again across the centuries addressed in this volume. Maybe she is right. The scholars she has brought together, however, do not appear to espouse such a grandiose vision but appear more concerned with a narrower, well-informed view of dancing in a given place at a given time. Congratulations to them all, and to Nevile for bringing this impressive collection to life. I have profited considerably from reading the offerings presented here, and I am certain others will, too. I will recommend readings from this volume to my students for years to come. -- Richard Semmens * Early Music America : Mag Historical Perf *Jennifer Nevile's accessibly written anthology seeks to explore many now obscure aspects of early dance: contributions by twelve scholars elucidate the fascinating, multifarious nature of dance from the thirteenth to the eighteenth century. . . . contributors demonstrate a high scholarly standard and pursue their chosen themes with assurance and passion. The great forte of this collection is its ambitious, multidisciplinary range, and the authors' practical insight, honed by years of performance experience, represents a rare feat indeed. The book should be required reading in dance studies.62 Summer 2009 -- Barbara Ravelhofer * Univeristy of Dunham *A big bite of dance history scholarship is undertaken in this study, and it does not seem to be too big for Jennifer Nevile, the editor of the volume, to chew. . . . Congratulations to . . . Nevile for bringing this impressive collection to life. I have profited considerably from reading the offerings presented here, and I am certain others will, too. I will recommend readings from this volume to my students for years to come. Spring 2009 -- Richard Semmens * University of Western Ontario, Professor of Music History *Nevile . . . has assembled an intriguing book that in many ways serves as an encyclopedia of early dance—a feat not easily accomplished in one volume. . . . [T]his is a fine resource for those who research this specialized period of dance history. An excellent glossary and bibliography and a 'list of dance treatises, manuscripts, modern editions, and translations' complete the book. Summing Up: Recommended. Graduate students and researchers.March 2009 * Choice *This is a great book for understanding music, dance and the part they played in the period covering 1250-1750, in Europe. It is filled with a whole cosmology of ideas. How the arc of five centuries connect, are enmeshed, develop and flow into our own day. This book is a treasure.Winter 2008 -- Paul-James Dwyer * Toronto Early Music Quarterly *The balanced assortment of general introductions and detailed case studies makes Dance, Spectacle, and the Body Politick, 1250-1750 a useful collection and an engaging 'read' for dance enthusiasts, reconstructors, and scholars alike. -- Emily Winerock * Dance Chronicle *[This] collection more than fulfills its goal of opening up pre-1750 dance studies to a general readership, but will also be of interest to the more informed dance historian. * Historical Dance *Dance, Spectacle, and the Body Politick makes an important contribution to existing dance scholarship ... The essays in Nevile's collection add significantly to this diligent work. Every essay is both informative and interesting, and each author provides a valuable list of further readings on the topic.Volume 16 Issue 2 2011 * European Legacy *This well-researched and original collection of essays on early dance addresses the picture of dance in society from 1250 to 1750. The interdisciplinary and wide-ranging approach of the book makes it very valuable for dance historians, musicologists and historians of ideas alike, as well as anyone interested in dance history. Issue 78, Autumn 2010 * Cahiers Elisabethains *. . . this ambitious anthology . . . manages to fill an academic void . . . .Vol. 35.1 2010 -- Nicole Haitzinger * University of Salzburg *An important book for any musician, theatrical performer, dancer, historian, reconstructor or anyone involved in recreating the work of this time period. Essays with detailed notes, glossary, bibliography and a list of dance treatises, manuscripts, modern editions and published translations are worth the price of the book alone. A great book for understanding music, dance and the part they played in the period covering 1250-1750, in Europe.Summer 2009 -- Paul-James Dwyer * Dance International *Table of ContentsPart 1. Introduction and Overview1. Dance in Europe 1250–1750Part 2. Dance at Court and in the City2. Dance in Late Thirteenth-Century Paris3. Dance and Society in Quattrocento Italy4. Dance in Sixteenth- and Early Seventeenth-Century FrancePart 3. Dance and the Public Theater5. Pierre Beauchamps and the Public Theater6. Dance in the London Theaters c. 1700–1750Part 4. Choreographic Structure and Music7. The Relationship between Dance and Music in Fifteenth-Century Italian Dance Practice 8. The Basse Dance c. 1445–c. 15459. Choreographic Structure in Baroque DancePart 5. Dance and the State10. Your Most Humble Subject, Cesare Negri Milanese11. The Politics of Ballet at the Court of Louis XIV12. Mr. Isaac's The Pastorall and Issues of "Party"Part 6. Dance, Society, and the Cosmos13. Plato's Philosophy of Dance14. Moral Views on Dance15. Order, Proportion, and Geometric Forms: The Cosmic Structure of Dance, Grand Gardens, and Architecture during the RenaissanceList of Dance Treatises, Manuscripts, Modern Editions, and TranslationsGlossaryBibliographyList of ContributorsIndex

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