Music: styles and genres Books

Book SynopsisCultural criticism and pop culture history intertwine in this important book, which dissects how hip hop has sidelined Black women's identity and emotional well-being. A “ride-or-die chick” is a woman who holds down her family and community. She’s your girl that you can call up in the middle of the night to bail you out of jail, and you know she’ll show up and won’t ask any questions. Her ride-or-die trope becomes a problem when she does it indiscriminately. She does anything for her family, friends, and significant other, even at the cost of her own well-being. “No” is not in her vocabulary. Her self-worth is connected to how much labor she can provide for others. She goes above and beyond for everyone in every aspect of her life—work, family, church, even if it’s not reciprocated, and doesn’t require it to be because she’s a “strong Black woman” and everyone’s favorite ride-or-die chick. To her, love should be earned, and there’s no limit to what she’ll do for it.   In this book, author, adjunct professor of sociology, and former therapist Shanita Hubbard disrupts the ride-or-die complex and argues that this way of life has left Black women exhausted, overworked, overlooked, and feeling depleted. She suggests that Black women are susceptible to this mentality because it’s normalized in our culture. It rings loud in your favorite hip-hop songs, and it even shows up in the most important relationship you will ever have—the one with yourself.   Compassionate, candid, hard-hitting, and  100 percent unapologetic, Ride or Die melds Hubbard’s entertaining conversations with her Black girlfriends and her personal experiences as a redeemed ride-or-die chick and a former “captain of the build-a-brother team” to fervently dismantle cultural norms that require Black women to take care of everyone but themselves.  Ride or Die urges you to expel the myth that your self-worth is connected to how much labor you provide others and guides you toward healing. Using hip hop as a backdrop to explore norms that are harmful to Black women, Hubbard shows the ways you may be unknowingly perpetuating this harm within your relationships. This book is an urgent call for you to pull the plug on the ride-or-die chick.  

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Book SynopsisCultural criticism and pop culture history intertwine in this important book, which dissects how hip hop has sidelined Black women's identity and emotional well-being.

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Book SynopsisBy the bestselling author of Sam Phillips: The Man Who Invented Rock 'n' Roll and Last Train the Memphis: The Rise of Elvis Presley, this dazzling new book of profiles is a culmination of Peter Guralnick's remarkable work, which from the start has encompassed the full sweep of blues, gospel, country, and rock 'n' roll.

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Book SynopsisIn his first collection of essays, Peter Guralnick dives deep into question at the heart of his body of work: What is the source of creativity? Spanning his decades-long career as America''s foremost music scholar, this book brings us into the minds of the artists who inspire him.Looking to Get Lost brings the reader into Guralnick''s one-of-a-kind relationships with his subjects, and we peek into how he was able to engage with musicians, writers, and creators as only he can: as a fan, a student, a peer, and in many cases as a friend.

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Book SynopsisLibretto-bashing has a distinguished tradition in the blood sport of opera, writes Arthur Groos in the introduction to this broad survey of critical approaches to that much-maligned genre. To examine, and to challenge, the long-standing prejudice against libretti and the scholarly tradition that has, until recently, reiterated it, Groos and Roger Parker have commissioned thirteen stimulating essays by musicologists, literary critics, and historians. Taken as a whole, the volume demonstrates that libretti are now very much within the purview of contemporary humanistic scholarship. Libretti pose questions of intertextuality, transposition of genre, and reception history. They invite a broad spectrum of contemporary reading strategies ranging from the formalistic to the feminist. And as texts for music they raise issues in the relation between the two mediums and their respective traditions. Reading Opera will be of value to anyone with a serious interest in opera and contemporary opera criticism. The essays cover the period from the early nineteenth to the early twentieth centuries, with a particular focus on works of the later nineteenth century. The contributors are Carolyn Abbate, William Ashbrook, Katherine Bergeron, Caryl Emerson, Nelly Furman, Sander L. Gilman, Arthur Groos, James A. Hepokoski, Jurgen Maehder, Roger Parker, Paul Robinson, Christopher Wintle, and Susan Youens.Originally published in 1988.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.Table of Contents*FrontMatter, pg. i*CONTENTS, pg. v*ACKNOWLEDGMENTS, pg. vii*INTRODUCTION, pg. 1*Appropriation in Wagner's Tristan Libretto, pg. 12*Boito and F.-V. Hugo's "Magnificent Translation": A Study in the Genesis of the Otello Libretto, pg. 34*An Unseen Player: Destiny in FelUas et Malisande, pg. 60*The Origins of Italian Literaturoper: Guglielmo Ratcliff, La figlia di Iorio, Parisina, and Francesca da Rimini, pg. 92*Erik's Dream and Tannhauser's Journey, pg. 129*The Languages of Love in Carmen, pg. 168*How to Avoid Believing (While Reading Iago's "Credo"), pg. 184*The Numinous in Gotterdammerung, pg. 200*Musorgsky's Libretti on Historical Themes: From the Two Borises to Khovanshchina, pg. 235*Boito and the 1868 Mefistofele Libretto as a Reform Text, pg. 268*On Reading Nineteenth-Century Opera: Verdi through the Looking-Glass, pg. 288*Strauss and the Pervert, pg. 306*A Deconstructive Postscript: Reading Libretti and Misreading Opera, pg. 328*INDEX, pg. 347

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Book SynopsisAn accessible introduction to the study of popular music, this book takes a schematic approach to a range of popular music genres, and examines them in terms of their antecedents, histories, visual aesthetics and socio-political contexts.Trade ReviewPopular Music Genres offers a different introduction to the study of popular music. Key to the book is the notion of genre! It is a welcome addition to teachers of popular music who have problems getting their undergraduate students, who would rightly or wrongly much rather learn about 'popular music itself', interested in the compliated and sometimes obscure theories of cultural studies and popular music research. -- Sanna Rojola, University of Jyvaskyla, Finland Popular Music Genres offers a different introduction to the study of popular music. Key to the book is the notion of genre! It is a welcome addition to teachers of popular music who have problems getting their undergraduate students, who would rightly or wrongly much rather learn about 'popular music itself', interested in the compliated and sometimes obscure theories of cultural studies and popular music research.Table of ContentsIntroduction; 1. Soul: from gospel to groove; 2. Funk: the breakbeat starts here; 3. Psychedelia: in my mind's eye; 4. Progressive rock: breaking the blues' lineage; 5. Punk rock: artifice or authenticity; 6. Reggae: the aesthetic logic of a diasporan culture; 7. Synthpop: into the digital age; 8. Heavy metal: noise for the boys?; 9. Rap: the word, rhythm, and rhyme; 10. Indie: the politics of production and distribution; 11. Jungle: breakbeat's revenge; Glossary; Bibliography.

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Book SynopsisA study of the relationships between music and contemporary media.Table of ContentsCONTENTS Acknowledgements 1. Introduction 2. Dancing about architecture? Mediating Popular Music Through The Written Word i) Introduction ii) Mark Ellen: editor, The Word iii) Laura Barton: music writer, journalist, novelist iv) Simon Broughton: editor, Songlines v) Paul Williams: editor, Music Week 3. "Everybody's on Top Of The Pops" : Music on Television i) Introduction ii) Mark Cooper: Producer, Later... and Creative Head of Music Entertainment, BBC 4. Sold On Song? : Popular Music and Advertising i) Introduction ii) Jeremy Lascelles: CEO , Chrysalis Music and Media 5. "Who Listens To The Radio?" - Music and Public Service Radio i) Introduction ii) Fiona Talkington: presenter Late Junction BBC Radio 3 iii) James Addyman: presenter Down In The Grooves BBC Radio Leeds 6. State of Independence? The Life Of An Independent Record Label i) Introduction ii) Case Study I : Buzzin' Fly : Ben Watt iii) Case Study II : Pure Records: The Rusby family Appendices: i) 'Hail Hail Rock 'n' Roll' column by Laura Barton, The Guardian April 11th 2008 ii) Content analysis of issue of Music Week September 18th 2010 iii) Down In the Grooves playlist October 10th 2009 Glossary Bibliography Discography and Links

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Book SynopsisQuestions of creativity, and particularly the processes which underlie creative performance or 'improvisation', form some of the central areas of interest in current musicology. Yet the predominant discourses on which musicological thought in this area are based have rarely been challenged. In this book Laudan Nooshin interrogates musicological discourses of creativity from the perspective of critical theory and postcolonial studies, examining their ideological underpinnings, the relationships of alterity which they sustain, and the profound implications for our understanding of creative processes in music. The repertoire which forms the book's main focus is Iranian classical music, a tradition in which the performer plays a central creative role. Addressing a number of issues regarding the nature of musical creativity, the author explores both the discourses through which ideas about creativity are constructed, exchanged and negotiated within this tradition, and the practice by which Trade ReviewWinner of the British Forum for Ethnomusicology (BFE) Book Prize, 2016.'Iranian Classical Music is an important addition to the recent studies of music-making in related traditions. As a commendable example of scientific analysis that is theoretically grounded, the book will also appeal to a wider audience that is interested in the innate creativity of the human condition.'-- John Morgan O'Connell, Cardiff University, Oxford JournalTable of ContentsContents: Preface. Part I Musicological Narratives of Creativity: Approaching the study of musical creativity: musicologies, discourses and others. Part II Creativity in the Iranian Context: Discourses and Structures: Discourses of creativity in Iranian classical music; Disciplining creativity: the radif of Iranian classical music. Part III Beyond Discourse: The Practice of Creativity: Creative performance in Iranian classical music; Postlude: ’Roots in the past and a view towards the future’: contemporary developments in Iranian classical music performance. Appendices; Bibliography; Index.

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Book SynopsisMaria Mellins is a Senior Lecturer in Screen Media at St Mary's University, UK.Table of Contents1.Twenty-first Century Vamp 2.Interviewing Vampires 3.Vampire Femininity and Status 4.Vampire Community Profile 5.Feminine Discourses 6.Alternative Celebrity 7.Conclusions Appendix Bibliography Index

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Book SynopsisThe great Arab singer Asmahan was the toast of Cairo song and cinema in the 1930s, as World War II approached. She was also rumored to be an agent for the allied forces during WWII. This work presents the story of Asmahan and her musical career, and the aspects of the cultural and political history of Egypt and Syria between the two world wars.Trade Review'Thoroughly researched in a charming style ... a study of an extraordinary person.' Jane Jakeman, The Independent

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Book SynopsisComprehensive biographical information covering the leading names on all aspects of popular musicTable of ContentsBiographies include major career details, concerts, recordings and compositions, honours and contact address Provides details of record companies, management companies, agents and promotors Also profiles publishers, festivals and events and other organizations involved with music.

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Book SynopsisUsing an approach to music informed by T. W. Adorno, this book examines the real-world, political significance of seemingly abstracted things like musical and literary forms.

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Book SynopsisBased on new archival evidence and interviews, and setting out a new theoretical framework for music video analysis, Emily Caston presents a major new analysis of music videos from 1966-2016, identifying not only their distinctive British traits, but their parallels with British film genres and styles.

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Book SynopsisAuthorised biography of one of the greatest classical tenors in the world today, the German tenor Jonas Kaufmann.Trade ReviewMr Voigt's journalistic credentials are impeccable ... Mr Kaufmann goes into detail on the physical demands of his art; he speaks eloquently on the fear to which all singers are prone * The Economist *

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Book SynopsisPaul Gemignani is one of the titans of the modern musical theater industry. Serving as musical director for more than forty Broadway productions since 1971, his collaborations with Stephen Sondheim, Andrew Lloyd Webber, John Kander, Fred Ebb, Hal Prince, Michael Bennett, and Alan Menken have led to countless accolades for his collaborators, but due to the near invisible position of the musical director in the Broadway industry, Gemignani''s story is often overlooked. GEMIGNANI seeks to not only bring the reader into the orchestra pit to learn Gemignani''s story, but also to educate the reader about the crucial role a music director plays in bringing some of the most iconic musicals in Broadway history to life.Born into a second-generation Italian American family during the aftershocks of the Great Depression, Gemignani worked his way up from playing percussion in USO bands to conducting before Leonard Bernstein,

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Book SynopsisThe Book of Broadway Musical Debates, Disputes and Disagreements is purposely meant to start arguments and to settle them. Broadway musical fans won't always agree with the conclusions musical theater judge Peter Filichia reaches, but the best part of any drama is the conflict. Among lovers of musical theater, opinions are never in short supply, and Filichia addresses the most dividing questions and opinions in one book. What will you say when he asks, What is the greatest opening number of a Broadway musical? Will your answer be The Circle of Life from The Lion King, Heaven on Their Minds from Jesus Christ Superstar, or Beautiful Girls from Follies? Will you agree with his answer to Whose Broadway performance in a musical was later best captured on film? Did you immediately think of Robert Preston in The Music Man or Barbra Streisand in Funny Girl? More questions that will add to the fire include What song from a musical is the most beloved? and What's the worst song

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Book SynopsisPatrick St. Michel is a writer in Tokyo focusing on Japanese music and pop culture. He has operated the Japanese music blog Make Believe Melodies since 2009, and his work has appeared in The Japan Times, Pitchfork, The Atlantic, The Fader, MTV, Vice, and The Sydney Morning Herald, among others.Table of ContentsTrack Listing Acknowledgements Notes on Text Introduction 1: The Age of Technopop 2: Music Controller 3: A New Scent 4: Brave New World 5: Play the Game 6: Take Off 7: Love the World Notes Suggested Further Reading

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Book SynopsisJoe Panzner is a lecturer in Music History at the Ohio State University and Capital University, USA.Trade ReviewThis smart, well-written book reveals deep and convincing connections (ontological, ethical, aesthetic, and political) between one of the twentieth century's most important philosophers and one of its most important composers – resonances that have been noted by others but never fully explored. Panzner helpfully explicates Deleuze's key ideas and draws on them to develop Cage’s philosophical position. Conversely, he shows how Cage exemplifies and expands Deleuze's aesthetics. * Christoph Cox, Professor of Philosophy, Hampshire College, USA *This book is a dazzling achievement; Joe Panzner shows how Cage’s ideas are in dialogue with continental philosophy and, in so doing, offers important new perspectives on his work, its performance, and its overall significance. * Rob Haskins, Associate Professor, Department of Music, University of New Hampshire, USA *As the prestige and productive power of Deleuze has transformed the Humanities, it is fascinating to see retrospectively Cage’s in-tuned-ness to the philosophical cutting edge that most of the English speaking world pretty much missed at the time. The Process that is the World brings the perplexing artistic character of John Cage into a philosophically “respectable” conversation with one of the most important Western philosophers since Aristotle in ways that strikingly illuminate their shared creative territory. Panzner’s skillful and compelling parsing of the richly resonant strands of thought that characterize both Cage and Deleuze adds significant depth to our understanding of both of them, and this expertly written work goes far in reminding us how significant John Cage really is. Panzner reminds us that the experiments and productions of musicians have always had an excess philosophical value, something not even philosophy can supply itself with. A brilliant calibration of these two highly esoteric thinkers that has the potential to open up new territories of correspondence between music and philosophy, The Process that is the World will surely mark one of the early and most significant moments in music’s conceptual turn towards Deleuze, and will instantly become an important touchstone in both Cage and Deleuze studies. * Brian Hulse, Associate Professor of Music Theory and Composition, College of William & Mary, USA *This book creates an utterly convincing link between experimental music and radical philosophy; or more broadly, between the boundaries of thought and the limits of artistic practice. The parallels between Cage and Deleuze that Panzner finds are uncanny: they will have you reading one through the eyes and ears of the other until you hear their work as the kind of collective assemblage both men loved. * Michael Pisaro, Composer/Professor, California Institute of the Arts, USA *Table of ContentsAcknowledgements Chapter One: “The Process That Is The World” (Introduction) Chapter Two: “It Is Not, It Becomes” (Works) Chapter Three: “A Mistake Is Beside the Point” (Ethics) Chapter Four: “Happy New Ears!” (Encounters) Chapter Five: “Through Many a Perilous Situation” (Performances) Chapter Six: “To Inhabit the World” (Politics) Bibliography Index

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Book SynopsisTHE SINGER'S COMPANION: A GUIDE TO IMPROVING YOUR VOICE AND PERFORMANCE

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Book SynopsisBill Haley ä the man who brought rock 'n' roll into the mainstream. His song Crazy Man Crazy was the first rock 'n' roll song to break the ÊBillboardÊ Top 20 in 1953 and was followed by his evergreen We're Gonna Rock Around the Clock the first song of its kind to hit #1. His success made him an idol not only in the US but throughout the world from Canada to the UK Europe Australia Japan New Zealand and beyond. Yet Haley is often overlooked in the story of rock 'n' roll overshadowed by others who followed him from sex symbol Elvis Presley to wild man Jerry Lee Lewis and forever-young Buddy Holly.ÞBut Haley's lack of visibility was in part his own doing: he had conflicted feelings about fame was extremely private suffered chronic alcoholism and troubled relationships with multiple wives which yielded ten children who he struggled to support. Though he managed to carry on a successful touring career his demons eventually eroded his health and in 1981 at the age of only 55 he passed away.ÞThis book is written by esteemed biographer Peter Benjaminson and Bill Haley Jr. Haley's son a musician himself who tours the world paying tribute to his father's music. Culled from interviews with insiders ä from ex-wives to the Comets recorded conversations with Haley Sr. official documents diaries and more this book not only charts the happenings of Haley's career but gives insight into the Haley behind the curtain and some of the other trials he faced from the dark side of the music business to ties with Mafia. Featuring a collection of rare photographs this book is a must-have for any serious rock 'n' roll fan.

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Book SynopsisThis is the album that sent a shockwave of empowerment through the nation’s cultural underground. In 1985, Olympia, Washington band Beat Happening released their eponymous debut of lo-fi pop songs on K Records and challenged every conception held about music. At the center of the group was the enigmatic Calvin Johnson and his revolutionary vision of artistic creation. His foresight and industriousness allowed him to recruit to the K Records roster other free-spirited artists like Beck, Modest Mouse, and Built to Spill long before they gained widespread acclaim. This book, structured in abecedarian fashion, breaks down the fundamental components that defined Beat Happening’s self-titled album. With a foreword by Phil Elverum, it's organized in a light-hearted yet incisive format, each of the book’s chapters details a particular facet of the record—band members, historic shows, recording sessions, songs, and ideologies—parts reflecting the album as a whole. These alphabetic ingredients constitute a recipe book for feeding your creative spirit. Here is the story of a band that popularized do-it-yourself projects and home recording with four-track tape machines decades before the digital revolution would extend an open hand to garage bands everywhere. This is the story of musical pioneers. This is Beat Happening.Trade ReviewI actually saw their first performance. It was in somebody’s kitchen, and Calvin jumped up and started performing on somebody’s kitchen top. I thought from the first moment I heard their stuff that he had a very unique take on punk ... It was really quirky and really affected, but they were the ultimate DIY band. They had two instruments, which they borrowed – they didn’t even own the instruments – and they never rehearsed ... So here’s this band who don’t own instruments, don’t rehearse, they didn’t even pay for their own records, and yet their first album is being honoured in the book series 33 1/3. You’ve got the Ramones, Michael Jackson, the Beatles … oh, and Beat Happening ... I think that Beat Happening got the respect they deserved ... It was them going: 'We are punk. This is who we are. We’re not going to conform or change what we do based on peer pressure.' -- Gwilym Mumford * The Guardian *’A’ is for action, ‘B’ is for Bret, ‘C’ is for Calvin…and so on … Parker does admirable work here in describing the origins of the band’s sensibilities (improvisational theater and early exposure to feminism are both key), and how those sensibilities put them at odds with punk as the scene was getting more violent and exclusionary. As with all volumes of the 33 1/3 series, I’ll judge Parker’s work on how much it enhanced my understanding of the album and whether or not that enhanced perspective made me want to revisit it with fresh ears. He’s successful on both fronts. * Midnight to Six *Table of ContentsForeword by Phil Elverum Deconstructing a Cupcake A is for Action B is for Bret C is for Calvin D is for DIY E is for Evergreen F is for Firehouse G is for Girl City H is for Heather I is for International J is for Japan K is for KAOS L is for Love Rock M is for Martin Apartments N is for Negative Space O is for Olympia P is for Punk Q is for Question R is for Regionalism S is for Subterranean Pop T is for Tropicana U is for Unfinished V is for Vinyl W is for Washington X is for X-Rated Y is for Yoyo Studio Z is for Zooming Rocketship Bibiography Index

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Book SynopsisWelcome to Stats, Records & Rock 'n' Roll, an exploration of the aural beauty of music told through 80 visually stunning infographics - the most popular information medium of the 21st century. With extensive research sourced from all over the world, Stats, Records & Rock 'n' Roll can finally reveal the answers to the questions that have long intrigued many music fans: Where does the money from Number One records go? How do the sales figures of One Hit Wonders compare to their follow-up flop? And, most importantly, how many records does a music fan listen to during their lifetime? Covering all genres, this comprehensive and beautiful book has a plethora of facts and figures to keep every serious music fan awake at night with wonder. From classic bands to hot, new favourites - it's all here.

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Book SynopsisThe North of England is regarded as a region economically and culturally lagging behind the South of England. However, this situation does not refer to popular music in which the North has had an influence which is comparable to that of London. Many bands and performers coming from the North, including the Beatles, the Animals, Herman’s Hermit, the Smiths, the Happy Mondays, the Fall, Joy Division, New Order, Pulp and Oasis belong to most popular and influential pop-rock musicians in the world. The North has also been the home to some particular dance scenes including Northern Soul, the `Madchester’ acid house, rave scenes and hip hop and grime scenes. This collection presents some of the less well known facets of popular music in the North of England, examining how popular music reflected on various aspects of the North, such as its economy and architecture and how it impacted on self- and external perception of the North. It assumes that understandings of the English North vary and its geography has more to do with imagined rather than empirical communities. The North can be seen as being defined against an England epitomised by London and as an area reflecting the most salient features of England as a whole. Specific chapters discuss topics such as the music scenes in Manchester, Liverpool, Hull and Sheffield, music festivals and careers of some musicians connected with the North such as MC Tunes and Bugzy Malone. Written in a jargon-free language, it should be of interest to everybody interested in music of the North.Table of ContentsIntroduction: Is It Really Grim Up North?: Popular Music in the North of England Ewa Mazierska Part 1: Music, Regional Politics and Entrepreneurial Culture 1. Manpool, the Musical: Harmony and Counterpoint on the Lancashire Plain Richard Witts, Edge Hill University, Lancashire 2. Another Uniquely Mancunian Offering?: Un-Convention and the Intermediation of Music Culture and Place Paul Long and Jez Collins, both at Birmingham City University 3. `They Say A Town Is Just A Town, Full Stop, But What Do They Know?': Architecture, Urbanism and Pop in Sheffield Owen Hatherley, Independent scholar Part 2: Pop-Rock Soundscapes, Scenes and Artists 4. `I Thought I Heard That up North Whistle Blow’: African American Blues Performance in the North of England Tom Attah, Leeds College of Art 5. The Contrasting Soundscapes of Hull and London in David Bowie’s Ziggy Stardust and the Spiders from Mars Peter Atkinson, University of Central Lancashire 6. Hard Floors, Harsh Sounds and the Northern Anti-Festival: Futurama 1979-1983 Ian Trowell, University of Sheffield (PhD candidate) 7. Scrap Value: Sleaford Mods, Invisible Britain and the Edge of the North Brian Baker, Lancaster University Part 3: Hip Hop and Grime 8. Manchester Hip Hop Adam de Paor-Evans, University of Central Lancashire 9. The Missing Star of MC Tunes Les Gillon, University of Central Lancashire, and Ewa Mazierska 10. Hashtag 0161: Did Bugzy Malone put Manny on the map? Kamila Rymajdo, Kingston University (PhD candidate)

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Book SynopsisShe’s at the Controls gives a socio-historical examination of the roles of women studio professionals in the UK music industry. At the heart of the book are interviews conducted over six years with 30 female studio practitioners at different stages of their careers and working in different genres of popular music including reggae, hip hop and pop. The edited interviews are followed by an in-depth exploration of the often unseen and unacknowledged gender rules of music industry practice (both personal and technical) that underpin popular music etiquette. A range of supporting material from academic works to technical publications and popular music journalism is used to expand and critique the discourse. She’s at the Controls will appeal to everyone interested in new developments in the music industry, as it recalibrates itself in response to current challenges to its traditional gender stereotypes.Table of ContentsIntroduction 1. Starting Out: Early Engagements with Sound, Music and Technology 2. Becoming Professional: Entering the Music Industry 3. Specialisation and Entrepreneurship 4. The Workplace Experience and Relationships with Clients and Colleagues 5. Male Culture and Studio Territory 6. Gender Ventriloquism: Song Writing, Production and the Mediation of Women’s Voices 7. Fighting Back Against Stereotyping: The Case of EDM 8. Education, Inspiration and Potential for Change 9. Conclusion Bibliography Producer Biographies

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Book SynopsisTwo Bold Singermen and the English Folk Revival explores the lives and song traditions of two of the most influential English traditional singers: Sam Larner and Harry Cox. Using extensive primary evidence, including recorded interviews with both men, the book provides the first detailed biographies of these great singers, placing their singing and repertoires within the social and cultural contexts in which they lived. Larner and Cox were born within six years and 15 miles of each other, in late-nineteenth century Norfolk. Both men grew up in large, working-class, families, started work before their teens, spent their working lives in hard manual labour - Sam as a trawlerman, Harry as a farm labourer - married late and lived into their 80s. Crucially, both men were singers from an early age, amassed large repertoires of songs that are now established in the traditional canon and became key figures in the 'folk revival' of the 1950s and 60s. They directly influenced performers such as Martin Carthy, Shirley Collins, Peggy Seeger, Young Tradition and Steeleye Span, and indirectly influenced Paul Simon and Bob Dylan. Their impact extends to the current generation of performers and composers in the folk, Americana and singer/songwriter fields and even to Hollywood.Table of ContentsINTRODUCTION CHAPTER 1: Fields and Fishing CHAPTER 2: Two Norfolk Families CHAPTER 3: First Work, First Songs CHAPTER 4: The First Folk Revival CHAPTER 5: A World Turned Upside Down CHAPTER 6: Mr Moeran Comes Collecting CHAPTER 7: Harry Finds Fame CHAPTER 8: Building the Repertoire CHAPTER 9: "All we had for entertainment" CHAPTER 10: Sam is "discovered" CHAPTER 11: On the Road CHAPTER 12: The Road Goes on Forever? SELECTED DISCOGRAPHY

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Book SynopsisWith their era-defining music and instantly recognisable look, Chic’s reputation as pioneers of disco has endured long after the movement itself. After their initial success in the 1970s with classics such as `Good Times’, `Le Freak’ and `I Want Your Love’, Chic disbanded in 1983, with founding members Nile Rodgers and Bernard Edwards becoming in-demand producers. After Edwards’ tragic early passing in 1996, Nile Rodgers’ involvement in Daft Punk’s 2013’s smash hit `Get Lucky’ catapulted Chic back to international acclaim. And now, from curating Meltdown in 2019 to headlining festivals all over the world, Nile Rodgers and Chic have arguably never been more popular. Covering the sweet successes and fallings out of favour, the creative process and encounters with Jimi Hendrix, David Bowie, Diana Ross, Madonna and others, the acclaimed Everybody Dance explores the highs and the lows of Chic’s journey in fascinating detail. With a new foreword by Duran Duran founding member John Taylor and a host of new interviews with Nile Rodgers, Johnny Mathis and many others, to add to those with Ahmet Ertegun, Bryan Ferry and David Bowie, this edition bring their enthralling journey up to date. A must-read for any disco fan, Everybody Dance: Chic and the Politics of Disco is the essential story of the legendary band who still get us lost in music, over four decades on.

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Book SynopsisFrom his legendary 50s Sun recordings to his classic 'American' albums of the late 90s, Johnny Cash has always been the country voice of rock. This is his amazing story - Stephen Miller's vivid account of the life and times of a man who started out with stablemates Elvis Presley, Jerry Lee Lewis and Carl Perkins but who would later become a loyal musical friend of Bob Dylan, Nick Lower, Willie Nelson and Elvis Costello. Once on the point of death from drug addition, Cash turned his life around and for 50 years went on to participate in the rock music that grew out of these original sun recording studio sessions. Here are all the anecdotes behind the rowdy days, the prison albums, the relationships and the music. Rockabilly king, movie actor and activist, Cash enjoyed a rollercoaster career that lurched between million selling albums and periods of dark obscurity. Through it all the Man in Black remained a hero to discenring country and rock fans all over the world. This is his unique story.Trade Review'Miller tells his tale rather well with an eager unjaundiced eye.' Q

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Book SynopsisJohnny Cash had one of the most recognisable voice in the history of country music, and indeed in the history of recorded music itself. Building musical bridges between the worlds of country, folk, rock and gospel, Cash's influence is as broad as his fanbase.Table of ContentsJohnny Cash had one of the most recognisable voice in the history of country music, and indeed in the history of recorded music itself. Building musical bridges between the worlds of country, folk, rock and gospel, Cash's influence is as broad as his fanbase. His story is an amazing rags-to-riches tale about a kid who battled against poverty and depression to end up performing on the same stage as Elvis Presley... Johnny Cash: He Walked the Line is the definitive biography of the man. It is the only book to delve deeply into the personality and work of this prolific yet elusive artist, and its no-holds-barred look at the more uncomfortable aspects of Cash's life provides the first truly rounded portrait.

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Book SynopsisIn 1833, the Select Committee for Public Walks was introduced so that ‘the provision of parks would lead to a better use of Sundays and the replacement of the debasing pleasures.’ Music was seen as an important moral influence and ‘musical cultivation … the safest and surest method of popular culture’, and it was the eventual introduction of the bandstand which became a significant aspect of the reforming potential of public parks. However, the move from the bull baiting of ‘Merrie England’ to the ordered recreation provided by bandstands has never been fully comprehended. Likewise, the extent of changes in leisure and public entertainment and the impact of music at seaside resorts often revolved around the use of seaside bandstands, with the subsequent growth of coastal resorts. Music in public spaces, and the history and heritage of the bandstand has largely been ignored. Yet in their heyday, there were over 1,500 bandstands in the country, in public parks, on piers and seaside promenades attracting the likes of crowds of over 10,000 in the Arboretum in Lincoln, to regular weekday and weekend concerts in most of London’s parks up until the beginning of the Second World War. Little is really known about them, from their evolution as ‘orchestras’ in the early Pleasure Gardens, the music played within them, to their intricate and ornate ironwork or art deco designs and the impact of the great foundries, their worldwide influence, to the great decline post Second World War and subsequent revival in the late 1990s. This book tells the story of these pavilions made for music, and their history, decline and revival.Trade ReviewPaul Rabbitt's splendid book is dedicated to both their social and architectural glory. ... Impeccably researched and presented, it is a lovingly dedicated tribute to a very peculiar combination of practical, artistic engineering. ... Wonderful images showcase the cornucopia of structures and designs (and so many of the examples in the book are truly remarkable), as well as capturing a snapshot of the listening habits of the public throughout the generations. Iwan Fox, 4 Bars Rest... The extensive gazetteer of both existing and lost bandstands that concludes the book is ample testimony to the years of dedicated research and investigation that Paul Rabbitts has undertaken.Sally Williams, London LandscapesPaul Rabbitts is a true (and extremely knowledgeable) enthusiast, and his book combines social, architectural, horticultural and musical history, generously illustrated with highly evocative photographs from the author's own collection.A Magazine for RIBA Friends of Architecture'A book for savouring, it will repay close reading for a wider historical understanding of the place of music in entertainment and leisure, and its role in the democratic nature of public parks.'GR Arnold, ContextTable of Contents1. Early leisure to rational recreation 2. Rational recreation: pleasure gardens to public parks 3. Brass in concert 4. The art and architecture of the bandstand 5. Decline and revival of bandstands 6. The future of bandstands?

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Book SynopsisThis second edition of Esther Salaman's acclaimed book comes with added ideas and exercises. The message though is still the same: singing at all stages and the personality behind the voice - the aspirations, fears and courage we need to explore our invisible instrument. The book covers every aspect of voice production and the author's appreciation of the Bel Cantists underlies all her work. She gives a detailed plan for vocal health, as well as technical exercises in the form of musical examples. Singers of all ages, teachers and choir trainers will find it immensley helpful. The book included an analysis of Schubert's 'An die Musik'.Trade Review'You make statement after statement which please and flatter my own comprehension of the art of singing. I hope that you have lots of readers who heed your words.' - Dame Joan Sutherland; 'Esther Salaman encapsulates very pithily the basis of her teaching methods, and I feel sure this book will be welcomed, by singers and teachers alike, for its directness and sound common-sense' - Sir Mark ElderTable of ContentsPreface to the Second Edition, Foreword by Mark Elder, Prelude, Unlocking Your Voice, Freedom and Agility, Vibrazione - Vibrancy, Messa di Voce - Expression: Dynamics, Resonance, 'Covering the Sound' and Registers, Your Daily Voice Limbering, Vowels and Consonants, The Wish to Sing, Tension and Performance, Voice Strain and Other Hazards, The Pleasures and Perils of the Singing Profession, Side Tracks and Deception, Teachers and Students, More About Bel Canto, Choir Trainers, Finale, Appendix: Analysis of Schubert's 'An die Musik'

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Book SynopsisMusic is the great equalizer around the world. No matter where it originates or what form it takes, it has had a profound role in shaping the human experience and preserving the history of that experience for centuries. African American music originated out of a heritage shaped by the Transatlantic Slave Trade and forced enslavement. The music born out of this shared identity was a means of survival, a treatise on the struggle for freedom, and an agent of social change, and generated a vast array of musical styles and performance traditions that have defined American music. Musical Crossroads explores how objects can expand our understanding of the ways African American music-making continues to shape and influence society. Five thematic chapters are introduced with an essay by Dwandalyn R. Reece, and accompanied by shorter features written by museum staff. Striking images include Johnny Mathis on stage; Bo Diddley’s Gretsch Guitar; Nina Simone recording "Don't Let Me Be Misunderstood" to name just a few. Featured objects include Radio Raheem’s original boombox used in Spike Lee’s 1989 film, Do the Right Thing; the original Public Enemy logo necklace alongside a story from rapper Chuck D about where the group’s name comes from; and photos of Queen Latifah taken by Hip-hop photographer Al Pereira while she was filming the music video for “Fly Girl”. Numerous illustrated profiles and stories relating to a host of DJs, producers, Black-owned record labels, Black music press, and artists, include magazines like Defender, Blacks Stars, and Vibe; record labels like Vee-Jay, Stax, Motown and Sussex Records; promoters and producers including Berry Gordy Jr, Isaac Hayes, and Ernie Freeman; as well as artists Otis Redding, Nina Simone, Luther Vandross, Little Richard, Bill Withers, Billie Holiday, Whitney Houston, and Janet Jackson, to name a few – they’re all here.Table of ContentsForeword Introduction Chapter 1: Music and the Meaning of Things Chapter 2: Roots and Branches Chapter 3: Music in the Community Chapter 4: I Wish I Knew How it Felt to be Free Chapter 5: Revolutions in Time: Changing the Landscape of American Music Index

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Book SynopsisOne of Britain's best-loved and most successful fanzines, Jamming! documented the musical landscape as it evolved between 1977 and 1986. Fully illustrated throughout, The Best of Jamming! includes numerous stand-out pieces from the zine's impressive 36 issue-run, from early features on The Jam, The Smiths, Run-D.M.C, Cocteau Twins and The Beat, to surprise exclusive interviews with Paul McCartney, U2 and Pete Townshend. Personal letters from Mark E. Smith, Paul Weller and others appear alongside arts, sports and politics features, poetry and a Foreword by Billy Bragg. Having guided Jamming! from a 6-page school publication to a nationally distributed monthly, editor Tony Fletcher provides behind-the-scenes insights, while musicians and former contributors reflect on their interviews and Jamming!'s long-lasting influence. An immensely evocative read, The Best of Jamming! perfectly encapsulates the excitement and unprecedented potential of the DIY era.Trade Review'Captures its era perfectly.' Classic Rock, 8/10 'His fanzine was a cut above. So's this compendium' Kris Needs, Record Collector, 4/5

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Book SynopsisThe first Eurovision Song Contest was held in 1956, only seven countries participated. In 2022 forty-one countries took part making it the biggest song competition in the world today. Over 161 million people tuned into watch the 2022 competition. This book isn't about the song contest as a whole, it solely concentrates on the United Kingdom entries from the first artist, Patricia Bredin in 1957, up to the last, Sam Ryder, who represented the United Kingdom in 2022. The statistics of each year, referencing the artists, compositions, venues and final placings, from the highs of winning to the lows of last place and even zero points make interesting reading. This book is a must for any die-hard Eurovision fan to add to their collection.

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Book SynopsisThe history of heavy metal, from the cultural icons to the moral panics, in one fold-out guide.

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Book Synopsis

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Book Synopsis

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