Popular music Books

Book SynopsisA collection of essays that situate queering within the discourse of sex and sexuality in relation to popular music, this investigation addresses the changing debates within gay, lesbian and queer discourse in relation to the dissemination of musical texts. It provides a discourse in the field of musicological research.Trade Review'Queering the Popular Pitch considers much more than a new gay and lesbian popular musicology. This new collection of essays applies the queer framework to popular music, musicians, nationalistic contexts, as well as film music and stage presence' - Popular Music'This collection is a recommended addition for both interdisciplinary scholars and (popular) musicologists alike' - Popular MusicTable of ContentsProposed Table of Contents: Introduction Queering Borders Stephen Amico Mi Casa es Su Casa: Latin House, Sexuality and the Formation of Place (p) Jeffrey Callen 'Gender Crossings : A Neglected History in African American Music' Freya Jarman-Ivens Queer constructions of masculinity in rap music (p) Vanessa Knights Big Boys Don't Cry? : Performances of Pleasure and Pain in the Bolero (p) Mario Rey Albita Rodgriguez: Sexuality, Imaging, and Gender Construction in Music of Exile (p) Queer Spaces Paul Attinello Closeness and Distance: Songs about AIDS (cp) Rachel Cowgill 'Music, Consumption, and the Lesbian Self' (p) Rachel Devitt Talk softly and carry a big...stick! Stealing the Spotlight and Building a Dyke Community with Seattle's All-Grrrl Queer Cabarets (p) Jason Lee Oakes (sc) Night of a Thousand Stevies: Queer strategies and the forging of femininity Jennifer Rycenga Is This Desire?: Queering Large-scale Form in Rock (p) Karen Tongson Tickle Me Emo: Lesbian Balladeering, Straight-Boy Emo and the Politics of Affect (p) Hidden Histories Judith Halberstrom What's That Smell: Queer Temporalities and Subcultural Lives. (p) Anno Mungen Anders als die Anderen, or Queering the Song. Construction and Representation of Homosexuality in German Cabaret Song Recordings before 1933 (p) Lloyd Whitesell Trans Glam: Gender Magic in the Film Musical (p) Mixed Media (how music/queering is mediated by visual culture and videos) Stan Hawkins Mediations on Queer Masculinity in Pop Videos (p) Sarah Kerton 'Too Much Tatu Young' (p) Emma Mayhew I am not a box of any Kind: Sinead O'Connor's Queer Outing (p) Gilad Padva Hey, Man, You're My Girlfriend! Poetic Genderfuck and Queer Hebrew in Eran Zur's Performance of Yona Wallach's Lyrics (sc) Sheila Whiteley Popular Music, Queering and the Dynamics of Desire (sc)

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Book SynopsisWhen the first edition of Queering the Pitch was published in early 1994, it was immediately hailed as a landmark and defining work in the new field of Gay Musicology. In light of the explosion of Gay Musicology since 1994, a new edition of Queering the Pitch is timely and needed. In this new work, the editors are including a landmark essay by Philip Brett on Gay Musicology, its history and scope. The essay itself has become a cause celebre, and this will be its first full appearance in print. Along with this new historical essay, the editors are contributing a new introduction that outlines the changes that have occurred over the last decade as Gay Musicology has grown.Table of Contents1. Queering the Pitch: A Posy of Definitions and Impersonations Part 1: Canons and Arias 2. Musicality, Essentialism, and the Closet 3. Sapphonics 4. On a Lesbian Relation with Music: A Serious Effort Not to Think Straight 5. A Conversation with Ned Rorem Part 2: Chronicles 6. Henry Lawes's Setting of Katherine Philips's Friendship Poetry in His Second Book of Ayres and Dialogues, 1655: A Musical Misreading? 7. Unveiled Voices: Sexual Difference and the Castrato Joke Dame 8. "Was George Frideric Handel Gay?": On Closet Questions and Cultural Politics 9. Constructions of Subjectivity in Schubert's Music 10: Eros and Orientalism in Britten's Operas 11. Queer Thoughts on Country Music and k.d. lang Part 3: Consorts 12. Lesbian Compositional Process: One Lover-Composer's Perspective 13. Growing up Female(s): Retrospective Thoughts on Musical Preferences and Meanings 14. Authority and Freedom: Toward a Sociology of the Gay Choruses Part 4: Coda Preface 15. Lesbian and Gay Music

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Book SynopsisKEEP THE FAITH is Faith''s first person account of life at ground zero of hip-hop''s greatest generation. She''ll share the truth about the love affair that changed her life, and the innuendo that rocked the hip-hop world to its core. From her passionate and tragically short-lived life with Biggie, Faith will finally lay the true story on the line. We''ll get to see the good, the bad and the ugly side of P Diddy; nobody knew either quite as well as Faith.

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Book SynopsisA songbook containing 8 songs transcribed from the original recordings for Drums. It includes a recorded soundalike CD, with full demos and backing tracks.Table of ContentsBad Day **Trinity R&P recommended song, Drums Grade 4; Losing My Religion; Man On The Moon; The One I Love **Trinity R&P recommended song, Drums Grade 4; Radio Free Europe; So. Central Rain **Trinity R&P recommended song, Drums Grade 5; Stand; What's The Frequency Kenneth?

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Book SynopsisThe lead guitarist of Grammy Award–winning mega-band KoRn tells the incredible story of his life after leaving the hardcore music scene and of God leading him back to the band---now in paperback.

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Book SynopsisNeil Diamond has been responsible for writing some of the most memorable songs in pop music history and he has sold in excess of 120 million albums and has continued to reign as one of the Top 5 most successful solo artists in pop music. After years of anonymity in Tin Pan Alley churning out hits for other artistes, Neil Diamond burst onto the scene in his own right in 1969 with ''Sweet Caroline.'' However, superstardom has come at a personal cost - he is a star who has suffered periods of crippling self doubt. He is an intriguing blend of contradictions - a massively charismatic dazzling live performer, yet deeply introspective off stage. In this fascinating portrait, his life, his music and his passions are explored from his childhood struggle to get out of Brooklyn, through five decades of global stardom, to the present day. NEIL DIAMOND: THE BIOGRAPHY provides a definitive insight into one of the most enduring, creative, and prolific singer-songwriters of his generation,Trade ReviewWhen it comes to getting close to the rich and famous Laura Jackson is second to none. * SKY TV *Laura Jackson is the queen of biographers. * DAILY EXPRESS *Table of ContentsNeil Diamond has been responsible for writing some of the most memorable songs in pop music history and he has sold in excess of 120 million albums. After years of anonymity in Tin Pan Alley churning out hits for other artistes, Neil Diamond burst onto the scene in his own right in 1969 with 'Sweet Caroline' and has continues to reign as one of the Top 5 most successful solo artistes in pop music. However, superstardom has come at a personal cost - he is a star who has suffered periods of crippling self doubt. He is an intriguing blend of contradictions - a massively charismatic dazzling live performer, yet deeply introspective off stage. In this fascinating portrait, his life, his music and his passions are explored from his childhood struggle to get out of Brooklyn, through five decades of global stardom, to the present day. Neil Diamond: The Biography provides a definitive insight into one of the most enduring, creative, and prolific singer-songwriters of his generation.

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Book SynopsisFACTORY RECORDS'' REPUTATION AND FORTUNE WERE FOUNDED ON TWO BANDS -JOY DIVISION AND NEW ORDER - AND ONE SINGLE-MINDED AND STUBBORN PERSONALITY: ITS MEDIA-FRIENDLY COMPANY DIRECTOR ANTHONY H. WILSON. AT THE HEIGHT OF IT''S SUCCESS IN THE LATE 1980S, THE COMPANY REIGNED OVER THE MANCHESTER RAVE SCENE, RAN IT''S OWN CLUB, THE HACIENDA, AND HAD A STRING OF HIT RECORDS AROUND THE WORLD. BY 1992 THE BACK CATALOGUE HAD BEEN SOLD OFF, NEW ORDER AND HAPPY MONDAYS WERE IN DISARRAY, AND THE HACIENDA WAS SHUT DOWN BY THE POLICE. SINCE THEN THE STORY OF FACTORY RECORDS HAS BECOME THE STUFF OF MYTHS AND LEGENDS. A MAJOR NEW BRITISH FILM, TWENTY FOUR HOUR PARTY PEOPLE, REVISITS THE HEYDAY OF THE HACIENDA, AND STARS STEVE COOGAN AS ANTHONY H. WILSON ALONGSIDE MANY OF THE ARTISTS AND PERSONALITIES WHO WERE AROUND AT THE TIME. THE FILM IS RELEASED IN MARCH 2002. FROM JOY DIVISION TO NEW ORDER, ACCLAIMED ON IT''S ORIGINAL PUBLICATION IN 1996, TELLS THE REAL STORY OF FACTORY''S SPECTACULAR HISTORY. DRAWITrade Review'A fascinating account... This contradictory melting pot of arch freakishness and local machismo is richly detailed' Q 'Informed and informative... a smart, well researched view of the Manchester music scene' Maxim

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Book SynopsisUsing his trademark wit, insight and verve, icon Henry Rollins shares journals from his gruelling world tours of 1997 and 1998, as well as a record of the fulfilment of his longstanding dream to journey through Africa. He takes us on a rollercoaster of highs and lows, frustrations and exhilaration - from roving gangs of baboons in Kenya to haggling with immigration officials in Madagascar and his thoughts on meeting his childhood heroes, Black Sabbath - and finds a way to make his unique experiences accessible and meaningful to us all.Trade ReviewAn intelligent and perceptive man * Guardian *A post punk renaissance man. * MTV *

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Book SynopsisGeorge Harrison was always known as the ''quiet Beatle'' As part of the biggest band in pop history, he took a back seat to Paul McCartney and John Lennon, but his talent shone through in the composition of classic songs such as ''Something'' and ''Here Comes The Sun''. In his solo career he occasionally threatened to eclipse both John and Paul on the world stage, and he joined forces with Bob Dylan, Tom Petty, Roy Orbison and Jeff lynne to create the massively succsessful supergroup the Traveling Wilburys.However, the success of his professional life was often met by turmoil in his private life, and the loss of first wife Patti to best friend Eric Clapton, the traumatic attempt on his life by a knife wielding intruder and his final struggle against cancer meant that George Harrison''s life was nothing if not dramatic.Bestselling author Marc Shapiro has exclusively interviewed friends and former colleagues of the enigmatic guitar legend. This revealing biography reafTrade ReviewA well-written and informative volume. * Record Collector *

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Book SynopsisThe featured articles in this volume provide an overview of jazz studies writings from the 1990s to the present day, and each text engages with issues that are central to the changing discourse of jazz in popular culture. The volume includes studies of specific scenes, artists and periods from jazz history, and also comments on broader aspects of musical discourse, from ontological considerations to the politics of canon formation, from issues of representation to international perspectives. The collection encourages readers to engage in comparative thinking and analysis, and contributions touch on a range of themes that will be of interest to scholars who situate jazz at the heart of popular music studies. It is a highly valuable resource for researchers, enthusiasts, teachers and students.Table of ContentsContents: Introduction; Part I History, Canon and the Politics of the Popular: Is jazz popular music?, Simon Frith; Hear me talkin' to ya: problems of jazz discourse, Bruce Johnson; Cultural dialogics and jazz: a White historian signifies, Gary Tomlinson; Marsalis and Baraka: an essay in comparative cultural discourse, Lee B. Brown; Struggling with jazz, Scott DeVeaux; Free jazz in the classroom: an ecological approach to music education, David Borgo; Deconstructing the jazz tradition: the 'subjectless subject' of new jazz studies, Sherrie Tucker. Part II Representations, People, Repertoire: White face, Black voice: race, gender, and region in the music of the Boswell Sisters, Laurie Stras; Charlie Parker and popular music, Brian Priestley; The sound world of Art Tatum, David Horn; Out of notes: signification, interpretation, and the problem of Miles Davis, Robert Walser; A question of standards: My Funny Valentine and musical intertextuality, Alan Stanbridge; Doubleness and jazz improvisation: irony, parody, and ethnomusicology, Ingrid Monson; Style and the improvised in Keith Jarrett's solo concerts, Peter Elsdon; Four for Trane: jazz and the disembodied voice, Tony Whyton; Regendering jazz: Ornette Coleman and the New York jazz scene in the late 1950s, David Ake. Part III Reception, Scenes, Global Perspectives: Stars of David and sons of Sicily: constellations beyond the canon in early New Orleans jazz, Bruce Boyd Raeburn; A critical reassessment of the reception of early jazz in Britain, Catherine Parsonage; Making jazz French: the reception of jazz music in Paris, 1927-1934, Jeffrey H. Jackson; Jammin' on the jazz frontier: the Japanese jazz community in interwar Shanghai, E. Taylor Atkins; Concert and dance: the foundations of Black jazz in South Africa between the 20s and the early 40s, Christopher Ballantine; Jazz Britannia: mediating the story of British jazz on television, Tim Wall and Paul Long; Name index.

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Book SynopsisThis highly original and accessible book draws on the authorâs personal experience as a musician, producer and teacher of popular music to discuss the ways in which audio technology and musical creativity in pop music are inextricably bound together. This relationship, the book argues, is exemplified by the work of Trevor Horn, who is widely acknowledged as the most important, innovative and successful British pop record producer of the early 1980s. In the first part of the book, Timothy Warner presents a definition of pop as distinct from rock music, and goes on to consider the ways technological developments, such as the transition from analogue to digital, transform working practices and, as a result, impact on the creative process of producing pop. Part two analyses seven influential recordings produced by Trevor Horn between 1979 and 1985: 'Video Killed the Radio Star' (The Buggles), 'Buffalo Gals' (Malcolm McClaren),'Owner of a Lonely Heart' (Yes), 'Relax' (Frankie Goes to Hollywood), 'Slave to the Rhythm' (Grace Jones), and albums by The Art of Noise and Propaganda. These records reveal how the creative use of technology in the modern pop recording studio has informed Hornâs work, a theme that is then explored in an extensive interview with Horn himself.Trade Review'Highly recommended.' Choice 'The book contains many insights concerning the work of Horn... a transcription of Warner's interview with Horn, opens up a lot of information on the creative processes of Trevor Horn in the studio.' Organised SoundTable of ContentsOne: Pop Music; 1: Characteristics of Pop Music; 2: The Production of Pop Music; Two: Technology and Creativity; 3: ‘Video Killed the Radio Star’ by The Buggles; 4: ‘Buffalo Gals’ by Malcolm McLaren; 5: ‘Owner of a Lonely Heart’ by Yes; 6: ‘Relax’ by Frankie Goes to Hollywood; 7: Who’s Afraid of The Art of Noise?; 8: ‘Jewel’, ‘Duel’ and ‘Jewelled’ by Propaganda; 9: Slave to the Rhythm by Grace Jones

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Book SynopsisIn 1974 the British progressive rock group Genesis released their double concept album The Lamb Lies Down on Broadway. The story was described by Genesis''s then front-man Peter Gabriel as a ''moral fable'' about Rael, a half-Puerto-Rican New York City street tough who is engulfed by a solid cloud into a series of strange adventures in a metaphysical realm. The album is a surreal allegory drawing its material from religious, literary and psychological themes. More than thirty years after its release, The Lamb Lies Down on Broadway still enthralls listeners, earning the distinction of being Genesis''s most consistently selling back-catalogue release. Kevin Holm-Hudson analyses The Lamb within the context of Genesis''s recorded output, within the progressive rock genre as a whole, and within the context of social and political changes of the mid 1970s. The Lamb marked a conscious shift in their story setting to America, and for the first time the songs were oriented to the present ratheTrade Review'With Genesis and The Lamb Lies Down on Broadway, Kevin Holm-Hudson makes a significant contribution to progressive rock scholarship. His discussion of the progressive rock concert as theater is valuable and overdue, and his examination of The Lamb Lies Down in Broadway in the context of the cultural and economic currents of the 1970s is illuminating. His Jungian reading of the album's mythic storyline offers plausible interpretations of some of its more obscure episodes, and his discussion of its religious symbolism, its allusions to American pop culture, and its use of unifying musical elements is similarly enlightening. This is a book that no Peter Gabriel-era Genesis fan will want to be without.' Edward Macan, Author, Rocking the Classics: English Progressive Rock and the Counterculture and Endless Enigma: A Musical Biography of Emerson, Lake and Palmer 'Genesis And The Lamb Lies Down On Broadway is a scholarly publication [and] is therefore a more demanding read than [other] book[s]. If you take up the challenge you will discover many new aspects about Genesis' concept album and perhaps see some songs and lyrics in a different light. Perhaps the biggest attraction of this musical gem is that you will keep finding intriguing new facets on this diamond - particularly when the very light of its own origin shines on it. ' Genesis-News.comTable of ContentsContents: Introduction:'This is the story of Rael'; 'It's the last great adventure left to mankind': situating The Lamb: 'There's something solid forming in the air': recording The Lamb; 'Counting out time': The Lamb, song by song; 'The Lamb seems right out of place': in the press and on tour; 'it': interpreting The Lamb; 'And the light dies down on Broadway': Genesis and Gabriel after The Lamb and The Lamb after Genesis; Appendix: 'Once again the stage is set for you': The Lamb tour itinerary; Bibliography: 'searching printed word'; Index.

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Book SynopsisThe term 'record collecting' is shorthand for a variety of related practices. Foremost is the collection of sound recordings in various formats - although often with a marked preference for vinyl - by individuals, and it is this dimension of record collecting that is the focus of this book. Record collecting, and the public stereotypes associated with it, is frequently linked primarily with rock and pop music. Roy Shuker focuses on these broad styles, but also includes other genres and their collectors, notably jazz, blues, exotica and 'ethnic' music. Accordingly, the study examines the history of record collecting; profiles collectors and the collecting process; considers categories - especially music genres - and types of record collecting and outlines and discusses the infrastructure within which collecting operates. Shuker situates this discussion within the broader literature on collecting, along with issues of cultural consumption, social identity and 'the construction of self'Trade Review'While the cultural analysis of popular music has been routinely consumed by consumption, few have taken the time to research how we acquire what we listen to and why some of us engage in that process compulsively. What might seem like an undirected act of ceaseless acquisition, record collecting can be, as Shuker illustrates, a process of self-definition, critical analysis and canon formation. Wax Trash and Vinyl Treasures: Record Collecting as a Social Practice is a readable, informative and insightful consideration of the social dimensions of commerce and the sometimes complicated ambitions of those record fanatics who might shop 'til they drop or their eardrums suffer damage.' David Sanjek, University of Salford, UK 'In Wax Trash and Vinyl Treasures: Record Collecting as a Social Practice, Roy Shuker captures both the passion and the precision that makes record collecting the enduring global phenomenon, community, and business it is. From his detailed history of various forms of collecting to his engaging case studies of contemporary collectors, Shuker's book is sure to engage the reader as much as would a day rummaging through a city block of used record stores!' Russell Reising, The University of Toledo, USA ’... In this long-overdue study...Roy Shuker...expertly develops a historical overview that explores changes in format and shifts in canon, and the impact these have on issues of taste, economic and cultural capital, and collecting practices.’ Times Higher Education ’This book is a fascinating social study of people like us. ... Wax Trash is a compelling look at the male (and sometimes female) obsession with rotating discs.’ 4 Stars, Record CollectorTable of ContentsContents: Introduction; The 78 era: creating a collecting constituency; The contemporary collector: beyond the High Fidelity stereotype; Formats, collectors, and the music industry; Taste, the canon, and the collectable; Collecting practices; Record collecting and the music press; Collector profiles; Appendices; Bibliography; Index.

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Book SynopsisPop Music Production delves into academic depths around the culture, the business, the songwriting, and most importantly, the pop music production process. Phil Harding balances autobiographical discussion of events and relationships with academic analysis to offer poignant points on the value of pure popular music, particularly in relation to BoyBands and how creative pop production and songwriting teams function.Included here are practical resources, such as recording studio equipment lists, producer business deal examples and a 12-step mixing technique, where Harding expands upon previously released material to explain how âStay Another Dayâ by East 17 changed his approach to mixing forever. However, it is important to note that Harding almost downplays his involvement in his career. At no point is he center stage; he humbly discusses his position within the greater scheme of events. Pop Music Production offers cutting-edge analysis of a genre rarely afforded academic attention.This book is aimed at lecturers and students in the subject fields of Music Production, Audio Engineering, Music Technology, Popular Songwriting Studies and Popular Music Culture. It is suitable for all levels of study from FE students through to PhD researchers. Pop Music Production is also designed as a follow-up to Hardingâs first book PWL from the Factory Floor (2010, Cherry Red Books), a memoir of his time working with 1980s pop production and songwriting powerhouse, Stock Aitken Waterman, at PWL Studios.Table of ContentsINTRODUCTIONMETHODOLOGY: RESEARCH AND INTERVIEW QUESTIONSCHAPTER 1: BoyBands & Pop Music CultureCHAPTER 2: The Business of Pop Music ProductionCHAPTER 3: Pop Music Production CreativityCHAPTER 4: Pop Music SongwritingCHAPTER 5: Pop Production RecordingCHAPTER 6: Pop Music MixingCHAPTER 7: Pop Record ExamplesCHAPTER 8: Conclusions & TheoriesAPPENDICESAPPENDIX 1 – Technology for Pop Music Production

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Book Synopsis'Little Richard' is a fun-packed biography about a unique musician, singer and songwriter. An influential and charismatic man he lived his life as though he were continually on stage. On page after page, you will be exclaiming 'Ooh! My Soul'. Come and meet Lucille, Long Tall Sally, Miss Ann and Good Golly Miss Molly. Come and enjoy the company!Trade Review'I have known and admired Spencer Leigh's work as a music historian for many years. When he describes music and musicians of a bygone age, we become aware of so much more than the songs and performers - the era itself returns to life and we are reminded that all art, notably popular art, is inspired by, and inseparable from, its time and place, and if we don't understand that background, the story is far from complete', Sir Tim Rice

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Book SynopsisPUNK ROCK PICTURES ON MY WALL captures the vibrant and rebellious essence of the punk rock scene through vivid artwork and personal anecdotes. This book is a testament to the creativity and spirit of punk culture.

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Book SynopsisWith his debut album Original Pirate Material (2002), Mike Skinner, who recorded under the name The Streets, combined the world of UK dance music with US hip-hop. OPM is the result of the so-called ''bedroom producer'', hybridizing previous forms into something novel. This Element explores a number of themes in this album: white masculinity, the everyday, technology, sampling, hybridity, the Black Atlantic, and US-UK transatlantic relations. It examines the exoticism of Englishness from a US perspective as well as within the wider context of Anglo-American cross influence in post-WWII popular music. Twenty years since the album''s release, this element provides an investigation of the album''s content and reception, as an important case study of (postcolonial) hybridity and (English, male) identity.

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Book SynopsisWomen, Music and Leadership offers a wide-ranging survey of women in musical leadership and their experiences, highlighting women's achievements and considering how they negotiate the challenges of the leadership space in music.Women have always participated in music as performers, teachers, composers and professionals, but remain underrepresented in leadership positions. Covering women's leadership across a wide variety of roles and musical genres, this book addresses women in classical music, gospel, blues, jazz, popular music, electronic music and non-Western musical contexts, and considers women working as composers, as conductors, and in music management and the music business. Each chapter includes several case studies of women's careers, exploring their groundbreaking contributions to music and the challenges they faced as leaders.Connecting management theory and leadership research with feminist musicology, this book paints a new picture of women's majTable of Contents1. The Context for Women in Musical Leadership 2. Women and Musical Composition 3. Women Conductors 4. Women in Classical Instrumental and Vocal Music Performance 5. Women in Blues, Jazz, Gospel and Motown 6. Women in Popular Music 7. Women in Electronic Music 8. Women in non-Western Musical Contexts 9. Women in the Music Industry

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Book SynopsisRhythm Changes: Jazz, Culture, Discourse explores the history and development of jazz, addressing the music, its makers, and its social and cultural contexts, as well as the various discourses â especially those of academic analysis and journalistic criticism â that have influenced its creation, interpretation, and reception. Tackling diverse issues, such as race, class, nationalism, authenticity, irony, parody, gender, art, commercialism, technology, and sound recording, the bookâs perspective on artistic and cultural practices suggests new ways of thinking about jazz history. It challenges many established scholarly approaches in jazz research, providing a much-needed intervention in the current academic orthodoxies of Jazz Studies.Perhaps the most striking and distinctive aspect of the book is the extraordinary eclecticism of the wide-ranging but carefully chosen case studies and examples referenced throughout the text, from nineteenth century literature, through 1930s Broadway and film, to twentieth and twenty-first century jazz and popular music.

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Book SynopsisGrime music has been central to British youth culture since the beginning of the 21st century. Performed by MCs and DJs, it is an Afrodiasporic form that developed on street corners, on pirate radio and at raves. Level Up: Live Performance and Creative Process in Grime Music offers the first long-form ethnographic study of grime practice; it questions how and why artists do what they do; and it asks what this can tell us about creative process and improvisation more widely. Based on research conducted in Londonâs grime sceneâfacilitated by the authorâs long-standing role as a DJ and broadcasterâthis book explores the formâs emergence before taking a magnifying glass to the contemporary scene and its performance protocol, exploring the practice of key artists and their crews living and working in the city. The resultant model of creative interaction provides a comprehensive mapping of collective social learning in Londonâs informal cityscape, offering new ways to conceptualise improvisatory practice within ensembles.

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Book SynopsisYa-Hui Cheng examines the emergence of popular music genres â jazz, rock, and hip-hop â in Chinese society, covering the social underpinnings that shaped the development of popular music in China and Taiwan, from imperialism to westernization and from modernization to globalization. The political sensitivities across the strait have long eclipsed the discussion of these shared sonic intimacies. It was not until the rise of the digital age, when entertainment programs from China and Taiwan reached social media on a global scale, that audiences realized the existence of this sonic reciprocation. Analyzing Chinese pentatonicism and popular songs published from 1927 to the present, this book discusses structural elements in Chinese popular music to show how they aligned closely with Chinese folk traditions. While the influences from Western genres are inevitable under the phenomenon of globalization, Chinese songwriters utilized these Western inspirations to modernize their musical traditions. It is a sensitivity for exhibiting cultural identities that enabled popular music to present a unique Chinese global image while transcending political discord and unifying mass cultures across the strait.

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Book SynopsisThe Practice of Popular Music is a music theory and musicianship textbook devoted to explaining the organization of contemporary popular music styles such as pop, rock, R&B, rap, and country. Rooted in recent research showing that the structure of popular music differs from classical music in important ways, this textbook offers an approach to teaching music theory that is fully oriented around popular and commercial genres.Beginning with fundamentals and requiring no previous training in music theory or notation, this book eventually guides the reader through a range of advanced topics, including chromatic mixture, secondary chord function, complex time signatures, and phrase organization. Each chapter develops concepts in tandem with aural comprehension, and the included exercises balance written tasks with listening activities. A companion website provides links to playlists of the music discussed in the book.With an innovative approach designed to broade

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Book SynopsisActivating Voices in Jazz History: Students Broadening the Narrative highlights the research of students who have been challenged to assess and interpret evidence found in historical records and engage in field interviews with a diverse representation of jazz artists. This approach serves as a method for co-creating a living history of jazz.Drawing from the authorâs experience in teaching jazz historiography and recognizing that Jazz, African American Music, and the music of the African diaspora offer unique perspectives rooted in culture and community, the book presents a culturally relevant view of the history of jazz. It also proposes a much-needed alternative methodology for teaching this subject. The author reflects on the issues that shape the framing of jazz history and discusses how using a dialogic approach can enable students to engage in critical conversations. The student-led interviews with artists focus on themes such as diversity and inclusion, gender equity, social justice, cultural identity and identification, what the word âœjazzâ represents, primitivism, reflections on pedagogy, the current state of jazz education, and the development of artistic voice and creative self-expression.This concise book will be a valuable resource for jazz educators, scholars, students, and enthusiasts alike.

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Book SynopsisThe City of Hip-Hop positions a unique conceptualization of the history of Hip-Hop, that it was a combination of forces that produced the environment for Hip-Hop to specifically grow in the geographies of New York City and its boroughs. This book argues it was the political forces of the 1970s combined with the economic forces of free market capitalism and privatization of public services, neoliberalism, and the social forces of the deindustrialization of major cities and displacement of populations that led the cultural creation of the âœBoogie Downâ Bronx. The City of Hip-Hop shows how Hip-Hop is a socio-political reaction that created an alternate reality with a geographic specificity, and it is the interplay with those forces that nurtured it to become the culture force that we know it today in New York, Philadelphia, Boston, Los Angeles, Chicago, London, Manchester, Liverpool, Berlin, SÃo Paulo, Tokyo, Washington D.C., Seattle, Paris, Houston, Dallas, Miami, A

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Book SynopsisThough the Beatles are nowadays considered national treasures, this book shows how and why they inspired phobia as well as mania in 1960s Britain. As symbols of modernity in the early sixties, they functioned as a stress test for British institutions and identities, at once displaying the possibilities and establishing the limits of change. Later in the decade, they developed forms of living, loving, thinking, looking, creating, worshipping and campaigning which became subjects of intense controversy. The ambivalent attitudes contemporaries displayed towards the Beatles are not captured in hackneyed ideas of the ''swinging sixties'', the ''permissive society'' and the all-conquering ''Fab Four''. Drawing upon a wealth of contemporary sources, The Beatles and Sixties Britain offers a new understanding of the band as existing in creative tension with postwar British society: their disruptive presence inciting a wholesale re-examination of social, political and cultural norms.Trade Review'… Collins helps readers better understand the forces that impacted Britain during the turbulent 1960s, shedding new light on the Beatles for modern audiences. This deeply researched, distinctive, and well-argued book is a much-needed addition to the field … Highly recommended.' J. F. Lyons, ChoiceTable of ContentsIntroduction; 1. The other sixties: an anti-permissive permissive society?; 2. Society, 1963–65: The Beatles and modernity; 3. Society, 1966–70: The Beatles go too far; 4. Culture: the Beatles as artists; 5. Politics: the Beatles, parliament and revolution; Conclusion.

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Book SynopsisParticipation in country music culture has long been dictated and restricted by entrenched systems of gatekeeping. This collection contests those systems and challenges the received narrative, examining contemporary issues in country music through feminist, intersectional, and post-colonialist theories.Table of ContentsIndustry: 1. Mailbox Money: Novel Liberation Strategies of a Black Female Country Songwriter Alice Randall; 2. Dixie Chicked: Sony vs. The Chicks and the Regendering of Country Music in the Early Twentieth-Century Kristine M. McCusker; 3. How 360° Deals Homogenized Country Music Rachel Skaggs; 4. A Double-Edged Sword: Industry Data and the Construction of Country Music Narratives Jada Watson; Codes of Conduct: 5. Why Country Music Needs Latina Feminism Sophia Enriquez; 6. Pistol Annies: Country Rebels with Humor Stephanie Vander Wel; 7. From Bros to Gentlemen: The Problem of Consent in Contemporary Country Music Phoebe E. Hughes; 8. Cowboys on a Beach: Summer Country and the Loss of Working-Class Identity Jocelyn R. Neal. Authenticity: 9. Dolly Parton's Netflix Reimagining: How Her Twenty-First Century 'Jolene' Revises Country Music's Authenticity Narrative Leigh H. Edwards; 10. 'When Britney [Spears] Ruled the World': Expanding the Stylistic Boundaries of Nostalgia in Country Music Paula J. Bishop; 11. Rhinestone Revivals: Repurposing the Nudie Suit for the Twenty-first Century Janet Aspley; 12. Country Music Doesn't Have to Suck: Intertextuality, Community, and Bloodshot Records Nancy P. Riley. Boundary Work: 13. Playing at the Border: Navajo Country Western Music and Border Town Racism Kristina Jacobsen; 14. Country-Loving Mexican Americans: Dual Patriotism and Inevitable Fandom among Mexican American Country Music Lovers Nadine Hubbs; 15. Practices of Genre Surveillance in Country Music: Hearing Racial Politics in Beyoncé's and The Chicks' 'Daddy Lessons' Rebekah Hutten; 16. 'We Have a Lot of Work to Do': Rhiannon Giddens and Country Music's Mixed Roots Tracey E. Laird. Epilogue: Country Music Needs a Revolution Rissi Palmer.

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Book SynopsisThe author is a drummer with experience in a variety of musical genres and contexts, with emphasis on rock and related styles. This auto ethnographic Element presents the author''s philosophy of playing drum kit. The text explains how playing drum kit matters to this musician and may resonate with others to whom making music matters in similar ways. The Element contains audio files of music in which the author plays drum kit in the ensemble settings described. There are photos of the author''s drums and of him drumming. Based on June Boyce-Tillman''s non-religious model of holistic spirituality and Tim Ingold''s notion of correspondences, the author describes how playing drum kit enables him to experience transcendence the magical nexus at which Materials, Construction, Values/Culture and Expression meet. Each of these domains, and the magic derived from their combination, is illustrated through examples of the author''s live and recorded musical collaborations.Table of Contents1. Introduction; 2. Materials; 3. Construction; 4. Values /culture; 5. Expression; 6. In closing (button); References.

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Book SynopsisUsing the latest research, real-world examples, and a new theory of healthy development, this book explains Hip Hop culture''s ongoing role in helping Black youths to live long, healthy, and productive lives.In The Healing Power of Hip Hop, Raphael Travis Jr. offers a passionate look into existing tensions aligned with Hip Hop and demonstrates the beneficial quality it can have empowering its audience. His unique perspective takes Hip Hop out of the negative light and shows readers how Hip Hop has benefited the Black community.Organized to first examine the social and historical framing of Hip Hop culture and Black experiences in the United States, the remainder of the book is dedicated to elaborating on consistent themes of excellence and well-being in Hip Hop, and examining evidence of new ambassadors of Hip Hop culture across professional disciplines. The author uses research-informed language and structures to help the reader fully understand how Hip Hop creates more pathwayTable of ContentsSeries Foreword Acknowledgments "For Every Rose" Introduction Chapter 1 Unpacking the Culture of Hip Hop Chapter 2 Racial Identity, Hip Hop Culture, and the Shift to Mainstream Pop Culture Chapter 3 Hip Hop's History of Healing and Empowerment in High-Risk Environments Chapter 4 Affirming Identities: Hip Hop Values, Esteem, and Black Experiences Chapter 5 Context, Surviving, and Thriving: Resilience and Black Experiences Chapter 6 My Life, My Community: Growth and Black Experiences Chapter 7 A Change Is Gonna Come: Calls for Better across Black Communities Chapter 8 From Emotions to Learning and Growth: New Models for Understanding Hip Hop Chapter 9 Hip Hop and Physical Health: Healthy Environments to Live, Work, and Play Chapter 10 Hip Hop and Education: Engagement, Equity, and Excellence Chapter 11 Hip Hop and Out-of-School Time: Creating New Pathways to Growth and Change Chapter 12 Hip Hop and Mental Health: Emotions, Coping, Identity, and Growth Chapter 13 The Healing Power of Hip Hop: The Next Forty Years Notes Index About the Author

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Book SynopsisPopular music scholars have long been interested in the connection between place and music. This collection brings together a number of key scholars in order to introduce readers to concepts and theories used to explore the relationships between place and music. An interdisciplinary volume, drawing from sociology, geography, ethnomusicology, media, cultural, and communication studies, this book covers a wide-range of topics germane to the production and consumption of place in popular music. Through considerations of changes in technology and the mediascape that have shaped the experience of popular music (vinyl, iPods, social media), the role of social difference and how it shapes sociomusical encounters (queer spaces, gendered and racialised spaces), as well as the construction and representations of place (musical tourism, city branding, urban mythologies), this is an up-to-the-moment overview of central discussions about place and music. The contributors explore a range of contextsTrade ReviewThe latest addition to Bloomsbury’s Popular Music Handbook series is a well-conceived and intelligently organized introduction to one of the most interesting areas of contemporary popular music scholarship: the study of musical spaces and places. The editors do an excellent job of arranging a variety of voices and bring together contrasting approaches in a way that makes coherent a topic that is, it seems, limitless! There are essays here on the bedroom, the studio and the record shop; on the toilet circuit of small gigs and the portaloo logistics of large festivals; on French banlieus, South African townships, Brazilian favelas and English suburbia; on musical cities as conceived by policy makers, tourists and musicians; on travelling at home with a Frank Sinatra album and feeling at home in the circuits of the digital universe; on the historical space of heritage and musical nationalism; on experiencing the noise of cities and the sounds of the countryside. This is a rich field of scholarship indeed! -- Simon Frith, Professor of Music, University of Edinburgh, Scotland, author of Performing Rites: On the Value of Popular Music (1998)The experience and the forms of music might seem to become ever less tethered to locality, but this collection of essays from many disciplines and countries shows how space cannot but structure sound, from global commodity flows to the banlieu and the bedroom. With succinct chapters providing evocative case studies and quick access to the relevant theoretical literatures, the Handbook will be much appreciated as the primary gateway into researching the variegated geographies of today’s popular music. -- Arun Saldanha, Associate Professor in the Department of Geography, Environment and Society at the University of Minnesota, USA, author of Space After Deleuze (Bloomsbury, 2017)This is not another book about the relationship between music and the city. It is not another book about musical cities. Nor is it a book about musical scenes. Following the primordial path of Simmel or Lefebvre, this edited book expands, systematizes and updates the fruitful (and foundational) relations between music, space and place from a theoretical and empirical point of view. It is a crucial work of transdisciplinary profile that equates space, place (and even the non-place) in a dialogical relationship through the presentation of the different dynamics and means of appropriation and consumption of music spaces and places - home, radio, record store, nightclub, live concert, mobile devices. It unveils the relationships between space, place, music production and performance in the city, in the bedroom, in the (virtual-) studio, in the record or in the live gig. Music does not exist without space and the place. Considering the contemporary metamorphosis of this equation, this edited book shows us the impressive number of 29 chapters dedicated to the different issues, disciplines, theories, methods and geographical latitudes that are at stake. It ranges from suburban breakout, to South African township life, Rio de Janeiro's Favelas funk, postcolonial noise and even trans-national music. The plethora of meanings of the relationship between music, space and place is further explored in terms of its historicity, heritage, memory, tourism, events/festivals or cinema. In short, this edited book has come to occupy a place - which was empty because fragmentary - for all the academics, researchers, students, music lovers, managers and politicians who have music and its 'territories' as their field of action. Moreover, I can tell you how much I missed it. -- Paula Guerra, Professor of Sociology, University of Porto, Portugal, co-editor of Punk, Fanzines and DIY Cultures in a Global World: Fast, Furious and Xerox (2020) and Underground Music Scenes and DIY Cultures (2019)Table of ContentsList of contributors Introduction (Geoff Stahl, Victoria University of Wellington, New Zealand and J. Mark Percival, Queen Margaret University, Edinburgh) Section I: Theory & method 1. Music, space, place and non-place (Geoff Stahl, Victoria University of Wellington, New Zealand) 2. Rhythmanalysis and circulation (Will Straw, McGill University, Canada) 3. Global, local, regional and translocal: Towards a relational approach to scale in popular music (Hyunjoon Shin, Sungkonghoe University, South Korea and Keewong Lee, Sungkonghoe University, South Korea) 4. Sociological perspectives on music and place (Andy Bennett, Griffith University, Australia) 5. Ethnomusicology and place (Kimberly Cannady, Victoria University of Wellington, New Zealand) 6. Political economies of urban music (Shane Homan, Monash University, Australia) 7. Sensobiographic walking and ethnographic approach of the Finnish school of soundscape studies (Helmi Järviluoama, University of Eastern Finland, Finland) Section II: Space, place and consumption 8. At Home with Sinatra (Keir Keightley, University of Western Ontario, Canada) 9. Music radio (J. Mark Percival, Queen Margaret University, UK) 10. The record shop (Nabeel Zuberi, University of Auckland, New Zealand) 11. The nightclub (Hillegonda C Rietveld, London South Bank University, UK) 12. The live venue (Robert Kronenburg, University of Liverpool, UK) 13. Mobile listening cultures (Raphaël Nowak, Griffith University, Australia) Section III: Space, place, production and performance 14. In the City - Glasgow (Martin Cloonan, University of Turku, Finland) 15. Bedroom production (Emília Barna, Budapest University of Technology and Economics, Hungary) 16. The Studio (Ruth Dockwray, University of Chester, UK) 17. The virtual studio (Martin K. Koszolko, RMIT, Australia) 18. The space of the record: Something happening somewhere (Simon Zagorski-Thomas, University of West London, UK) 19. The live gig (Sam Whiting, RMIT, Australia) Section IV: Cities, suburbs, nations and beyond 20. Suburban breakout: Nomadic reverie in British pop (Andrew Branch, University of East London, UK) 21. Sounding South African township life (Kathryn Olsen, University of KwaZulu-Natal, South Africa) 22. Funk - A musical symbol of Rio de Janeiro's favelas (Vincenzo Cambria, UNIRIO/Federal University of the State of Rio de Janeiro, Brazil) 23. Banlieue: Postcolonial noise: How did French rap (re)invent 'the banlieue'? (Christina Horvath, University of Bath, UK) 24. Music and the nation (Melanie Schiller, University of Groningen, The Netherlands) 25. Transnational music (Simone Krüger Bridge, Liverpool John Moores University, UK) Section V: Selling, celebrating, representing space and place 26. Music and Heritage (Catherine Strong, RMIT, Australia) 27. Music and Tourism (Leonieke Bolderman, Erasmus University, The Netherlands) 28. Festivals (Chris Anderton, Solent University, UK) 29. Cinematic places: Popular music soundtracks and the charge of the real (Kate Bolgar Smith, SOAS University of London, UK) Index

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Book SynopsisIn Long and Winding Roads: The Evolving Artistry of the Beatles, Revised Edition, Kenneth Womack brings the band's story vividly to lifefrom their salad days as a Liverpool Skiffle group and their apprenticeship in the nightclubs and mean streets of Hamburg through their early triumphs at the legendary Cavern Club and the massive onslaught of Beatlemania itself. By mapping the group's development as an artistic fusion, Womack traces the Beatles' creative arc from their first, primitive recordings through Abbey Road and the twilight of their career. In this revised edition, Womack addresses new insights in Beatles-related scholarship since the original publication of Long and Winding Roads, along with hundreds of the group's outtakes released in the intervening years. The updated edition also affords attention to the Beatles' musical debt to Rhythm and Blues, as well as to key recent discoveries that vastly shift our understanding of formative events in the band's timelessTrade ReviewCombining masterful storytelling and intellectual rigor, Kenneth Womack takes readers on a spellbinding tour of Beatles history. Journeying through the band’s music-making album by album, this revised edition of Long and Winding Roads: The Evolving Artistry of the Beatles captures all the dynamism, poignancy, and magic behind the now-iconic discography. An engaging and invaluable text, Womack demonstrates once more why he is a leading voice in Beatles scholarship. * Christine Feldman-Barrett, author of A Women’s History of the Beatles (Bloomsbury, 2021) *Follow the Beatles down their Long and Winding Roads with Kenneth Womack as guide. This is the Goldilocks choice of Beatles books: meticulous sourcing and highly readable prose strike a just-right balance. Incorporating the latest research in an ever-growing field, the revised edition continues to be the choice for scholars and students of the band. Offering an authoritative reference and a book to tuck into, Womack will have you turning the pages of a story you only thought you knew. * Katie Kapurch, co-editor of New Critical Perspectives on the Beatles (2016) *Table of ContentsPrologue: The End 1. The Beginning 2. A Cellarful of Noise 3. And the Band Begins to Play 4. Rock and Roll Music 5. The Biggest Showbiz Town Ever 6. War-Weary 7. Yesterday and Today 8. Plastic Soul 9. The End of the Road 10. The Act You’ve Known for All These Years 11. Roll Up for the Mystery Tour 12. Whiter Shades of Pale 13. Getting Back 14. The Dream Is Over Epilogue: Long Live the Dream Acknowledgments Bibliography Notes Index

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Book Synopsis''A brilliant, very funny, very revealing autobiography-through-music. Maybe the best book ever written about being a rockstar'' CAITLIN MORAN_______________________________________________________________Bono - artist, activist and the lead singer of Irish rock band U2 - has written his autobiography: honest and irreverent, intimate and profound, Surrender is the story of the remarkable life he''s lived, the challenges he''s faced and the friends and family who have shaped and sustained him - now out in paperback.''When I started to write this book I was hoping to draw in detail what I''d previously only sketched in songs. The people, places, and possibilities in my life. Surrender is a word freighted with meaning for me. Growing up in Ireland in the seventies with my fists up (musically speaking), it was not a natural concept. A word I only circled until I gathered my thoughts for the book. I am still grappling with this most humbling of commands. In the band, in my marriage, in my faith, in my life as an activist. Surrender is the story of one pilgrim''s lack of progress ... With a fair amount of fun along the way.'' - BonoAs one of the music world''s most iconic artists and the cofounder of organizations ONE and (RED), Bono''s career has been written about extensively. But in Surrender, it''s Bono who picks up the pen, writing for the first time about his remarkable life and those he has shared it with. In his unique voice, Bono takes us from his early days growing up in Dublin, including the sudden loss of his mother when he was 14, to U2''s unlikely journey to become one of the world''s most influential rock bands, to his more than 20 years of activism dedicated to the fight against AIDS and extreme poverty. Writing with candour, self-reflection, and humour, Bono opens the aperture on his life - and the family, friends and faith that have sustained, challenged and shaped him.Surrender''s subtitle, 40 Songs, One Story, is a nod to the book''s 40 chapters, which are each named after a U2 song. Bono has also created 40 original drawings for Surrender which will appear throughout the book.

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Book SynopsisFrom Prince's superstardom to studio seclusion, this second book in the award-winning Prince Studio Sessions series spotlights how Prince, the biggest rock star on the planet at the time, risked everything to create some of the most introspective music of his four-decade career. Duane Tudahl takes us on an emotional and intimate journey of love, loss, rivalry, and renewal revealed through unprecedented access to dozens of musicians, singers, studio engineers, and others who worked with him and knew him best—with never-before-published memories from the Revolution, the Time, the Family, and Apollonia 6. Also included is a heartfelt foreword by musical legend Elton John about his time and friendship with Prince.Trade ReviewIn this second Prince Studio Sessions series, Tudahl continues to explore the annals of Prince’s voracious creative drive, even while touring the Purple Rain album at a pinnacle of his stardom. Working day-by-day and session-by-session, Tudahl meticulously recreates Prince’s daily timeline in 1985 and 1986 while layering in a heap of technical information about the production process, equipment, and mixes that were created (many vaulted, still unheard). Brief snippets of information provide context for Prince’s surroundings, the people he worked with, and concurrent events, but the focus remains on the music and how it poured out of Prince wherever he was, whether on the road or back at the studio. While these years weren't all glory—Prince sustained blows like the failure of his directorial debut Under the Cherry Moon, his decision not to participate in the “We Are the World” recording, and wavering public opinion after strutting around with his bodyguards at awards shows—it seems to have had little effect on his creativity and productivity. Compulsively readable and hugely useful to researchers, this dense chronology will command the rapt attention of casual fans and scholars alike. -- Booklist (starred review)In this second Prince Studio Sessions series, Tudahl continues to explore the annals of Prince’s voracious creative drive, even while touring the Purple Rain album at a pinnacle of his stardom. Working day-by-day and session-by-session, Tudahl meticulously recreates Prince’s daily timeline in 1985 and 1986 while layering in a heap of technical information about the production process, equipment, and mixes that were created (many vaulted, still unheard). Brief snippets of information provide context for Prince’s surroundings, the people he worked with, and concurrent events, but the focus remains on the music and how it poured out of Prince wherever he was, whether on the road or back at the studio. While these years weren't all glory—Prince sustained blows like the failure of his directorial debut Under the Cherry Moon, his decision not to participate in the “We Are the World” recording, and wavering public opinion after strutting around with his bodyguards at awards shows—it seems to have had little effect on his creativity and productivity. Compulsively readable and hugely useful to researchers, this dense chronology will command the rapt attention of casual fans and scholars alike. * Booklist, Starred Review *Tudahl continues his Prince saga in this laudatory book, which is a meticulously researched day-by-day account of Prince’s songwriting, recording, and live performances during 1985 and 1986. It chronicles the making of the film Under the Cherry Moon and the albums Around the World in a Day, Parade, and Sign o’ the Times. Using interviews with Prince’s fellow musicians and studio engineers, Tudahl painstakingly describes the importance of each stage rehearsal, concert, and song mix, and creates an intimate portrait of the singer, songwriter, and actor. Prince emerges as a controlling, sometimes generous, many times denigrating, wildly creative workaholic who became increasingly imperious after his Purple Rain stardom. The second installment in Tudahl’s Prince chronology is a treasure trove for fans. * Library Journal *The 600-plus-page tome captures Prince’s arguably most creative era in fascinating detail. More than anything else in Prince’s life, the recording sessions and tour dates — i.e. the music — provided the framework for everything else in that life, and Tudahl expertly weaves the details into the music that was made at the time. This book is something fans can savor for months on end. * Variety *Duane Tudahl's work has now become must-reads for Prince aficionados. Prince may be the most important musical artist of the latter half of the twentieth century and this book underlines this with zero fanfare. Just read the magic, as it rolls from day to day. Amazing stuff. * The Aquarian Weekly *A new book by Duane Tudahl, Prince and the Parade & Sign O’ The Times Era Studio Sessions: 1985 and 1986, provides a definitive account of two heady years that followed Prince’s Purple Rain breakthrough, climaxing with his completion of a mammoth three-record set that would be pared down into Sign o’ the Times. * Washington Independent Review of Books *[A] thick daily chronicle of Prince's recording sessions in those two years, which means it's essentially a daily chronicle of Prince's life. As Tudahl documents here (and in his equally essential predecessor volume focusing on the Purple Rain era), days when Prince was in no way involved in a recording project were rare for his entire adult life.... Tudahl's book is a sizable tome, but it's readable throughout: you're left thinking that there are few better ways to understand Prince than to see his life through the lens of the recording studio, which was always his temple. * The Current *For a second time, author and Prince historian Duane Tudahl set out to do something that could never be questioned or contradicted when it came to telling Prince‘s real story. Painstakingly digging through hundreds, if not thousands, of studio work orders, interviews with band members who were there (print and audio), and cross-referencing notes and statements. Then he put it all in chronological order and arduously documented the sources to alleviate any questions any naysayers may have.... The details of Prince‘s work ethic and recording habits are mind boggling and staggering. Even people who claim to know even the smallest details of Prince‘s life have to hand the crown to Duane Tudahl. His exhaustive and comprehensive research was poured over in order to verify and check every detail for authenticity and become the undisputed document of record of Prince‘s life both in and out of the studio.... It is by far the most entertaining and thorough history of Prince that has or will ever exist. Duane Tudahl has accomplished the impossible by capturing lightning in a bottle twice. Through hard work and commitment to honor the legacy of Prince, his in-depth knowledge and storytelling mastery shines on every page. These two books are now the standard by which all books about Prince will be judged. Every Prince fan should add this book to their collection now. * Funkatopia *Presented in diary form across the two years in question, we're granted access to concerts, video shoots, studio sessions and soundchecks, which allows us to track Prince's creative progress. We see in detail how songs grow from a germ of on idea recorded on tape during a soundcheck to becoming some of the most recognizable tracks of oil time. Every recording session is documented, songs taking on various forms, held in the vaults until they find a home on a project. Compiled from hundreds of interviews with a dream wishlist of Prince's closest collaborators, including Wendy Melvoin, Lisa Colemon, Brownmark and Bobby Z, arranger Clare Fischer, sound engineer Susan Rogers, Sheila E and Eric Leeds, Tudahl's book is on access-all­-areas pass to the star's creative hub and the closest thing to being in the studio with him. Contributions from Susannah Melvoin (Prince's girlfriend at the time) offer a rare, more personal side to the star and illustrate how he was impacted by his relentless work ethic and rarely switched off. Meticulously researched, superbly presented - the day-by-day format really is akin to having a peek at Prince's diary. With a handful of previously unpublished photographs, this is on indispensable addition to the collection of any fan of the Purple One. A fascinating insight into the elusive world of Prince during one of his most creative periods, this meticulously researched and respectful account includes insights from hundreds of his collaborators and closest confidantes, resulting in an immersive experience that’s as close to being in the studio with the Purple One as it’s possible to have * Classic Pop Magazine *Duane Tudahl's in-depth research combined with the vast number of people interviewed for this stunning series makes this new book, about perhaps Prince's artistically most interesting time of his career, another must-read. -- jooZt Mattheij, editor of PrinceVault.comThe only thing better than reading about Prince’s music is listening to it. Duane Tudahl inspires us to do both. -- Alan Leeds, tour manager, production manager for PrinceDuane is the quintessential Prince historian. This book will definitely give you accurate insight into his creative process. -- Matt "Dr. Fink" Fink, member of The Revolution, Prince’s keyboard playerDuane Tudahl set the bar high with his previous book. I’m glad to say that the sequel, Prince and the Parade and Sign “O” the Times Era Studio Sessions: 1985 and 1986, is even better. The book contains many interesting musical and lyrical observations by Duane, providing undisputed proof that he is the leading scholar of Prince’s work. -- Per Nilsen, author of The Vault and Dance, Music, Sex, RomanceAn excellent and thorough account of the creative process. A must read for anyone interested in understanding the complexities and vicissitudes of Prince’s musical journey. -- Albert Magnoli, writer and director of Purple RainHistorians and scholars will have Duane Tudahl to thank for the meticulous effort he has brought to understanding Prince Rogers Nelson through the lens of how he spent his days. -- Susan Rogers, Prince's recording engineer (1983-1988)I have often wondered if the legacy of Prince would remain in good hands. After reading Duane Tudahl’s works, I am sure it is. -- Levi Seacer Jr., member of the New Power Generation, Prince’s bass player and guitaristThe work coming from Duane Tudahl is top notch. It’s a singular and superlative work. -- Wendy Melvoin, member of The Revolution, Prince’s guitaristPrince and the Parade and Sign “O” the Times Era Studio Sessions is such an invaluable resource that you'll wonder how you ever tried navigating this transformative period of Prince's work without it. -- Andrea Swensson, host, Minnesota Public Radio's The CurrentThank you Duane for keeping Prince and all of our hard work and legacy’s alive. -- Bobby Z, member of The Revolution, Prince's drummerDuane is the one person who has managed to pull all of the different threads together and represent Prince's work in the best possible way. -- Craig Mortimer-Zhika, Prince MuseumTable of ContentsPrefaceJanuary 1985February 1985March 1985April 1985May 1985June 1985July 1985August 1985September 1985October 1985November 1985December 1985January 1986February 1986March 1986April 1986May 1986June 1986July 1986August 1986September 1986October 1986November 1986December 1986Epilogue

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Book SynopsisA compelling portrait of composer-performer Julius Eastman's enigmatic and intriguing life and music. Composer-performer Julius Eastman (1940-90) was an enigma, both comfortable and uncomfortable in the many worlds he inhabited: black, white, gay, straight, classical music, disco, academia, and downtown New York. His music, insistent and straightforward, resists labels and seethes with a tension that resonates with musicians, scholars, and audiences today. Eastman's provocative titles, including Gay Guerrilla, Evil Nigger, Crazy Nigger, and others, assault us with his obsessions. Eastman tested limits with his political aggressiveness, as reflected in legendary scandals like his June 1975 performance of John Cage's Song Books, which featured homoerotic interjections, and the uproar over his titles at Northwestern University. These episodes are examples of Eastman's persistence in pushing the limits of the acceptable in the highly charged arenas of sexual and civil rights. In addition to analyses of Eastman's music, the essays in Gay Guerrilla provide background on his remarkable life history and the era's social landscape. The book presents an authentic portrait of a notable American artist thatis compelling reading for the general reader as well as scholars interested in twentieth-century American music, American studies, gay rights, and civil rights. This Life of Sounds: Evenings for New Music inBuffalo received an ASCAP Deems Taylor Award for excellence. Mary Jane Leach is a composer and freelance writer, currently writing music and theatre criticism for the Albany Times-Union.Trade ReviewJulius Eastman enjoyed the admiration of peers such as Morton Feldman, Meredith Monk and Pierre Boulez. Here, highly engaging essays by those who knew Eastman well recall him as a person and assess his brilliance. While there are amusing anecdotes about his more madcap moments...the overall message is that he was an artist deserving of significant respect. * BBC MUSIC MAGAZINE *[Eastman's work] effectively rewrote the history of post-war American New Music, restoring to its narrative a gay black voice creating a liberating, high-energy form of organic minimalism. * THE GUARDIAN *It is eminently readable throughout. * JOURNAL OF EXPERIMENTAL MUSIC STUDIES *[The book will be] a starting point for others who want to engage with Julius Eastman as a performer, scholar, or composer. * ARSC JOURNAL *A picture of [Eastman]--charismatic performer, magnetic personality and emotional escape artist--that puts his work in a context larger and more representative. * BAY AREA REPORTER *A composer of visionary power, a singer with a cavernous bass voice, a collaborator with the diverse likes of Meredith Monk and Pierre Boulez, Eastman had long been a fixture of the New York Music scene....Part of the pleasure of Eastman's rediscovery has been the belated, deserving reinsertion of a black, gay figure into music history. * THE NEW YORK TIMES *Outspoken about his own identity as a black queer man...Eastman was ahead of his time. His music is politics by other means, in search of a form, alighting toward a future that could grant him dignity, when he could be something other than an abstraction. * THE NEW YORKER *A fascinating new collection of essays exploring the life and work of the enigmatic composer Julius Eastman...who worked fluently in jazz, improvisation and acoustical experiments. An indication of his impact is the very fact that so many people have come together [in this book] to remember him and are actively championing his music. * ALBANY TIMES-UNION *The publication of this rigorously researched, lovingly produced, multidimensional study of a singular artist will surely be met with joy by those of us who remember Julius Eastman--the inspired creator, the sly provocateur and martyred saint of the avant-garde. For those who are interested in iconoclasts of whatever stripe, this volume will be a revelation and an invitation to rethink what composition, performance, and life at the precipice of madness can be.-- -- Bill T. Jones, choreographer and dancerThis book has arrived just in time for Black Lives Matter and gets my deepest praise. This important volume of essays brought forth by two brilliant women who have long championed Eastman's music, belongs in every music conservatory library and beyond.-- -- Pauline Oliveros, composerTable of ContentsForeword by George E. Lewis Acknowledgments Introduction: Julius Eastman and His Music - Renee Levine Packer Julius Eastman, A Biography - Renee Levine Packer Unjust Malaise - David Borden The Julius Eastman Parables - R. Nemo Hill Julius Eastman and the Conception of "Organic Music" - Kyle Gann Julius Eastman Singing - John Patrick Thomas An Accidental Musicologist Passes the Torch - Mary Jane Leach A Flexible Musical Identity: Julius Eastman in New York City, 1976-90 - Ryan Dohoney Evil Nigger: A Piece for Multiple Instruments of the Same Type by Julius Eastman (1979), with Performance Instructions by Joseph Kubera - David Borden A Postminimalist Analysis of Julius Eastman's Crazy Nigger - Andrew Hanson-Dvoracek "The Piece Does Not Exist without Julius": Still Staying on Stay On It - Matthew Mendez Connecting the Dots - Mary Jane Leach Gay Guerrilla: A Minimalist Choralphantasie - Luciano Chessa Appendix: Julius Eastman Compositions - Mary Jane Leach Chronology Selected Bibliography List of Contributors Index

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Book SynopsisUlrich thinks he got the ultimate fan trip-to play, record, and tour with his favourite band, Dead Can Dance. His memoir details the early days, from signing with 4AD, recording their first album, then heading off on tour with the Cocteau Twins. There follow insights into the legendary period of the 4AD label of the 1980s; contributing to This Mortal Coil; guesting with Wolfgang Press, Pieter Nooten and Michael Brook, and Modern English; and touring the US for the first time in 1990. Following his departure from DCD, Ulrich remained close with Brendan Perry and Lisa Gerrard, and his memoir tracks their parallel paths over the following decades. A must for fans of Dead Can Dance and the 4AD label, and at the same time, a fascinating slalom through the ups and downs of trying to pursue a vision through the music industry.Trade Review"...[G]reat book... one of the best memoirs I have read... honest, open and while very in-depth it is a fun and interesting book to read... You do not have to be a fan of Dead Can Dance, but if you are not, you will be once you have finished reading it." —Aaron Badgley, Spill Magazine"This book really does capture so much, so well, what it was like in the early days, both for struggling artists and the fledgling independent label community.” —Ivo Watts-Russell, founder 4AD Records"Getting a glimpse into the crucible of creation/re-creation was exhilarating...Through this memoir you can enjoy the view too, and see the inner world of a seminal and highly influential band as they rise into success." —Benjamin Schreihals, Gothic Beauty Magazine"A thoroughly absorbing memoir, filled with fascinating detail." —Joanne Harris, author"[Ulrich is] a natural writer, deftly weaving in tales of life... and affording cameos to those who burned brightly. A historical document of a vast musical landscape, this will fascinate those who weren't there, and make misty those of us who were." —Jane Cornwell, Songlines Magazine"Well, what a journey...fantastic read." —Paul Erikson, original bassist of Dead Can Dance"...in-depth memoir... very exciting... all those tiny details we wanted... Highly recommended." —Klemen Breznikar, It's Psychedelic Baby Magazine"...the book...It's great! Tower Ballroom, Edgbaston - my first DCD gig. Lisa came on with a teacup and saucer." —Glen Johnson, founder, singer, guitarist of Piano Magic"...highly collectable piece of fan memorabilia for DCD devotees. Furthermore... richly descriptive recollections of the adventures in sound... other 4AD projects, including This Mortal Coil... a solo career and further collaborations... his preoccupation with possibilities of instrumentation reveals a unique passion... Ulrich's devotion to the cause is impeccable."—Bryony Hegarty, Louder Than War"...a real treat to recall my own collaboration with Peter and our insanely eclectic adventures in creating The Painted Caravan trilogy." —Treboy (Big T) Lloyd, founder, writer, producer of The Peter Ulrich Collaboration, head of City Canyons LLC"Lively and entertaining... with sterling levels of recall... A voluminous, lengthy, extensive five stars." —John Lloyd, Fox Books, Leicester, UK"A wonderful and fascinating personal story... so many nuances and parts of the story that I didn’t realise... and... a lot of forgotten memories."—Steve Webbon, Beggars Group"Part autobiography, part band biog, this is nothing if not unorthodox, but fully in keeping with the band that inspired it... the self-taught percussionist was closely involved in some of their defining records and shows, and his insights are often illuminating... Engagingly written"—Johnny Sharp, PROG Magazine"...just finished the book... absolutely loved it!" —Greg Fasolino, "one of the foremost Goth and Post-Punk historians in the world (post-punk.com)""...that story you tell about a dinner in Venice and then you present Lisa's completely different recollection of the same event... I love that! We all have such faulty memories of what occurred. There is no reality!" —Sam Rosenthal, founder of Projekt Records and black tape for a blue girl"A fabulous fly-on-the-wall read." —Coral Rockks 985FM CKWR, Canada"...incredibly well-crafted... and [the] writer's voice carries such positivity and a general love of music, along with the camaraderie of creation and what it feels like to be in a band - struggles and successes and all!" —Bret Helm, founder, singer, bassist of Audra"How one phone call can change everything. Ulrich tells a heady, detailed story of living in and learning fast having joined Dead Can Dance - one of the most unique groups ever, leading to his personal musical flowering. The creative ebbs and flows, worlds of life on the road and music business shenanigans come vividly to life."—Dave Massey - music journalist and historian, music publishing A&R/Creative Director and fellow drummer"Ulrich comes across as very personable, with plenty of rather wry humour, and... a sense of genuine surprise and delight at being part of a diverse music scene."— warped-perspective.com"[Ulrich's] personality and sense of humor absolutely comes through! Really wonderful job." —Timothy O'Donnell, graphic design v23/4AD"Great book, very well written..."—Claudio Bustamante, Fairfax City Music, YouTube Channel"I love how this weaves so much historical and influential contemporary music with the story... beautifully written... utterly compelling." —Lisa Tenzin-Dolma, author, singer-songwriter"I am reading this book and keep telling my friends about it. I feel like I am sitting in a time machine - haha - love it!" —Magno Damase, DCD fan posting on Facebook"Fabulous memories of exciting times, superbly written." —Colin Wallace, 4AD

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Book SynopsisAlice Randall, award-winning professor, songwriter, and author presents “a celebration of all things country music” (Ken Burns) as she reflects on her search for the first family of Black country music.Country music had brought Alice Randall and her activist mother together and even gave Randall a singular distinction in American music history: she is the first Black woman to cowrite a number one country hit, Trisha Yearwood’s “XXX’s and OOO’s (An American Girl)”. Randall found inspiration and comfort in the sounds and history of the first family of Black country music: DeFord Bailey, Lil Hardin, Ray Charles, Charley Pride, and Herb Jeffries who, together, made up a community of Black Americans rising through hard times to create simple beauty, true joy, and sometimes profound eccentricity. What emerges in My Black Country is “a delightful, inspirational story of persistence, resistance, and sheer love” (Kirkus Reviews, starred review) of this most American of music genres and the radical joy in realizing the power of Black influence on American culture. As country music goes through a fresh renaissance today, with a new wave of Black artists enjoying success, My Black Country is the perfect gift for longtime country fans and a vibrant introduction to a new generation of listeners who previously were not invited to give the genre a chance.

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Book SynopsisOnce there was a girl, pretty and smart and sexy. By her mid-twenties, she'd acquired two husbands and two children, and life wasn't going to plan... Then she met a man. Outrageous, brilliant, impossible, charismatic and kind, he was irresistible. Sex, drugs and jazz were a heady combination for the girl from Essex. Suddenly it was the swinging sixties and she was juggling babies with one hand and popping pills with the other. When George Melly wasn't in jazz clubs, he was fishing - and not just for fish.Brutally honest, hilariously candid, Diana Melly tells the extraordinary story of a turbulent marriage, of the uncharted trajectory of a woman's life from the fifties to the new century - by way of a glitteringly seductive crowd that includes Bruce Chatwin, Jean Rhys, Sonia Orwell, Kenneth Tynan, Jonathan Miller and a host of other luminaries. Written with a unique and clear-eyed self-effacement, here is an addictive, exceptional memoir, glowing with life and love, that breaks your heart, but makes you glad to be alive.Trade ReviewHers is an extraordinary story, exceptionally well told -- Lilian Pizzichini * Independent on Sunday *In the course of an unstructured life, her compassionate nature matures and endures, to the benefit of a great many people -- Joan Bakewell * New Statesman *Her life makes a wonderful read -- Caroline Gascoigne * Sunday Times *It is surely rare to find a book that describes a marriage with such breathtaking intimacy as Diana Melly does in her autobiography, Take a Girl Like Me -- Nicholas Haslam * Spectator *Diana Melly writes with a kind of stoned simplicity that is very effective, telling her often harrowing tale in a bleak and candid manner that carried great conviction * Sunday Telegraph *

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Book SynopsisA muggy night in Abu Dhabi, 2011. Under the stadium lights a 30,000-strong sea of Libyans, Palestinians, Syrians and Egyptians wait in anticipation. Alongside them are Saudis, Iranians and Israelis. Defiance and excitement course through the crowd like electricity. Standing together, they are waiting for Metallica’s first ever show in the Middle East. Many have faced untold violence, but for tonight, nothing else matters… This is the untold story of that crowd. Of the young men and women and the music they make in the backrooms of shabby houses in al-Zarqa and al-Qatif, Nazareth and Cairo. Of illegal shows in Tehran and Riyadh. Of songs that ousted a dictator in Cairo. Of exiles that have ended in glory, in isolation, and in blood. Journalist and lifelong heavy metal fan, Orlando Crowcroft, spent six years penetrating the rock and metal scene in the Middle East. Rock in a Hard Place is a different voice, one that is at odds with the Middle East of violence, extremism, war and ISIS: a voice recognizable to anyone who has ever turned up a speaker or an amp to drown out the din of the everyday, and a voice that may help unite us when we need it most.Trade Reviewa sober chronicling of music in some of the most conservative countries on the planet … Among such somber subject matter, there are also moments of triumph. * Popmatters *An engaging new book on the heavy metal music scene in the Middle East … Crowcroft's book crackles with significance. * The National *Crowcroft’s book is a detailed narrative of how the metal scene evolved in the 1990s. With extensive interviews Crowcroft narrates the difficult birth pangs of the metal scene in the Middle East. * Socialist Worker *Riveting … Crowcroft weaves a skilful narrative, drawing on the history of metal’s evolutions and controversies to give a wider sense of the world, illustrating just how many regimes and societies are still actively hostile to metal and its fans. * Socialist Review *Rock in a Hard Place takes readers beyond perceptions of the Middle East as an essentially violent and factional entity, instead showing the complex humanity that is shared between people in the region and the world.' * Middle East Journal *Crowcroft’s book is a fine contribution to a growing literature on popular culture in the Middle East, providing a valuable, seldom-given glimpse into atheist, antiauthoritarian and anti-religious counter culture. * Contemporary Islam *Rock in A Hard Place is a must read for any musician. Especially those involved in the underground. An inspiring report on the power of music to unite human beings in the face of adversity. * Brad Logan, guitarist for F-Minus and Leftöver Crack *A fascinating insight into the impossibility of repressing everyone no matter how fanatic you may be. It is surprising that more heavy metal rockers do not get stoned to death. * Clive Stafford Smith, international human rights lawyer *Crowcroft’s book is a revelation into the torture, oppression and imprisonment metalheads stand up to, just so they can be metal in the Middle East. This book is a must read! * Max Cavalera, frontman for Soulfly and Cavalera Conspiracy *Black metal, Islam, war zones - and a great shock of humanity. Orlando Crowcroft goes where no other writer has even thought of going before and brings back an improbably remarkable story. * Mick Wall, author of Last of the Giants: The True Story of Guns N' Roses *Going to jail for liking a band like us, that's taking chances… It's shocking to hear that someone had to suffer and risk his life for nothing but a love of music and a passion for freedom of speech. * Silenoz, guitarist for Dimmu Borgir and Insidious Disease *Table of ContentsPreface Introduction 1. Saudi Arabia 2. Egypt 3. Iran 4. Israel and Palestine 5. Lebanon Epilogue

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