Popular music Books

Book SynopsisChris Sheridan presents a major discographical study of an American jazz giant, Cannonball Adderley, whose career had a significant impact on jazz's development.Table of ContentsPreface Know What I Mean? Bohemia After Dark Milestones Spontaneous Combustion Mercy, Mercy, Mercy Who Bent the Rainbow? Epilogue Appendices: Cannon's Grooves, Sharpshooters, Work Song, Book-Ends Indexes: General Index, Cannon's Groovers, Chordnations

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Book SynopsisMick Wall is one of Britain's best known music journalists. Formerly editor in chief of Classic Rock magazine, he still writes for Mojo. His previous books include the bestselling biography John Peel, the authorized biograpy of Iron Maiden, Run to the Hills, and the official biography of Ozzy Osbourne, Diary of a Madman.

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Book SynopsisAdam was born in north London and became in integral part of the capital's punk scene before creating his own brand of music. He had 13 hits in the top twenty (3 of them number ones), as well as bestselling albums. His music continues to be influential today.

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Book SynopsisSongs take up space and time in films. Richard Dyer's In the Space of a Song takes off from this perception, arguing that the way songs take up space indicates a great deal about the songs themselves, the nature of the feelings they present, and who is allowed to present feelings how, when and where. In the Space of a Song explores this perception through a range of examples, from classic MGM musicals to blaxploitation cinema, with the career of Lena Horne providing a turning point in the cultural dynamics of the feeling.Chapters include: The perfection of Meet Me in St. Louis A Star Is Born and the construction of authenticity âI seem to find the happiness I seekâ: Heterosexuality and dance in the musical The space of happiness in the musical Singing prettily: Lena Horne in Hollywood Is Car Wash a musical? Music and presence in blaxploitation cinema In the Space of a Song is ideal for both scholars and students of film studies.Trade Review"This book offers a series of supremely detailed and insightful case studies, each illustrating what is at stake when songs are heard – and seen – in films. Dyer investigates commonplace ideas about the use of songs in film and shows how these are enacted in the detail of a particular sequence, of a single movie, across a genre or over a performer’s career. He demonstrates expertly that the coupling of song and film narrative also involves choreography in relationships of race, gender and sexuality. This ideological operation is powerful precisely because song sequences are often so enjoyable, eliciting a sense of pleasure that Dyer conveys sincerely yet critically, and that is mirrored in the easy authority with which he writes." Dr Ian Garwood, University of Glasgow, UK"Richard Dyer has spent his career at the leading edge of helping us understand what entertainment does for us, beyond merely entertain. With this compact, engaging exploration of songs in films — from classical Hollywood musicals to 1970s Blaxploitation films, to Italian and Hindi cinema — Dyer takes us from the initial question "What does it mean?" to the deeper, more challenging, and yet more telling question "How does it mean?" Intertwining narrative, performance analysis, and social history, Dyer adds a distinctive focus by siting moments of song within geographic and temporal, as well as narrative and emotional, space. Songs can create ruptures in time and space, meld them seamlessly, set them in pointed contrast, or create fluid spaces of affect within a linear narrative. Dyer’s close readings illuminate not only individual instances but help us grasp what we already "know" - how complex even the most "natural" and "spontaneous" moments of song can be." Robynn Stilwell, Georgetown University, USA"What a pleasure to find Richard Dyer returning to the musical! In the Space of a Song combines reprints of some older pieces with several substantive new ones in a collection of insightful essays about the double function of song and singing in the musical. Whether you study this genre or are just passionate about it, In the Space of a Song should be considered required reading. It is, simply put, Dyer at his very best." Steven Cohan, Syracuse University, USA"In the Space of a Song...is without doubt one of the best examples of Richard Dyer's magnificent style, always characterised by placing film production in its historical context and as such, with the cultural preconceptions which shape each cinematic tradition." Teresa Fraile Prieto, translated from Secuencias. Revista de Historia del CineTable of ContentsChapter 1. Introduction Something about singing; No musicals: Italian cinema; All musicals: Hindi cinema Chapter 2. The Perfection of Meet Me in St. Louis Chapter 3. A Star Is Born and the Construction of Authenticity Chapter 4. ‘I Seem to Find the Happiness I Seek’: Heterosexuality and Dance in the Musical Chapter 5. The Space of Happiness in the Musical Chapter 6. Singing Prettily: Lena Horne in Hollywood Chapter 7. Is Car Wash a Musical? Chapter 8. Music and Presence in Blaxploitation Cinema

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Book SynopsisCountry music's Waylon Jennings shares this story of his life. He tells of his rise from poor beginnings to fame as Buddy Holly's protege, and his own near-destruction from drug abuse and financial ruin. He discusses his three failed marriages, and his joy at finding his soulmate, Jessi Colter.

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Book SynopsisA candid autobiography of the great rock diva of Jefferson Airplane and Jefferson Starship, revealing her wild life at the forefront of the Sixties and Seventies counterculture.She has been called rock and roll''s original female outlaw, as famous for her bad behavior as for her haunting singing voice. In her 25-year career as a musician, Grace Slick charted dozens of hits and sold millions of albums. From White Rabbit and Somebody to Love to Sarah and Miracles, the songs she performed became the anthems of a generation.Whether describing her antics at the White House with Abbie Hoffman or the unforgettable experience that was Woodstock, Slick''s recollections have the same rich imagery found in her lyrics. In this provocative narrative, readers will discover the many sides of Grace Slick: as artistic pioneer; she records songs with Jerry Garcia and David Crosby; as practitioner of freedom and rebellion; she sleeps with Jim Morrison and gets arrested for DUI on three separate occasions

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Book SynopsisEnglish poet Roger Green left the safety of God, country, and whiskey to immerse himself in an austere and sober life on the Greek Island of Hydra. But when Green discovered that his terrace overlooked the garden of sixties balladeer Leonard Cohen, he became obsessed with Cohen''s songs, wives, and banana tree. Hydra starts with a poem the author wrote and recited for his fifty-seventh birthday (borrowing the meter of Cohen''s Suzanne, and ripe with references to the song), with Cohen''s ex-partner Suzanne, who may or may not be the subject of Cohen''s song, in the audience. By turns playful and philosophic, Green''s unconventional memoir tells the story of his journey down the rabbit hole of obsession, as he confronts the meaning of poetry, history, and his own life. Beginning as a poetic meditation upon Leonard Cohen''s bananas, Green''s bardic pilgrimage takes the reader on various twists and turns until, at last, the poet accepts the joy of accepting his fate.

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Book SynopsisThis work offers useful information on how jazz music can be improvised.

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Book SynopsisThe classic bestseller re-issed in a paperback edition.This eye-opening biography traces Lynott''s life from 1950s Dublin through to Thin Lizzy and his tragic death. Using dozens of frank interviews with family friends and band members, this is a touching and shocking account of the life of the Irish legend.Mark Putterford''s eye opening biography traces Lynott''s visionary ambitions to fuse dance music and heavy rock as well as influences on the early careers of future stars like Bob Geldof, Midge Ure, Huey Lewis and Mark Knopfler.Using dozens of frank interviews with family, friends and band members, Putterford gives us a touching and sometimes shocking account of the life of the one and only black Irish rock legend.Includes full discography. Trade Review'Mark Putterford has faithfully reconstructed the life of an illegitimate black child who rose from a childhood of petty taunts because of the colour of his skin to become a hero worldwide, but more importantly, an Irish icon, a person that the whole nation adored...This book is an incisive but easy read; it is not a weighty tome that scrutinises every aspect of Phil Lynott's life in lengthy, drawn out passages...This is a brilliant book about one of rock's true superstars.'

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Book SynopsisRecords the never-ending antics of a picaresque circus of addicts, outsiders and misfits who travelled the world encountering an equally bizarre and extraordinary mixture of people. John Cale, Allen Ginsberg and Gregory Corso are among those who appear in the ultimately tragic story of Nico, the last Bohemian. Originally published in 1992.

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Book SynopsisSteven Tyler is one of life''s natural born survivors. With an exhaustively vibrant personality, this dynamic lead singer has been one of the most distinctive figures in rock music for more than three decades. Although he was raised in a close knit, loving family, Tyler survived a tough upbringing in the Bronx. His inherent passion for performing and a talent for playing instruments propelled him into rock music as a teenager. He fronted a succession of local bands before meeting the guys with whom he would form Aerosmith in 1970. Laura Jackson reveals the stories behind Tyler''s relationships with band members and the many women in his life, his battle with Hepatitis C, and his drug-fuelled meltdown during the late ''70s and early ''80s when he was snorting pure heroin. She also explores his visits to rehab in the 1980s which saved his life. Tyler has lived a roller coaster life of excess - spending over a million dollars on drugs - but is miraculously still performing. Steven Tyler: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 *

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Book SynopsisBiography of the legendary pianist/composer. Based on scores of interviews with family and friends, the book gives rare insights into the elusive personality of this legendary hero of jazz.

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Book SynopsisA major new contribution to the study of African music, Soweto Blues tells the remarkable story of how jazz became a key part of South Africa's struggle in the 20th century, and provides a fascinating overview of the ongoing links between African and American styles of music.Trade Review"Through interviews with a multi-generational cast of literally hundreds of South African musicians, Gwen Ansell retells a story of political ferment, illegal shebeens, underground music, exile and, ultimately, triumph, while tracing the ongoing development of the music up to the current day. Soweto Blues is both valuable and fascinating, a must-read for serious fans of South-Africa music." - Global Rhythm, October 2004"The value of Ansell's text lies in the thoroughly comprehensive way in which she frames the lives of the South African artists who were brave enough to chant down apartheid." -Jazzwise, Kevin Le Gendre, March 2005"...a hard-hitting discussion of how apartheid impacted the lives of ordinary people and musicians alike-and how struggles against it fostered new roads in music.... Soweto Blues is well researched, intimate, and powerful: a ‘must' for any fan of South African music and history." -Library Bookwatch, 4/05"...a hard-hitting discussion of how apartheid impacted the lives of ordinary people and musicians alike-and how struggles against it fostered new roads in music.... Soweto Blues is well researched, intimate, and powerful: a ‘must' for any fan of South African music and history." -Library Bookwatch, 4/05"Soweto Blues is the book South African jazz lovers have been praying for. The book is conceived to be a useful resource to anyone interested in South African jazz—in South Africa and abroad—with varying levels of knowledge about the music. Soweto Blues was a long time in the making. With luck, it will inspire more people to explore the incredible jazz that has come out of South Africa." -- allaboutjazz.com, January 15, 2006"A comprehensive, informative, and essential companion to South African history. It illuminates the important link between history and culture, and in particular the role of artists in the transformation of South African society. Exquisitely researched and documented, Gwen Ansell's book is a labour of love and a gift to all South Africans."-Barbara Masekela, South African Ambassador to the United States"There's an immense amount of research behind each chapter, but this fascinating history is far from dry. What makes her rich politico-musical opus a joy to read is its anecdotal approach. The author lets the musicians talk [which] brings her pages to life and makes the whole book swing."-ThisDay (Johannesburg) -- Tom Rymour, ThisDay (Johannesburg) * Blurb from reviewer *"This book brings together in powerful co-existence the experiences of some of the greatest South African of the past 100 years. It is not only essential reading for all music students, music lovers and jazz aficionados, but also an important document about history and memory in South Africa. Carefully researched and vitalized by interviews, documentary evidence, and critical commentary, this book holds between its covers the many, sometimes contradictory, voices that have helped shape the society that South Africa is today. A moving and inspiring read, and a fine achievement."-Professor Christine Lucia,Chair of Music, School of the Arts, University of Witwatersrand, South Africa * Blurb from reviewer *"As guitarist Ray Chikapa Phiri states in reference to the anti-apartheid struggle, 'The music won'--eventually. Broadcaster, producer and author Gwen Ansell not only provides a great overview of that victorious struggle but also peels away the white-and-black curtains to show a society as diverse (ethnically and musically) as any on earth. As to be expected in a book about jazz and the blues, the U.S. figures prominently, from the storied visits of the Confederate warship Alabama to Capetown (and the "coon music" festivals it inspired) to U.S. South Africa musical collaborations with the lives of Paul Simon, etc. But this is undeniably the story of the music from the most critical perspective, the musicians', and their comments and testimonies liberally yet purposefuly intersperced throughout the book. Particularly compelling is the story of the music's role during the 'dead years' from the aftermath of the Sharpevilel massacre to democracy's beginnings a decade ago. The closing chapter illuminates the new battles being fought by and within the musical forces, such as social issues and identity questions, plus the traditional 'township' sound versus new directions. Whether as history lesson, music journal or social decument, the power of Soweto Blues is, like the music itself, inescapable. --Michael A. Edwards, Jazz Times (UK) 12/1/04 -- Michael A. Edwards * Blurb from reviewer *"Brilliant...the book is well written and those interested in learning about life under apartheid will appreciate its broad chronicling of this troubled time." -Choice, 3/05 * Choice *Table of ContentsIntroduction; Chapter 1: Where It All Started; Chapter 2: New Sounds of the Cities; Chapter 3: Athens on the Reef; Chapter 4: The Land is Dead; Chapter 5: Underground in Africa; Chapter 6: Jazz for the Struggle, and the Struggle for Jazz; Chapter 7: Home Is Where the Music Is: South African Jazz Abroad; Chapter 8: The 1990s and Beyond: Not Yet Uhuru; Appendix: Interviewees and Recordings; Bibliography

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Book SynopsisExamines punk as a movement. This book contains descriptions of the sounds, and places those sounds in the context of history. Drawing on many fanzines, magazines, and newspapers, it provides a portrait of the ways in which punk was an expression of defiance. It covers many of the legendary punk bands, as well as the obscure, forgotten ones.Trade Review"Nicholas Rombes answers many of the questions I didn't know I had... It's about time someone wrote a textbook on these things." -The Rumpus"An expansive, erudite, and hugely entertaining guide through the dark alleys and glittering byways of punk-in music, film, literature, politics, fashion-A Cultural Dictionary of Punk is essential reading for anyone fascinated by one of the most influential artistic movements of our time." -Elizabeth Hand, author of Generation LossAt a cursory glance, Rombes's compendium has the form of a dictionary, covering punk bands from the Adolescents to the Zeroes, but scratch the surface and you'll discover a profoundly weird document, where the notion of "punk" expands to include discussions of Angela Carter, Thomas Pynchon, Don DeLillo and Barry Hannah—although even Rombes admits the last is stretching the point. The tone veers from the academic to the confessional: "How can you hesitate about a song that has saved you more than once from the black depths you are prone to fall into?" Rombes asks in an entry concerning the British band Wire. There are several forays into the fictional, including stories about imagined versions of Patti Smith and Joey Ramone, as well as entries written by "Ephraim P. Noble," who is almost certainly a fictional alter ego. If it were touted as a definitive guide to punk culture, the dictionary's omissions would be glaring—but this is something altogether different: a personal investigation into the significance of punk rock, an attempt to inject critical studies with "a big dose of chaos and anarchy" and thereby create a compelling cultural narrative.-Publishers WeeklyRombes, the author of works on punk musicians and cinema, here examines punk as a cultural movement through A-to-Z entries drawing upon fanzines, magazines, and newspapers to place media and artists in the context of history. In the author's own words, he has "allowed the content of the entries to determine their shape, format and tone." The result is an eclectic examination of the punk movement as well as the cultural and historical issues surrounding it. The book concludes with a postscript analyzing the end of the punk movement in 1982. BOTTOM LINE: The author's love and knowledge of the punk era shines throughout the work. There are several other books on punk, but this one's focus on the general historical and cultural perspective of the movement, as well as its accessible and informal style, makes it a worthy addition to the literature. An excellent overview of the era for any library.-Library Journal"Rombes has assembled a proudly subjective collection of touchstones through which he attempts to discern, if not a definition of "punk," then at least some semblance of its signifiers' import in his own sense of self....Even while assembling texts and quoting from wide and varied sources, what Rombes does more than anything is provide evidence—evidence and validation that this thing punk is as significant to the world at large as it is to him."-The Agit Reader"I take a little notebook wherever I go -- I'm sure some of you do this, too -- so that anytime I hear about a cool film or something I should check out, I can jot it down immediately. A Cultural Dictionary of Punk is like a compilation of everything I've scribbled in little notebooks over the last 15 years. ...Much has been written on the subject, but this well-researched and respectful title is one book that should be appreciated, not rejected, by today's punk scene."-Whitney Matheson, USA Today's PopCandy"After a first read, I now know that A Cultural Dictionary of Punk 1974-1982 will be for me a traveling companion, a friend, for the rest of the way. Author Nicholas Rombes makes the dictionary format yield the urgency, brevity, and speedy darkness of Punk as a musical method, Punk as a cultural necessity. But the book is really a love letter, proud, bitter, flabbergasted, and true. His subjectivity serves him, and the reader, well. Start with his stuff on The Clash, The Ramones, Nirvana (yes: punk), Sixties, punk as a rejection of . . . . Rombes makes you want to write your own dark dictionary.Do it. Do it fast. "-S.X. Rosenstock, a poet and writer for the Huffington Post‘I'm obsessed with Nicholas Rombes' amazing book, A Cultural Dictionary of Punk from Continuum Books, and carry it everywhere.' -- The Huffington PostThe cover is perfect; no one person has a hold on punk, so no one person could ever be the face for it (Sid Vicious be damned!). http://new.flavorwire.com/196081/some-of-our-favorite-punk-book-covers/2 -- Flavorpill"Rombes makes A Cultural Dictionary important by clearly writing about the weird marginal forces that swirled into CREEM-reading, all night donut shop youth haunted Ohio at the end of the Vietnam war era, and editing out a ton of stuff called "punk" in the years since 1982."-KEXP, Seattle"Part guide, part archive (there are many images from the era never before reprinted), part postmodern study... [A Cultural Dictionary of Punk] is far more punk than its academic title lets on."-The Rumpus"Rombes launches arguments and counterarguments...that make the selections of his "dictionary" as provocative as Jon Savage in England's Dreaming. ...A challenging lexicography."Record Collector -- Ian Abrahams"Nearly all the dictionary entries dealing with Cleveland, Ohio and New York City and their denizens (Pere Ubu, The Eels, Peter Laughner, Dead Boys in the former; Ramones, Patti Smith, Richard Hell in the latter) are tremendously evocative..." The Wire, December 2009"Any dictionary which includes entries on X Ray Spex Germ Free Adolescents alongside Thomas Pynchon's Gravity's Rainbow just has to be worth a read. And it is. And you should. Read it that is." Total Music, January 2010."Excellent" - Jon SavageTable of Contents400 Blows / Adolescents /Adverts / Against Method / Agnew, Spiro / 'Alternative Ulster' / 'Anarchy is Dead' / Angry Young Men / Art and Fear /'Art of Noise,' / futurist manifesto / 'Art Rock' / Ashbery, John / Ask the Dust / Avengers / Bad Brains / Bad Taste in 1974 / Balm, Trixie A. / Bangs, Lester / 'Biafra: 6,591 votes (3%)!!' / Blank1 / Blank2 / Blank3 / Blank Generation / 'Blank Generation' / 'Beat Generation' / The Bloody Chamber / Boredom / Brando, Marlon / British National Front / Buffalo, New York / Callaghan, James: Prime Minister of Great Britain / Carter, Jimmy / Carter, Jimmy—and the new wave / Cassidy and Bangs in 1977 / 'Cindy' / Cities, decay and beauty of / Clash, the / Class / Cleveland, Ohio / compact audio cassette / Cooper, Alice / Cox, Alex / C.P.O. Sharkey / 'Punk Rock Sharkey' / Cramps: Live at Napa State Mental Hospital / Criticism, rock / Dancing / 'Death of Punk' / Dead Boys / Demics, the / Destroy All Monsters / Dhalgren / Dickies / Dictators / Dils / Diodes / Dogs / 'John Rock 'n Roll Sinclair' / John Sinclair / 'Dot Dash' / Down-and-out during the punk era, the fun of being / East Village Eye / Eater / Ejectors / electric eels / entertainment! / 'Experts Propose Study of 'Craze'" / Feelies / Fifties, nostalgia for / The Foreigner / 'Frankie Teardrop' / 'Full Speed Ahead' / Further Temptations / Generation X / Germs / Germ Free Adolescents / Gibson, William / Glass, Philip / 'Going Underground' / Graham, Bill / Gravity's Rainbow / Great Jones Street / Gulcher / 'Gunning for Sex Pistols' / The Gun Rubber / Hannah, Barry / 'Happy Birthday, Stephanie' / Headlines, 1977 / Helen Keller / Herman's Hermits / High-Rise / Hippies, Johnny Rotten comments about / 'Horror Business' / Horses / 'How Could I' / 'I Got You Babe' / The Ice Age / implied velocity / 'I waste hours keeping my soul out of the cauldron' / I'm OK—You're OK / Jarmusch, Jim / Jim Basnight and the Moberlys / Jungle Rot / 'Keep Yours Dreams' / Kentucky Fried Movie / 'L.A. Punk' / Ladies and Gentlemen the Fabulous Stains / La Guardia, Fiorello Henry / Leon, Craig / Lowell, Robert / MTV / Mad Magazine, punk and / Marbles / Meltzer, Richard / 'The Menace and Charm of Punk Rock' / Milk 'n' Cookies' / Minimalism / 'Mistakism' / Mo-dettes / 'the most absurd year in the history of rock 'n' roll' / 'Neat, Neat, Neat' / Nervous Breakdown / Nervus Rex / 'New Dark Ages' / 'New Music, The' / The New Wave / New Wave Theatre / 'New Way' / Nirvana / Nixon, Richard / Nobody's Heroes / Non Compos Mentis / No Policy / No Wave / Normals / Nostalgia / 'Notes on the New American Cinema' / 'not exactly what you would consider melodic' / Nuns / Oblique Strategies / Only Ones / 'Ottawa Today' / Out of Vogue / Outsider, The / Pagans / 'Paint it Black' / Para-Punk Cinema / Patti / Penetrators / Pere Ubu / Pettibon, Raymond / 'Police State' / Punk, alternate meanings of / Punk, as 'honored' / 'punk is inconceivable without the bleak failure of the Sixties' / Punk, its influence on something other than music or fashion / 'Punk rock is a put on' / 'Punk Rock: the arrogant underbelly of Sixties pop' / 'Punk Rock Rises Again!!', Creem headline / 'Punk Root' / 'Question of Degree, A' / Radio On / 'Radio Wunderbar' / Raincoats / Ramones [1974- ] / Ramone, Joey (and Joey Miserable and the Worms) / Ramones, the first album in ten tracks / Ramones, as 'trivial' / as 'great' / Ramones, first lines of songs on first three albums / Reagan, Ronald / 'Read About Seymour' / Real Life / Rebel Without a Cause / 'Receiving End' / Rent Act / Rimbaud, Arthur / Road Warrior, The / Rocket from the Tombs, four sentences about / Rocket from the Tombs, two songs by / Rockwell, John / Rombes, Kori Ann / Saints / Screamers / SCUM Manifesto / Second Extermination Nite / 'See No Evil' / self-referential, punk as / 'Seventeen' / Shirkers / Shivvers / 'short-lived fad, a' / 'Singles reviewed / 'Sister Ray' / Sixties, punk as a rejection of / Sixties, punk as an affirmation of / Six Million Dollar Man, The / Skunks / Sleepers / Slits / 'Slouching Towards Bethlehem' / 'So Cold' / social threat of punk, the / 'Something's happening' / 'Sonic Reducer' / Sonic Youth / Speedies / Spheeris, Penelope / Spock, Benjamin / Starburn: The Story of Jenni Love / Static Disposal / Sterling, Linder / 'still bewildered by the death-machine' / Stooges / 'Strange' / Student Teachers / Suicide / Survival Research Laboratories (SRL) / Symbionese Liberation Army (SLA) / Target Video / Teen Idles / 'That's Entertainment' / 'The music is primal, mindless, without climaxes' / 'The ongoing force of me' / Theoretical Girls / theory, punk as a form of / 'There are Only Three Rock Groups in America' / 'There is nothing inherently wonderful about starkness' / 'The World's a Mess; It's In My Kiss' / Troggs / Truth about punk, the / 'TV Babies' / Undertones / Vast Majority / Vertigo / Vibrators / Vietnam War / Viletones / vinyl / Wallace and Ladmo Show, the / Warhol, Andy / Weirdos / 'When You're Young' / Whistle Punk / Who Killed Bambi? / 'Why?' / 'Write Down Your Number' / 'Xerox Days' / Zeros

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Book SynopsisThe Killers are a very British band. Their rise to fame has been meteoric, inspired, and eventful. Their album, "Hot Fuss" has made it into the Top 5 Selling Albums of 2004. This book charts that rise to fame, interviewing key players along the way, as well as placing the band in the context of the predominantly British legacy.

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Book Synopsisæ?æ?ã??ã?ã?ã?ã??ã?ã?ã??ï?ï?ã?ã?ãã??ã?ã??ã?ã?ã?ã??ã?ãã?ã?ã?ã æ?åã?ã??ãã?ã??ã?ã?ã?ã?ã?ã?ã??ã?ã?ã?ã?ã?åæ?ã??èæ??ã?ãã?ã?? ã??ã?ã??ã?ã?ã??ãã?ã?ã??æ?ãã?ã?? æ?æ?ãã??ã?ã??ï?ããå??åã?ã?ã?ã?ã??ã?ãã?ã?ã?ãå?ç?ã?? èããã?ã??ç?ãå?èãã??ã?ã?ã?ã??ã?ã?ã?ã?ã?ã??ã??ã?ã?ã?ã?ã?ã å?ã??å?ã??ã??ç?ãæ?ã??ãã??ã?ã??ã??ã?ã??çä?ã?ãã?ãã?ã?? ã?ã?ã?ã?ã?ã?ããã?ã?ã?ã??ã?ã??ã?ã??ã?ã?ã ã??ã??ã?ã?ã?ã?ã?ã?ã??ç?ã?ã?å??åã?ã?ã?ã?ã??ã?ã?ã?ã?ã?ã? å?ã??å?ã??ã??ã??ãã?ãã?ã?? ã??ã?ã??ï?ããã?ã?ã??ã?ã?ã?ã?ã?ã?ããFã?ã?ãã??ã?ã?ã?ãå?å?ã?ã?ã??ã?? æ?è?ã?ãã?ãã?ã?? ã?ãã?ã?ã??ãã??ã?ã?ã??ã?ã??ã??ã?ã??ã??ã?ã??ã?ã??ã??ã?ã??ããããã??æ??å?ãã?ã?? ã??ã?ã??ï?ããã??ã?ã??ï?ãäãã?ã??ã?ã??ã??ã?ã??ã?ã??ãå?ã?ã ã??ã?ã??ã?ã??ã?ã?ã??ã?ã?ã??ã?ãã??ã?ã?ã?ã?ã?ã??ï?ï?å?ããã?ã?ã çä?ã?ãã?ãã?ã?? ããã??ã?ã?ã?ã?ã?ãã??ã?ã?ã?ã?ã?ã?ã?ã??ç?ã?ã? ï?ï?ïã?ã?ã?ã?ã??è?ã?ã??å?ä?ã??åã??ãã?ãã?ã?? ããå?ä?ãã??ã?ã?ã?ã?ã?ããå?ããé?èãä?ç?ã??ã?ã??ã??ã?ã? ç?ã??èãã??ãã?ãã?ã?ã?ããã??ã?ã??ã??ã?ãã?ã?ã?ã?ã?ã?ã?ãäã ã??ã?ã?æ?æããåå?ã?ã??é?ã??ã??ä?ã?æã?ããã?ã??ã?ãè??æ?ã?ã??ãã?ãã?ã?? ã??ã?ã?ãæ?ãã?ã?ã?ãå??åã?å?ç?é?å??ãã?ãé?æã??åä?ã?? ã?ã?ã?ã??ã?ã??æ?åå?æã??ã??ã?ãã? ãã?ãã?ã?ã??ã?ã?ïã?ã?ã?ã?ã??ã??ã?ã?ã?ã??ã?ã??ç?ãã??ã?ã??ã??ã?ã?? èãä?ã?ã??ä?ã?å?æã??ã??ã?ããã?ãæ?ãä?ã??ã??ãã?ã?ã??

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Book SynopsisIt has been more than thirty-five years since the first commercial recordings of hip-hop music were made. This Companion, written by renowned scholars and industry professionals reflects the passion and scholarly activity occurring in the new generation of hip-hop studies. It covers a diverse range of case studies from Nerdcore hip-hop to instrumental hip-hop to the role of rappers in the Obama campaign and from countries including Senegal, Japan, Germany, Cuba, and the UK. Chapters provide an overview of the 'four elements' of hip-hop - MCing, DJing, break dancing (or breakin'), and graffiti - in addition to key topics such as religion, theatre, film, gender, and politics. Intended for students, scholars, and the most serious of 'hip-hop heads', this collection incorporates methods in studying hip-hop flow, as well as the music analysis of hip-hop and methods from linguistics, political science, gender and film studies to provide exciting new perspectives on this rapidly developing fiTrade Review'… The Cambridge Companion to Hip-Hop provides a powerful account of what it presents, persuasively, as the most revolutionary music since rock'n'roll.' Andrew Warnes, The Times Literary Supplement'For those new to the scene as well as hip-hop heads looking to broaden their understanding and appreciation of this complex and often misappropriated culture, Justin A. Williams's The Cambridge Companion to Hip-Hop stands out as a valuable addition to one's library. … Justin A. Williams has succeeded in his aim to bring a comprehensive, globally aware and culturally situated exploration of hip-hop to light.' Patrick K. Cooper, Journal of Popular Music EducationTable of ContentsIntroduction: the interdisciplinary world of hip-hop studies Justin A. Williams; Part I. Elements: 1. MC origins: rap and spoken word poetry Alice Price-Styles; 2. Hip-hop dance Imani K. Johnson; 3. Hip-hop visual arts Ivor Miller; 4. DJs and turntabilism Kjetil Falkenberg Hansen; 5. The fifth element: knowledge Travis Gosa; 6. Hip-hop and religion: from the mosque to the church Christina Zanfagna; 7. Hip-hop theater and performance Nicole Hodges Persley; Part II. Methods and Concepts: 8. Lyrics and flow in rap music Oliver Kautny; 9. The musical analysis of hip-hop Kyle Adams; 10. The glass: hip-hop production Chris Tabron; 11. Hip-hop and racial identification: an (auto)ethnographic perspective Anthony Kwame Harrison; 12. Thirty years of rapsploitation: hip-hop culture in American cinema Geoff Harkness; 13. Barbz and kings: explorations of gender and sexuality in hip-hop Regina Bradley; 14. Hip-hop and politics Chris Deis; 15. Intertextuality, sampling, and copyright Justin A. Williams; Part III. Case Studies: 16. Nerdcore hip-hop Amanda Sewell; 17. Framing gender, race, and hip-hop in Boyz in the Hood, Do the Right Thing and Slam Adam Haupt; 18. Japanese hip-hop: alternative stories Noriko Manabe; 19. Council estate of mind: the British rap tradition and London's hip-hop scene Richard Bramwell; 20. Cuban hip-hop Sujatha Fernandes; 21. Senegalese hip-hop Ali Coleen Neff; 22. Off the grid: instrumental hip-hop and experimentalism after the golden age Mike D'Errico; 23. Stylized Turkish German as the resistance vernacular of German hip-hop Brenna Byrd; 24. 'Bringin' '88 back': historicizing rap music's greatest year Loren Kajikawa; 25. 'Where ya at?': Hip-hop's political locations in the Obama era Michael Jeffries.

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Book SynopsisKurt Cobain and Ian Curtis. Through death, they became icons. However, the lead singers have been removed from their humanity, replaced by easily replicated and distributed commodities bearing their image. This book examines how the anglicised singers provide secular guidance to the modern consumer in an ever more uncertain world.Table of ContentsList of Contents List of Figures Acknowledgements Introduction 1. Joy Division Tribute Bands 2. Cult of Curtis 3. Hagiography 4. Branding of the 'Hyperreal' 5. I Want To Own Your Memory 6. Joy Division Documentaries 7. Dark Tourism and Sonic Pilgrimage Conclusion Notes Bibliography

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Book SynopsisPhilosophy and Hip-Hop: Ruminations on Postmodern Cultural Form opens up the philosophical life force that informs the construction of Hip-hop by turning the gaze of the philosopher upon those blind spots that exist within existing scholarship.Trade ReviewRecommendations for Philosophy as Hip Hop: Ruminations on a Post Modern Cultural Form. By Tommy J. Curry, Associate Professor, Department of Philosophy, Affiliate Professor, Program in Africana Studies, Texas A&M University Report: Overall, this version of the book is much better than the initial manuscript reviewed. Philosophy as Hip Hop embarks on a journey to show that Hip-Hop is an aesthetic engagement with the world that gives individuals various philosophical techniques to engage the obstacles and phenomenon before them. In the prologue, Bailey argues 'From an individual perspective Hip-Hop creates a space of relative freedom: freedom from the weight of a modern life that is demanding and exhausting. The importance of noting the relative in this statement cannot be overlooked. Hip-Hop is not a space of utopia, but a community that reconciles and embraces those who need an abode for their own intimate desires.' Unlike the previous version, this book is clearer in its purpose, and writing. This is a strength of this version of the text over the last, unfortunately however, the manuscript as a whole suffers from a sort of bipolarity at times reading as a summation of traditional white philosophical canons rather than a serious scholarly engagement with Hip-Hop. Bailey engages in a philosophical exploration of Hip-Hop aiming to show that Hip-Hop is in fact philosophical. This manuscript covers some of the same ground articulated in Hip Hop and Philosophy: Rhyme to Reason by Tommie Shelby and Derrick Darby. Bailey's text will further articulate such claims in a full monograph and most likely be the first or most recent text to do so in the discipline of philosophy. However, it must be noted that such projects have a long legacy in cultural studies and Black studies. Greg Thomas's Hip-Hop Revolution in the Flesh: Power, Knowledge, and Pleasure in Lil' Kim's Lyricism (2009), and Jared Ball's I Mix What I Like: A Mixtape Manifesto (2011) immediately come to mind, as they have been reviewed extensively, but I cannot find any engagement with these texts in Bailey's work. While Bailey has done some work in section two to introduce and cover the work of Ebony Utley's On Rap and Religion some of the more recent works like those mentioned above are still absent from consideration. As such, I would recommend this work for publication with some revisions. My specific section comments are attached, but I would like to make several general comments. I. This work will certainly find readership in philosophy. Unlike fields like media studies, Black studies, etc. philosophy has been the last on board to seriously investigate the work of Black artists as serious political and social commentary. The last major work on Hip-Hop in philosophy was Derrick Darby and Tommie Shelby's Hip Hop and Philosophy from 2005. 2. The success of this book will largely depend on who it is marketed towards. Bailey makes some interesting points and insights that could in fact convey to classical continental and American philosophers the importance of studying and understanding Hip Hop both pedagogically and as a post-modern aesthetic. However, it is important to understand the limitations of such a strategy in field like Black studies, cultural studies, or more radical art audiences. 3. The work seems to have two distinct tones from section one to section two. The transition between sections as well as between ideas within and between chapters needs attention. 4. This work seems to be more appropriately divided into Section 1: Existential Communalism/Pedagogy and then Section 2: Post Modern Cultural Art Form. As stated I am not clear about the purpose of distinction in the titles. 5. Bailey does make a worthwhile contribution to Hip Hop Studies in the discipline of philosophy, so it is a publishable manuscript in that regard. However, Bailey should be pushed to account for the scholarship and work done in other fields as well to make this book stand the test of time. Imani Perry's Prophets of the Hood have lots of overlap with his themes throughout but are not mentioned once in my reading. There needs to be more of a deliberate engagement with the literature of the field.Table of ContentsIntroduction1. Of the Beauty and Wisdom of Hip-Hop 2. Firebrands and Battle Plans: Jean-Paul Sartre, Friedrich Nietzsche and G.W.F. Hegel3. Conscious Hip-hop vs The Culture Industry4. A Philosopher's glance at Hip-hop Pedagogy: Facing the Realities of the Socratic Classroom 5. Lost in the City and Lost in the Self: Sin and Solipsism in Hip Hop's Dystopia; St. Augustine, Toni Morrison, Paul Tillich 6. Hip Hop and International Voices of Revolution: Brazil, Cuba, Ghana and Egypt 7. The Artist and the Image: Ervin Goffman; Marshall McLuhan; Roland Barthes8. The Catastrophe of Success: Marshall McLuhan, Gilles Delueze and Felix Guittari

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Book SynopsisThrough rap and hip hop, entertainers have provided a voice questioning and challenging the sanctioned view of society. Examining the moral and social implications of Kanye West's art in the context of Western civilization's preconceived ideas, the contributors consider how West both challenges religious and moral norms and propagates them.Trade Review"Provocateur, egotist, sage, and artist, no figure in the past decade of popular culture has reflected and defined the zeitgeist better than Kanye West. This collection lays bare the tangle of complexities and contradictions that have made the artist and the art indispensable to our era and proves that if game recognizes game, wisdom does too." - Jelani Cobb, author of The Substance of Hope: Barack Obama and the Paradox of Progress "If Julius Bailey was a song, he would be that surprise banger DJ Red Alert drops around one in the morning as the party is at its peak. He is humbly one part scholar and two parts philosopher, yet all hip-hop. Respected for his integrity as a cultural critic and archivist, it's no surprise that, like a master beat maker finding the perfect sample, he was ahead of the curve when he proposed to explore the cultural impact of Kanye West . . . but right on time." - Toni Blackman, US Hip Hop Ambassador "The Cultural Impact of Kanye West is a much-needed addition in today's diluted hip-hop cultural criticism. By deeming West, his chameleon persona, and iconic brand worthy of scholarly examination, this book takes us on a philosophical odyssey like no other in the modern academy." Rahiel Tesfamariam, founder and Editor-in-Chief, Urban CuspTable of ContentsForeword; Davey D Preface ; Julius Bailey PART I: REVISITING THE PHARMAKON: ARTISTIC GIFTS/HUMAN COMPLEXITIES 1. Now I Ain't Saying He's a 'Crate Digger': Kanye West and the Soul Archive; Mark Anthony Neal 2. Kanye West: Asterisk Genius?; Akil Houston 3. Afrofuturism: The Visual Imagery of Kanye West; Reynaldo Anderson and John Jennings 4. You got Kanyed: Seen But Not Heard; David J. Leonard 5. 'An Examination of the Kanye West Higher Education Trilogy; Heidi R. Lewis PART II: UNPACKING HETERO-NORMATIVITY AND COMPLICATING RACE AND GENDER 6. 'By Any Means Necessary': Kanye West and the Hypermasculine Construct; Sha'Dawn Battle 7. Kanye West's Sonic Cosmopolitanism; Regina Bradley 8. 'Hard to Get Straight' Kanye West, Masculine Anxiety, Dis-identification; Tim'm West 9. You Can't Stand the Nigger I See!: Kanye West's Analysis of Anti-Black Death; Tommy Curry PART III: THEORIZING THE AESTHETIC, THE POLITICAL, AND THE EXISTENTIAL 10. When Apollo and Dionysus Clash: A Nietzschean perspective on the work of Kanye West"; Julius Bailey 11. The God of the New Slaves or Slave to a Religion and a God?; Monica Miller 12. Trimalchio From Chicago: Flashing Lights & The Great Kanye in West Egg; A.D. Carson 13. Confidently (Non)cognizant of Neoliberalism: Kanye West and the Interruption of Taylor Swift; Nick Krebs 14. Kanye Omari West: Visions of Modernity; Dawn Boeck

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Book SynopsisThis extensively revised and expanded fifth edition of Understanding Popular Music Culture provides an accessible and comprehensive introduction to the production, distribution, consumption and meaning of popular music, and the debates that surround popular culture and popular music. Reflecting the continued proliferation of popular music studies, the new music industry in a digital age, and the emergence of new stars, this new edition has been reorganized and extensively updated throughout, making for a more coherent and sequenced coverage of the field. These updates include: two new chapters entitled The Real Thing': Authenticity, covers and the canon and Time Will Pass You By': Histories and popular memory new case studies on artists including The Rolling Stones, Lorde, One Direction and Taylor Swift further examples of musical texts, genres, and performers throughout including additional coverage of Electronic Dance MTable of Contents Introduction: ‘What’s Goin' On?’: Popular music culture 1. ‘Every 1’s a Winner’: The music industry and the record companies 2. ‘Pump up the Volume’: Music and technology 3. ‘I’m Just a Singer’: Making music, the rock musician and the success continuum 4. ‘So You Want To Be a Rock’n’Roll Star?’: Auteurs and stars 5. ‘Message Understood’: Musical texts 6. ‘The Real Thing’: Authenticity, covers and the canon 7. ‘It’s Still Rock’n’Roll To Me’: Genre 8. ‘Shop around’: Marketing and mediation 9. ‘U Got the Look’: From film and television to YouTube 10. ‘On the Cover of The Rolling Stone’: The music press. 11. ‘My Generation’: Consumption, identity and fandom 12. ‘Sound of Our Town’: Subcultures, sounds and scenes 13. ‘Revolution’: Social change, politics and conscience rock 14. ‘Pushin too Hard’: Moral panic, state regulation and censorship 15. ‘We Are the world’: Globalization and State music policy 16. ‘Time Will Pass You By’: Histories and popular memory. Conclusion: ‘Wrap it up’: Making music, making meaning Appendix 1: Chapter song titles Appendix 2: Musical analysis Appendix 3: Popular Music Timeline

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