Popular music Books

Book SynopsisJonathan Richman and the Modern Lovers' 1972 song Roadrunner captures the freedom and wonder of cruising down the highway late at night with the radio on. Although the song circles Boston's beltway, its significance reaches far beyond Richman's deceptively simple declarations of love for modern moonlight, the made world, and rock & roll. In Roadrunner, cultural theorist and poet Joshua Clover charts both the song's emotional power and its elaborate history, tracing its place in popular music from Chuck Berry to M.I.A. He also locates Roadrunner at the intersection of car culture, industrialization, consumption, mobility, and politics. Like the song itself, Clover tells a story about a particular time and place-the American era that rock & roll signifies-that becomes a story about love and the modern world.Trade Review“Roadrunner is a wonderful book: unique, passionate, sardonic, and as intellectually playful as it is rigorous. It is thrilling to be in the presence of a writer realizing all of his gifts—and yet he and the reader never lose sight of the song or cease to hear it. In that sense, Joshua Clover has not only realized himself as a writer; he has realized the song.” -- Greil Marcus, author of * The History of Rock ‘n’ Roll in Ten Songs *“Roadrunner is incisive, poetic, and full of life, a beautifully circuitous meditation that mirrors how obsessive music fandom feels. Joshua Clover is in his finest critical form here.” -- Jessica Hopper, author of * The First Collection of Criticism by a Living Female Rock Critic *"In this fascinating discursive journey, Clover discusses Boston-area car culture’s impact on the lyrics and music of 'Roadrunner' and other road and highway songs; he also laments social changes wrought by the emphasis on industrialization and, more recently, financialization, at the expense of substantive production. . . . Clover demonstrates a sweeping command of his material. . . ." -- Barry Zaslow * Library Journal *"In a brisk 100-plus pages, he pulls off a kind of critical jiujitsu, linking a song about driving past the Stop & Shop 'with the radio on' back to Chuck Berry's classic songs about riding along in an automobile, and forward to Cornershop's 'Brimful of Asha' and M.I.A.'s 'Paper Planes,' both of which reference 'Roadrunner.' . . . Like the song, Clover's lengthy essay steps on the gas from the on-ramp and keeps pushing." -- James Sullivan * Boston Globe *"Roadrunner, Clover's book, has plenty of warmth; in fact, it runs positively hot as the poet and cultural theorist veers off onto one exit ramp after another." -- Jay Gabler * The Current *"It’s heady stuff, for sure, but it’s also as ecstatic as the music it celebrates—an inspired, inspiring tribute to what Greil Marcus once called 'the most obvious song in the world, and the strangest.'" -- Marc Hogan * Pitchfork, Best Music Books of 2021 *"Poet and critic Joshua Clover’s book-length exploration of 'Roadrunner' stays true to Richman’s “faster miles an hour” gospel, thrillingly pursuing connections backward and forward, from Chuck Berry to Cornershop to M.I.A. . . . Even if you’ve heard 'Roadunner' a million times, this book will make it sound newly present and alive." -- Jon Dolan * Rolling Stone, Best Music Books of 2021 *"Clover perceptively emphasizes how postwar suburbanization changed the face of American life forever, spreading it out from the density and unease of the city into the kinds of spacious highways Richman celebrates. . . . Clover’s radical politics make him especially sensitive to the ways in which capital and urban planning changed the landscape of America during the postwar boom. In some ways, Clover’s historical analysis is quite sharp and certainly relevant to today’s concerns." -- Matt Hanson * The Smart Set *Table of Contents1. Rock & Roll Radio, 1980 1 2. Faster Miles an Hour, 1972 7 3. The Highway Sound, 1955 29 4. The Main Streets and the Cinema Aisles, 1997 61 5. World Runner, 2007 81 6. In Love with the Modern World, 1972 105 Acknowledgments 121 Notes 123 Bibliography 125 Index 127

Read more less

Book SynopsisIn Soundscapes of Liberation, Celeste Day Moore traces the popularization of African American music in postwar France, where it signaled new forms of power and protest. Moore surveys a wide range of musical genres, soundscapes, and media: the US military''s wartime records and radio programs; the French record industry''s catalogs of blues, jazz, and R&B recordings; the translations of jazz memoirs; a provincial choir specializing in spirituals; and US State Department-produced radio programs that broadcast jazz and gospel across the French empire. In each of these contexts, individual intermediaries such as educators, producers, writers, and radio deejays imbued African American music with new meaning, value, and political power. Their work resonated among diverse Francophone audiences and transformed the lives and labor of many African American musicians, who found financial and personal success as well as discrimination in France. By showing how the popularity of African AmerTrade Review“Celeste Day Moore takes us on a dazzling and deeply researched tour through the soundscapes and multisensory experiences of the Francophone Black world. Soundscapes of Liberation is indispensable reading for scholars and students of the African Diaspora, liberation projects, and the circulation of music in the twentieth century.” -- Penny M. Von Eschen, author of * Satchmo Blows Up the World: Jazz Ambassadors Play the Cold War *“Celeste Day Moore provides the best account of the process by which African American culture was popularized in postwar France at a time when France was negotiating its relationship to decolonization, American culture, and power writ large. This fascinating and detailed book made me think anew about things I thought I knew well.” -- Daniel Widener, author of * Black Arts West: Culture and Struggle in Postwar Los Angeles *"What Moore describes is not a simple love affair between a music maligned at home and a country destined to embrace it. . . . Navigating broad territories, she moves from an era when African-American music could only be apprehended fragmentarily to the advent of mass broadcasting, long playing records, and the involvement of state powers. Although this history's outlines can feel familiar, it is approached in a fresh way." -- Pierre Crépon * The Wire *"Thoroughly researched, erudite, and well written, this volume is required reading for those who study the African diaspora and African American music. Recommended. Lower-division undergraduates through faculty and professionals; general readers." -- F. J. Hay * Choice *"Soundscapes of Liberation is a meticulously, deeply, and broadly, researched work. It is well-written and compelling." -- Brett A. Berliner * Diplomatic History *Table of ContentsAbbreviations ix Acknowledgments xi Introduction: Making Soundwaves 1 1. Jazz en Liberté: The US Military and the Soundscapes of Liberation 17 2. Writing Black, Talking Back: Jazz and the Value of African American Identity 43 3. Spinning Race: The French Record Industry and the Production of African American Music 71 4. Speaking in Tongues: The Negro Spiritual and the Circuits of Black Internationalism 103 5. The Voice of America: Radio, Race, and the Sounds of the Cold War 133 6. Liberation Revisited: African American Music and the Postcolonial Landscape 161 Epilogue: Sounding like a Revolution 195 Notes 201 Sources 251 Index 283

Read more less

Book SynopsisJohn Klaess tells the story of rap’s emergence on New York City’s airwaves by examining how artists and broadcasters adapted hip hop’s performance culture to radio.Trade Review"Not to be missed, musicologist Klaess has written a fascinating chronicle of hip-hop radio stations. . . . Klaess’s book is a must-read for all those interested in tracing hip-hop’s sociopolitical/racial chord back to its airwaves origins." -- Alessandro Cimino * Library Journal *"This is a book about radio as a medium, not the music that flows through it, and it deserves praise for shining a light on the people behind the tapes who have been underappreciated by more conventional histories." -- Peter Shapiro * The Wire *"A book that tells the story of rap on New York City’s airwaves, Breaks in the Air is mandatory reading for anyone with an interest in hip hop history and elements of that history that aren’t readily considered, including figures responsible for its early dissemination. As well as providing a meticulous account of the first stations to air rap music, Klaess’ book offers a unique insight into the sociopolitical power of broadcast media and how alongside the growing popularity of hip hop, radio provided a valuable new avenue for Black expression." -- Arusa Qureshi * The Quietus *"Breaks in the Air has a lot to offer anyone interested in hip-hop’s rise, as well as anyone fascinated with the larger stories of Black music and American radio." -- Michaelangelo Matos * Beat Connection *Table of ContentsPreface ix Acknowledgments xiii Introduction. Breaks in the Air 1 1. Deregulating Radio 19 2. Sounding Black Progress in the Post-Civil Rights Era 32 3. Commercializing Rap with Mr. Magic’s Rap Attack 63 4. Programming the Street at WRKS 88 5. Broadcasting the Zulu Nation 116 6. Listening to the Labor of The Awesome 2 Show 139 Epilogue 162 Notes 175 Bibliography 193 Index 215

Read more less

Book SynopsisCarol Vernallis examines short form audiovisual mediafrom TikTok mashups to Beyoncé's Lemonadeto offer techniques for understanding digital media.Table of ContentsAcknowledgments xi A Note on the Cover xiii Introduction 1 I. Post-Classical Cinema at the Limit 1. Partying in The Great Gatsby: Baz Luhrmann’s Audovisual Sublime 27 2. Shattered Pleasures: Michael Bay’s Transformers: Age of Extinction 48 II. Music Video and the Art-Video Border 3. Beyoncé’s Overwhelming Opus; or, the Past and Future of Music Video 71 4. Avant-Gardists and the Lure of Pop Music 97 5. Beyoncé’s Lemonade: She Dreams in Both Worlds (Carol Vernallis, Lisa Perrot, and Holly Rogers) 122 6. Tracing the Carters through the Galleries: “APES**T/APESHIT” and the Louvre 138 7. Storytelling on the Ledge: Lady Gaga and Jonas Åkerlund’s “Paparazzi” 154 III. Music Video’s Late Late Style 8. How to Analyze Music Videos: Beyoncé and Melina Matsoukas’s “Pretty Hurts” 175 9. Dave Meyer’s Moments of Audiovisual Bliss 196 10. Janelle Monáe’s “You Make Me Feel” and Anderson.Paak with Kendrick Lamar’s “Tints”: Getting Up in My [Rearview] Mirror 211 IV. Audiovisual Aesthetics Online 11. Who Needs Music Documentaries When There’s TikTok and Carpool Karaoke? 231 12. TikTok and Costume-Drama Mashups on YouTube 247 V. New Modes of Analysis: Industry 13. The Art of Color Grading (Carol Vernallis, Jonathan Leal, Eric Weldt, and Aubrey Woodiwiss) 265 14. Music Video Directors, Production Houses, and the Media Swirl 290 VI. New Modes of Analysis: Neuroscience 15. Music Video’s Multisensory 307 16. Tracing the Asset: Humanistic and Quantitative Approaches to Cybercrime Film Trailers (Snowden and Bourne) 319 VII. New Modes of Analysis: Politics and Vernacular Culture 17. New Technologies, Social Justice, and the Future in Beyoncé’s Audiovisual Albums 335 18. Fox News, COVID-19, Brief Media Aesthetics, and Historical Resonances 356 Afterword 369 Notes 373 Bibliography 403 Index 429

Read more less

Book SynopsisAin't But a Few of Us presents over two dozen candid dialogues with Black jazz critics and journalists who discuss the barriers to access for Black jazz critics and how they contend with the world of jazz writing dominated by white men.Trade Review"With the conductive virtuosity of Butch Morris, Jenkins . . . assembles an impressive paean to the Black writers who’ve dedicated their lives to capturing in language what jazz musicians conjure in a split second. With more than two dozen thoughtful profiles, this is a fascinating dive into the sociopolitical realities of being a Black writer—in this case, Black writers who love jazz and express that love in vivid prose. . . . A memorable love letter to Black art, Black joy, and the writers who have sought to tell it like it really is." * Kirkus Reviews *"A modern, fresh collection of interviews. . . . A triumphantly panoramic view of the visceral experience of Black jazz journalists and those who choose to cover the music successfully, by being published widely and regularly throughout their careers." -- Jordannah Elizabeth * New York Amsterdam News *"The spectrum of vibrant Black voices in Ain’t But a Few of Us is broad, relaying their experiences in the trenches of the jazz media field—from cub reporters to trailblazers.. . . . The book serves as a testament to the experiences of a rare few, proof-positive that Black writers and editors are not alone." -- Ayana Contreras * Downbeat *"To say that this book is an essential read is an understatement. It is essential not only to enjoy the eloquence and grace of the writing, the depth of knowledge, expertise and experience of these writers, but because things must change. Jazz needs more black voices. The world needs more black voices." -- Fiona Ross * Kind of Jazz *"For jazz buffs and those interested in American culture, this is a spellbinding read and quite impossible to put down. This is an open invitation for the curious wanting an aural adventure." -- Robert Fleming * African American Literature Book Club *"The importance of Willard’s new book Ain’t But A Few of Us cannot be underestimated. A collection of journeys – lived experiences – from the voices of 49 truly inspirational black writers. It is groundbreaking for many reasons. Groundbreaking because never before has the lack of black jazz journalists been documented. Groundbreaking because never before has such an inspirational collection of writers been given a platform to share their experiences. Willard has given a long overdue platform to incredible voices." -- Fiona Ross * Jazz in Europe *"Revelatory, inspiring, passionate, damning and sobering." -- Raymond Cummings * The Wire *"Ain't But a Few of Us should be considered required reading for high school and college students, particularly those pursuing careers in music or journalism. . . . For students, each writer offers a personal history of their lives with shared commonalities in their insights, the importance of inclusion and diversity, and, regardless of barriers and disparities, giving up is never an option." -- Ron Scott * New York Amsterdam News *Table of ContentsAcknowledgments ix Introduction / Willard Jenkins 1 1. Roundtable / Eric Arnold, Jordannah Elizabeth, Bill Francis, Steve Monroe, Rahsaan Clark Morris, Robin Washington, and K. Leander Williams 15 2. The Authors / Playthell Benjamin, Herb Boyd, Karen Chilton, Farah Jasmine Griffin, Robin D. G. Kelley, Tammy Kernodle, Guthrie P. Ramsey Jr., Gene Seymour, A. B. Spellman, and Greg Tate 27 3. Black Jazz Magazine Editors and Publishers / Jo Ann Cheatham (Pure Jazz), Jim Harrison (Jazz Spotlite News), Haybert Houston (Jazz Now), and Ron Welburn (The Grackle) 89 4. Black Dispatch Contributors / Robin James and Ron Scott 111 5. Magazine Freelancers / Bill Brower, Janine Coveney, Lofton Emenari III, Eugene Holley Jr., John Murph, Don Palmer, and Ron Wynn 125 6. Newspaper Writers and Columnists / Martin Johnson, Greg Thomas, and Hollie West 167 7. The New Breed (Online) / Bridget Arnwine, Angelika Beener, and Anthony Dean-Harris 189 8. Anthology 209 Classics “Jazz and the White Critic,” LeRoi Jones (DownBeat, 1963) 209 “Requiem for a Heavyweight,” Marc Crawford (Transition, 1966) 216 “Inside the Horace Silver Quintet,” Barbara Gardner (DownBeat, 1963) 220 “Trane + 7 = a Wild Night at the Gate,” A. B. Spellman (DownBeat, 1965) 226 “The Testimony: An Interview with Alto Saxophonist Bunky Green,” Bill Quinn (DownBeat, 1966) 229 On Jazz and Race “Putting the White Man in Charge,” Stanley Crouch (JazzTimes, 2003) 236 “My Bill Evans Problem—Jaded Visions of Jazz and Race,” Eugene Holley Jr. (New Music Box, 2013) 238 “Where's the Black Audience?”, Ron Wynn (JazzTimes, 2013) 243 “Whither the Black Voices,” Anthony Dean-Harris (Nextbop, 2013) 249 “Brooklyn's Jazz Renaissance,” Robin D. G. Kelley (ISAM Newsletter, 2004) 251 Additional Ain’t But a Few of Us Contributors “Wynton Is the Greatest!,” Playthell Benjamin (Commentaries on the Times, 2016) 255 “Jazz Is . . . Free . . . ?,” Ron Welburn (The Grackle, 1976) 259 “Why Jazz Will Always Be Relevant,” Greg Tate (The Fader, 2016) 264 “Rhapsody in Rainbow: Jazz and the Queer Aesthetic,” John Murph (JazzTimes, 2010) 268 Black Musician Writers “Billy Taylor Replies to Art Tatum Critics,” Billy Taylor (DownBeat, 1955) 274 “Creativity and Change,” Wayne Shorter (DownBeat, 1968) 276 “An Artist Speaks Bluntly,” Archie Shepp (DownBeat, 1965) 286 “The Jazz Pianist-Purist,” Herbie Nichols (Rhythm, 1946) 288 “Smack! Memories of Fletcher Henderson,” Rex Stewart (DownBeat, 1965) 290 Index 299

Read more less

Book SynopsisCarol Vernallis examines short form audiovisual mediafrom TikTok mashups to Beyoncé's Lemonadeto offer techniques for understanding digital media.Table of ContentsAcknowledgments xi A Note on the Cover xiii Introduction 1 I. Post-Classical Cinema at the Limit 1. Partying in The Great Gatsby: Baz Luhrmann’s Audovisual Sublime 27 2. Shattered Pleasures: Michael Bay’s Transformers: Age of Extinction 48 II. Music Video and the Art-Video Border 3. Beyoncé’s Overwhelming Opus; or, the Past and Future of Music Video 71 4. Avant-Gardists and the Lure of Pop Music 97 5. Beyoncé’s Lemonade: She Dreams in Both Worlds (Carol Vernallis, Lisa Perrot, and Holly Rogers) 122 6. Tracing the Carters through the Galleries: “APES**T/APESHIT” and the Louvre 138 7. Storytelling on the Ledge: Lady Gaga and Jonas Åkerlund’s “Paparazzi” 154 III. Music Video’s Late Late Style 8. How to Analyze Music Videos: Beyoncé and Melina Matsoukas’s “Pretty Hurts” 175 9. Dave Meyer’s Moments of Audiovisual Bliss 196 10. Janelle Monáe’s “You Make Me Feel” and Anderson.Paak with Kendrick Lamar’s “Tints”: Getting Up in My [Rearview] Mirror 211 IV. Audiovisual Aesthetics Online 11. Who Needs Music Documentaries When There’s TikTok and Carpool Karaoke? 231 12. TikTok and Costume-Drama Mashups on YouTube 247 V. New Modes of Analysis: Industry 13. The Art of Color Grading (Carol Vernallis, Jonathan Leal, Eric Weldt, and Aubrey Woodiwiss) 265 14. Music Video Directors, Production Houses, and the Media Swirl 290 VI. New Modes of Analysis: Neuroscience 15. Music Video’s Multisensory 307 16. Tracing the Asset: Humanistic and Quantitative Approaches to Cybercrime Film Trailers (Snowden and Bourne) 319 VII. New Modes of Analysis: Politics and Vernacular Culture 17. New Technologies, Social Justice, and the Future in Beyoncé’s Audiovisual Albums 335 18. Fox News, COVID-19, Brief Media Aesthetics, and Historical Resonances 356 Afterword 369 Notes 373 Bibliography 403 Index 429

Read more less

Book SynopsisJonathan Leal presents a new cultural history of jazz to show how the musical revolution of bebop proposed new futures for racialized and minoritized communities who grappled daily with state-sanctioned violence.Trade Review“With Dreams in Double Time, Jonathan Leal proves he has ‘something to say.’ I use this phrase in the prosaic sense that he contributes new understanding and opens fresh areas of inquiry, and in the sense associated with a jazz musician’s solo. Almost every page treats readers to surprising revelation and provocation, and the figures Leal focalizes his history through are compelling as subjects on their own. This book is a tremendous achievement, a gift to readers seeking cultural history and methodologically innovative work.” -- Anthony Reed, author of * Soundworks: Race, Sound, and Poetry in Production *“In this fascinating and compelling book, Jonathan Leal works against the grain of jazz criticism by focusing on three relatively unknown figures for whom bebop proposed new ways of being in the world. Leal’s ‘trio,’ as he calls them, offer readers a glimpse into a much larger population of marginalized, often poor people of color who heard bebop as a radical, creative challenge to the totalizing singularity of what ‘white’ stood for during the second half of the twentieth century.” -- Ronald Radano, coeditor of * Audible Empire: Music, Global Politics, Critique *"Deftly drawing together the major trends in recent jazz scholarship, Leal makes an important intervention. . . . By explicitly focusing on minor figures, putting them in relationship to one another, Leal draws attention to the other side of bebop musicking: its emphasis on collaboration and conversation. . . . In the words of James Baldwin’s “Sonny’s Blues,” a story to which Leal returns several times, Dreams in Double Time keeps both bebop and jazz writing 'new, at the risk of ruin, destruction, madness, and death, in order to find new ways to make us listen.'" -- Sam V. H. Reese * Los Angeles Review of Books *"If you’re interested in the relationship between jazz, sociology, racism and history, this book (a product of feeling as well as hard work) could prove highly rewarding." -- Graham Colombé * Jazz Journal *Table of ContentsAcknowledgments ix Introduction. Dreaming Otherwise 1 1. After-Hours 25 2. Layered Time 46 3. Quartered Notes 74 4. Among Others 114 Epilogue. Affinities 152 Notes 161 Bibliography 207 Index 227

Read more less

Book SynopsisJohn Brackett examines how live recordingsfrom the group's official releases to fan-produced tapes, bootlegs to Betty Boards, and Dick's Picks to From the Vaulthave shaped the general history and popular mythology of the Grateful Dead for over fifty years.Trade Review“Integrating material from popular, academic, and archival sources, John Brackett writes with the sensibilities of a Deadhead and the rigor of a scholar. As someone who likes her Dead live and prefers to dance to music in person, his perspective resonates with me. As an academic who studies Deadheads, I welcome this thoroughly researched and impeccably documented account of how and why ‘live recordings came to dominate the discourse of the Grateful Dead.’” -- Rebecca G. Adams, University of North Carolina Greensboro, coeditor of * Deadhead Social Science *“As avatars of without-a-net musical improvisation, the Grateful Dead staked out sonic territory that took the importance of live performance to whole new levels. John Brackett does an exceptional job of presenting the history of ‘liveness’ in modern music and then placing the Grateful Dead securely within that tradition.” -- Peter Conners, author of * Cornell '77: The Music, the Myth, and the Magnificence of the Grateful Dead’s Concert at Barton Hall *"Brackett’s measured and thoughtful approach makes this worthwhile reading for both committed Deadheads and those interested in the study of live music." * Publishers Weekly *Table of ContentsList of Illustrations xi Acknowledgments xiii Introduction. Becoming Live 1 1. “To Capture That Special Feeling”: Recorded (and Recording) Liveness (The Warner Bros. Years, 1966–1973) 31 2. “The Next Best Thing to Being There”: Tapes, Taping, and an Alternative Aesthetic of Recorded Liveness 61 3. A Time of Reckoning: New Approaches to Producing and Marketing Liveness (The 1980s, Part 1) 85 4. “That Quintessential Spirit of the Band”: “Touch of Grey,” the “Betty Boards,” and the Rebirth of the Dead (The 1980s, Part 2) 105 5. “The Live Feel of a Tape”: From the Vault, Dick’s Picks, and the Language(s) of Liveness 125 6. Post-Dead: “Obstinately Physical,” “Vaporous Cargo,” and the Material Remains of Liveness 152 Conclusion: Memento Mori 169 Notes 177 Bibliography 201 Index 211

Read more less

Book SynopsisIn this revised and updated edition of The Dark Tree, Steven L. Isoardi tells the story of Horace Tapscott and the Pan Afrikan Peoples Arkestra, a community arts group in Los Angeles that provided community-oriented jazz and jazz training for African American musicians, poets, playwrights, and artists for four decades.Trade Review“The Dark Tree is just wonderful. One cannot understand the history of Black arts on the West Coast without a thorough assessment of this movement; Isoardi knows this history so well and tells a much bigger story. The book does a fantastic job of capturing the nitty-gritty nature of the music scene and resurrecting local figures in the Arkestra who have never gotten any press for their astounding musicianship. This is a remarkable book.” -- Robin D. G. Kelley, author of * Thelonious Monk: The Life and Times of an American Original *“This is a revelatory document, virtuosically combining scholarship and oral history to connect the dots of African American music on the West Coast. Far more than a mere historical ‘overdub’ of an underdocumented scene, this book disrupts the mythic notions of jazz history, showing instead how music and community unfold as one. Both a celebratory and a cautionary tale, it also delivers some of the most frank and eye-opening musicians’ accounts since Arthur Taylor’s Notes and Tones.” -- Vijay Iyer, musician and composer“In these pages, Horace Tapscott says to the audience, ‘This is one more you wrote through us.’ And this is what Isoardi has done here: given voice to the nearly lost history of a revolutionary community movement through its key players. Epic in scope, dazzling in detail, and sensual as any Coltrane solo, this rare book—informative, intimate, lyrical, scholarly, nuanced, and essential—reads like no history book you’ve read before.” -- Chris Abani, author of GraceLand"An impressively constructed tapestry of voices, it includes memories and opinions from myriad people while maintaining a strong narrative thread through lsoardi's authoritative voice. . . . lsoardi's interviews with dozens of members—not one of whom declined to participate—recover a wealth of information crucial to the history of Los Angeles jazz. In the process, he has made The Dark Tree a truly collaborative project that itself shares in the communal spirit of the UGMAA." -- Matthew Blackwell * The Wire *Table of ContentsPreface to the Second Edition ix Acknowledgments xv 1. Ancestral Echoes: Roots of the African American Community Artist 1 2. Ballad for Samuel: The Legacy of Central Avenue and the 1950s Avant-Garde in Los Angeles 19 3. Lino’s Pad: African American Los Angeles and the Formation of the Underground Musicians Association (UGMA) 43 4. The Giant is Awakened: The Watts Uprising and Cultural Resurgence 69 5. Warriors All: UGMA in the Middle of It 117 6. The Mothership: From UGMA/UGMAA to the Pan Afrikan Peoples Akrestra and UGMAA 141 7. To the Great House: The Arkestra in the 1970s 179 8. Thoughts of Dar es Salaam: The Institutionalization of UGMAA 215 9. At the Crossroads: The Ark and UGMAA in the 1980s 259 10. The Hero’s Last Dance: The ’90s Resurgence 285 11. Aiee! The Phantom: Horace Tapscott 311 12. The Black Apostles: The Arkestra/UGMAA Ethos/Aesthetic: Music, Artists, Community 341 Epilogue: The Post-Horace Pan African Peoples Arkestra 363 Appendix: A View from the Bottom: The Music of Horace Tapscott and The Pan Afrikan Peoples Arkestra, by Roberto Miranda 369 Notes 379 Bibliography 407 Index 425

Read more less

Book SynopsisThe Grateful Dead were one of the most successful live acts of the rock era. Performing more than 2,300 shows between 1965 and 1995, the Grateful Dead's reputation as a live band was-and continues to be-sustained by thousands of live concert recordings from every era of the group's long and colorful career. In Live Dead, musicologist John Brackett examines how live recordings-from the group's official releases to fan-produced tapes, bootlegs to Betty Boards, and Dick's Picks to From the Vault-have shaped the general history and popular mythology of the Grateful Dead for more than fifty years. Drawing on a diverse array of materials and documents contained in the Grateful Dead Archive, Live Dead details how live recordings became meaningful among the band and their fans not only as sonic souvenirs of past musical performances but also as expressions of assorted ideals, including notions of liveness, authenticity, and the power of recorded sound.Trade Review“Integrating material from popular, academic, and archival sources, John Brackett writes with the sensibilities of a Deadhead and the rigor of a scholar. As someone who likes her Dead live and prefers to dance to music in person, his perspective resonates with me. As an academic who studies Deadheads, I welcome this thoroughly researched and impeccably documented account of how and why ‘live recordings came to dominate the discourse of the Grateful Dead.’” -- Rebecca G. Adams, University of North Carolina Greensboro, coeditor of * Deadhead Social Science *“As avatars of without-a-net musical improvisation, the Grateful Dead staked out sonic territory that took the importance of live performance to whole new levels. John Brackett does an exceptional job of presenting the history of ‘liveness’ in modern music and then placing the Grateful Dead securely within that tradition.” -- Peter Conners, author of * Cornell '77: The Music, the Myth, and the Magnificence of the Grateful Dead’s Concert at Barton Hall *"Brackett’s measured and thoughtful approach makes this worthwhile reading for both committed Deadheads and those interested in the study of live music." * Publishers Weekly *Table of ContentsList of Illustrations xi Acknowledgments xiii Introduction. Becoming Live 1 1. “To Capture That Special Feeling”: Recorded (and Recording) Liveness (The Warner Bros. Years, 1966–1973) 31 2. “The Next Best Thing to Being There”: Tapes, Taping, and an Alternative Aesthetic of Recorded Liveness 61 3. A Time of Reckoning: New Approaches to Producing and Marketing Liveness (The 1980s, Part 1) 85 4. “That Quintessential Spirit of the Band”: “Touch of Grey,” the “Betty Boards,” and the Rebirth of the Dead (The 1980s, Part 2) 105 5. “The Live Feel of a Tape”: From the Vault, Dick’s Picks, and the Language(s) of Liveness 125 6. Post-Dead: “Obstinately Physical,” “Vaporous Cargo,” and the Material Remains of Liveness 152 Conclusion: Memento Mori 169 Notes 177 Bibliography 201 Index 211

Read more less

Book Synopsis**FINALIST for the 2022 PROSE Award in Music & the Performing Arts****Certificate of Merit, Best Historical Research on Recorded Jazz, given by the 2022 Association for Recorded Sounds Collection Awards for Excellence in Historical Sound Research** Explores how jazz helped propel the rise of African American Islam during the era of global Black liberation Amid the social change and liberation of the civil rights and Black Power movements, the tenor saxophonist Archie Shepp recorded a tribute to Malcolm X's emancipatory political consciousness. Shepp saw similarities between his revolutionary hero and John Coltrane, one of the most influential jazz musicians of the era. Later, the esteemed trumpeter Miles Davis echoed Shepp's sentiment, recognizing that Coltrane's music represented the very passion, rage, rebellion, and love that Malcolm X preached. Soundtrack to a Movement examines the link between the revolutionary Black Islam of the post-WWII generation and jazz music. It argues tTrade Review"A book that breaks new ground in jazz studies [...] In examining the links between African Americans, Islam, jazz and internationalism, Turner covers a lot of fertile ground [...] Soundtrack to a Movement is a sweeping though incisive history." * All About Jazz *"A tour de force of interdisciplinary research that identifies, explains, and analyzes previously underexplored links between expressive culture and social identities. For both expert and novice readers, African American Islam and Jazz is filled with delightful surprises. Turner’s chapters on Black urban life in Boston and Philadelphia delineate the rich social and historical contexts out of which the musical texts of bebop music emerged. His careful attention to empirical detail reveals southern and Caribbean migrants to these cities to have been neither ruthlessly uprooted nor seamlessly transplanted, but instead positioned inside complex struggles for self-defense, self-determination, and self-activity." -- George Lipsitz, author of How Racism Takes Places"Muslim jazz artists inspired interest in Sunni, Ahmadi, and the Nation of Islam communities, but the Islam of swing, bebop, hard bop, and free jazz was often not so much a theology as it was a politics, a poetry, a culture of cool. Richard Brent Turner's book reveals how Islam breathed the spirit of supreme love and international Black liberation into America's greatest music. It is required reading for everyone interested in the entangled story of jazz and Islam." -- Edward E. Curtis IV, William M. and Gail M. Plater Chair of the Liberal Arts, Indiana University, Indianapolis"Richard Brent Turner’s new book greatly expands our knowledge of the rise of Islam as an alternative religious vision among African Americans in the twentieth century. This much-needed study cogently depicts the invention and recrafting of Black notions of masculinity and “Black Atlantic coolness” that gave structure and shape to both Black militancy and jazz styles during the 1940s and postwar period. Very importantly, Turner contextualizes the intermingling of jazz and Islam against the backdrop of a burgeoning Black internationalism that still powerfully informs contemporary diasporic consciousness." -- Claude A. Clegg III, author of An Original Man: The Life and Times of Elijah Muhammad"Turner's powerful and well-written book taught me new things on just about every single page, new things about jazz much, about Islam in America, and about how those two spheres intersected in the lives and experiences of African Americans. Spanning several decades in the exploits and activities of various Islamic groups, as well as some canonical African American figures, this book provides us with a distinctively new soundtrack for the stories we tell ourselves about black political and religious life. This outstanding offering that will be valued by readers interested in religion, popular music, and/or African American life." -- John L. Jackson, Jr., co-author of Televised Redemption: Black Religious Media and Racial Empowerment"Clearly written and carefully researched, Soundtrack to a Movementestablishes the critical role of Islam within the expressive cultures of Black internationalist freedom struggles of the twentieth century, an area that deserves far more attention in the literature on Islam in the USA, as well as the broader field of race and religion." * Sociology of Religion *"Clearly written and carefully researched, Soundtrack to a Movement establishes the critical role of Islam within the expressive cultures of Black internationalist freedom struggles of the twentieth century, an area that deserves far more attention in the literature on Islam in the USA, as well as the broader field of race and religion." -- Sylvia Chan-Malik, Rutgers-New Brunswick * Sociology of Race and Ethnicity *"There are interesting new revelations in every chapter of Soundtrack to a Movement…Scholarly and popular readers alike will find much to engage with and discuss in Turner’s pathbreaking book." -- Patrick D. Jones, University of Nebraska–Lincoln * Journal of American History *"Soundtrack to a Movement is an engaging and well-rounded book that is a must read for anyone who is interested in how jazz became one of the most important sounds in the struggle for Black liberation and how Islam became one of the religions of that movement." * American Religion *

Read more less

Book SynopsisWinner of the 2022-2023 New York City Book Awards!SPECIAL MENTION, 2023 IASPM Book Prize, given by the International Association for the Study of Popular MusicSHORTLISTED, 2023 Ralph J. Gleason Book Award, given by the Rock N Roll Hall of Fame/Clive Davis InstituteUnearths the queer aesthetic origins of NYC hip hopHip Hop Heresies centers New York City as a space where vibrant queer, Black, and hip hop worlds collide and bond in dance clubs, schools, roller rinks, basketball courts, subways, and movie houses. Using this cultural nexus as the stage, Shanté Paradigm Smalls attends to the ways that hip hop cultural production in New York City from the 1970s through the early twenty-first century produced film, visual art, and music that offer queer articulations of race, gender, and sexuality.To illustrate New York City as a place of experimental aesthetic collaboration, Smalls briTrade ReviewFinally (deep heavy sigh of relief, followed by loud cheers of ‘yes, yesssss, y’all’) we have a book about NYC hip-hop culture that is as queerly heretical as the genre itself. Challenging the cishetero masculinist narratives usually projected onto hip-hop culture, Shanté Paradigm Smalls beautifully and heretically mashes up Black aesthetics, queer aesthetics, and hip hop aesthetics. Hip Hop Heresies is poised to irrevocably change the parameters of hip-hop scholarship. * Alexander Ghedi Weheliye, Northwestern University *Quite simply a tour de force. Like Tricia Rose's classic Black Noise, this book is a field-defining game-changer. Challenging hip hop’s traditional origin story, Smalls tears down, brick-by-brick, the well-worn narratives about the genre's relationship to blackness, masculinity, and heterosexuality. In innovative readings of film, visual art, and music, Smalls takes us into the formative spaces where people of all genders, sexualities and races co-mingle and co-create. In the process, Smalls constructs a new archive in which queer aesthetics, gender play, and categorical instability fuel hip hop's more transgressive tendencies. Highly readable, theoretically sophisticated, and utterly persuasive, Hip Hop Heresies is essential reading for hip hop fans and critics, as well as anyone interested in U.S. popular culture in the late 20th and early 21st centuries. * Cynthia A. Young, Pennsylvania State University *Whether looking at the various sharing and appreciation of other cultural ideals (Afro-Asian, for example) to the direct contributions of particular identities in seminal moments and waypoints within the culture, Hip Hop Heresies is a meaningful and powerful look into a history of Hip Hop that further cement the belief of Hip Hop's universal appeal, power, and influence on the world at large. -- Mikal Amin Lee * The Counterbalance *Hip Hop Heresies: Queer Aesthetics in New York City arrives just in time as the first scholarly monograph focused on queer hip hop and as a much-needed intervention that sets the stage for ongoing scholarship. * Journal of Popular Music Studies *

Read more less

Book SynopsisWinner of the 2022-2023 New York City Book Awards!SPECIAL MENTION, 2023 IASPM Book Prize, given by the International Association for the Study of Popular MusicSHORTLISTED, 2023 Ralph J. Gleason Book Award, given by the Rock N Roll Hall of Fame/Clive Davis InstituteUnearths the queer aesthetic origins of NYC hip hopHip Hop Heresies centers New York City as a space where vibrant queer, Black, and hip hop worlds collide and bond in dance clubs, schools, roller rinks, basketball courts, subways, and movie houses. Using this cultural nexus as the stage, Shanté Paradigm Smalls attends to the ways that hip hop cultural production in New York City from the 1970s through the early twenty-first century produced film, visual art, and music that offer queer articulations of race, gender, and sexuality.To illustrate New York City as a place of experimental aesthetic collaboration, Smalls briTrade ReviewFinally (deep heavy sigh of relief, followed by loud cheers of ‘yes, yesssss, y’all’) we have a book about NYC hip-hop culture that is as queerly heretical as the genre itself. Challenging the cishetero masculinist narratives usually projected onto hip-hop culture, Shanté Paradigm Smalls beautifully and heretically mashes up Black aesthetics, queer aesthetics, and hip hop aesthetics. Hip Hop Heresies is poised to irrevocably change the parameters of hip-hop scholarship. * Alexander Ghedi Weheliye, Northwestern University *Quite simply a tour de force. Like Tricia Rose's classic Black Noise, this book is a field-defining game-changer. Challenging hip hop’s traditional origin story, Smalls tears down, brick-by-brick, the well-worn narratives about the genre's relationship to blackness, masculinity, and heterosexuality. In innovative readings of film, visual art, and music, Smalls takes us into the formative spaces where people of all genders, sexualities and races co-mingle and co-create. In the process, Smalls constructs a new archive in which queer aesthetics, gender play, and categorical instability fuel hip hop's more transgressive tendencies. Highly readable, theoretically sophisticated, and utterly persuasive, Hip Hop Heresies is essential reading for hip hop fans and critics, as well as anyone interested in U.S. popular culture in the late 20th and early 21st centuries. * Cynthia A. Young, Pennsylvania State University *Whether looking at the various sharing and appreciation of other cultural ideals (Afro-Asian, for example) to the direct contributions of particular identities in seminal moments and waypoints within the culture, Hip Hop Heresies is a meaningful and powerful look into a history of Hip Hop that further cement the belief of Hip Hop's universal appeal, power, and influence on the world at large. -- Mikal Amin Lee * The Counterbalance *Hip Hop Heresies: Queer Aesthetics in New York City arrives just in time as the first scholarly monograph focused on queer hip hop and as a much-needed intervention that sets the stage for ongoing scholarship. * Journal of Popular Music Studies *

Read more less

Book SynopsisHonorable Mention, 2024 Alan Merriam Prize, given by the Society for EthnomusicologyWhat does sovereignty sound like?Sonic Sovereignty considers how contemporary Indigenous musicians champion self-determination through musical expression in Canada and the United States. The framework of sonic sovereignty connects self-definition, collective determination, and Indigenous land rematriation to the immediate and long-lasting effects of expressive culture. Liz Przybylski covers online and offline media spaces, following musicians and producers as they, and their music, circulate across broadcast and online networks. Przybylski documents and reflects on shifts in both the music industry and political landscape over the course of a decade: as the ways in which people listen to, consume, and interact with popular music have radically changed, extensive public conversations have flourished around contemporary Indigenous culture, settler responsibility, Indigenous leadership, and decolonial fTrade ReviewExtends our understanding of music across landscapes where belonging and self-determination are enacted daily. Through hybrid ethnographic and participatory research, Liz Przybylski examines the infrastructure of settler media terrains and, more importantly, Indigenous artists’ ruptures of it. Her examination of the online-offline divide, practices of distribution, and regulatory environments of broadcast systems are coupled with the power of Indigenous artists who encourage us to go beyond hearing. Through deft close readings of artists’ practices, she introduces us to the possibilities of relational listening. -- Mishuana Goeman, author of Mark My Words: Native Women Mapping Our NationsExcavates Indigenous rap’s role in moving us in decolonial directions. Liz Przybylski teases out the confluence of mainstream forces that (re)produce silences while spotlighting artists’ refusals, prompting new expressions of audibility. Sonic Sovereignty gifts us with insight into the intimacies of listening and the political possibility of learning to listen differently. -- Imani Kai Johnson, author of Dark Matter in Breaking Cyphers: The Life of Africanist Aesthetics in Global Hip Hop

Read more less

Book SynopsisHonorable Mention, 2024 Alan Merriam Prize, given by the Society for EthnomusicologyWhat does sovereignty sound like?Sonic Sovereignty considers how contemporary Indigenous musicians champion self-determination through musical expression in Canada and the United States. The framework of sonic sovereignty connects self-definition, collective determination, and Indigenous land rematriation to the immediate and long-lasting effects of expressive culture. Liz Przybylski covers online and offline media spaces, following musicians and producers as they, and their music, circulate across broadcast and online networks. Przybylski documents and reflects on shifts in both the music industry and political landscape over the course of a decade: as the ways in which people listen to, consume, and interact with popular music have radically changed, extensive public conversations have flourished around contemporary Indigenous culture, settler responsibility, Indigenous leadership, and decolonial fTrade ReviewExtends our understanding of music across landscapes where belonging and self-determination are enacted daily. Through hybrid ethnographic and participatory research, Liz Przybylski examines the infrastructure of settler media terrains and, more importantly, Indigenous artists’ ruptures of it. Her examination of the online-offline divide, practices of distribution, and regulatory environments of broadcast systems are coupled with the power of Indigenous artists who encourage us to go beyond hearing. Through deft close readings of artists’ practices, she introduces us to the possibilities of relational listening. -- Mishuana Goeman, author of Mark My Words: Native Women Mapping Our NationsExcavates Indigenous rap’s role in moving us in decolonial directions. Liz Przybylski teases out the confluence of mainstream forces that (re)produce silences while spotlighting artists’ refusals, prompting new expressions of audibility. Sonic Sovereignty gifts us with insight into the intimacies of listening and the political possibility of learning to listen differently. -- Imani Kai Johnson, author of Dark Matter in Breaking Cyphers: The Life of Africanist Aesthetics in Global Hip Hop

Read more less

Book SynopsisExplains what happened to musicfor both artists and fanswhen music went online. Playing to the Crowd explores and explains how the rise of digital communication platforms has transformed artist-fan relationships into something closer to friendship or family. Through in-depth interviews with musicians such as Billy Bragg and Richie Hawtin, as well as members of the Cure, UB40, and Throwing Muses, Baym reveals how new media has facilitated these connections through the active, and often required, participation of the artists and their devoted, digital fan base.Before the rise of social sharing and user-generated content, fans were mostly seen as an undifferentiated and unidentifiable mass, often mediated through record labels and the press. However, in today's networked era, musicians and fans have built more active relationships through social media, fan sites, and artist sites, giving fans a new sense of intimacy and offering artists unparalleled informationTrade ReviewBaym's enthusiasm and experience makes this academic study accessible to professional musicians as well as musicology and communication scholars. * Library Journal *Nancy K. Baym was researching the impact of emerging technologies and music when most of us did not have the foresight to anticipate the changing music landscape. This is not her first pioneering work, and it certainly won't be her last, but it is, as always, fun and intriguing. An innovative wordsmith and an engaging storyteller, Baym explains how musicians transition from technologies designed to render them remote deities to those that invite them to be irrevocably intimate. Her observations carry weight and her interpretations are timely and timeless. She is a sharp researcher with a curious mindthe type that unfailingly seduces, educates and inspires you with their writing. -- Zizi Papacharissi,University of Illinois at ChicagoNancy K. Bayms Playing to the Crowdis a major advance in our understanding of new media, music and audiences. Through careful ethnographic and historical work, Baym offers a definitive reception history of popular music as it went online. She also offers a transformative theory of music in the age of social media. Methodologically rich, beautifully written, and full of great storytelling, Playing to the Crowdexplains the novel aspects of our emergent online environment, all while linking it to music as a cultural practice that transcends any one context, and insisting that we understand online relationships as fundamentally human relationships. It will change the way you think about music, technology and people. -- Jonathan Sterne,author of MP3: The Meaning of a FormatBaym’s book sheds light on the previously unexplored territory of musicians’ own management of their social media presence through ethnography, and for this reason many sections of this volume deserve a place in music and media syllabi for undergraduate and graduate studies, particularly to study Western cultural contexts and popular music scenes. * Yearbook for Traditional Music *

Read more less

Book Synopsis**FINALIST for the 2022 PROSE Award in Music & the Performing Arts****Certificate of Merit, Best Historical Research on Recorded Jazz, given by the 2022 Association for Recorded Sounds Collection Awards for Excellence in Historical Sound Research** Explores how jazz helped propel the rise of African American Islam during the era of global Black liberation Amid the social change and liberation of the civil rights and Black Power movements, the tenor saxophonist Archie Shepp recorded a tribute to Malcolm X's emancipatory political consciousness. Shepp saw similarities between his revolutionary hero and John Coltrane, one of the most influential jazz musicians of the era. Later, the esteemed trumpeter Miles Davis echoed Shepp's sentiment, recognizing that Coltrane's music represented the very passion, rage, rebellion, and love that Malcolm X preached. Soundtrack to a Movement examines the link between the revolutionary Black Islam of the post-WWII generation and jazz music. It argues tTrade Review"A book that breaks new ground in jazz studies [...] In examining the links between African Americans, Islam, jazz and internationalism, Turner covers a lot of fertile ground [...] Soundtrack to a Movement is a sweeping though incisive history." * All About Jazz *"A tour de force of interdisciplinary research that identifies, explains, and analyzes previously underexplored links between expressive culture and social identities. For both expert and novice readers, African American Islam and Jazz is filled with delightful surprises. Turner’s chapters on Black urban life in Boston and Philadelphia delineate the rich social and historical contexts out of which the musical texts of bebop music emerged. His careful attention to empirical detail reveals southern and Caribbean migrants to these cities to have been neither ruthlessly uprooted nor seamlessly transplanted, but instead positioned inside complex struggles for self-defense, self-determination, and self-activity." -- George Lipsitz, author of How Racism Takes Places"Muslim jazz artists inspired interest in Sunni, Ahmadi, and the Nation of Islam communities, but the Islam of swing, bebop, hard bop, and free jazz was often not so much a theology as it was a politics, a poetry, a culture of cool. Richard Brent Turner's book reveals how Islam breathed the spirit of supreme love and international Black liberation into America's greatest music. It is required reading for everyone interested in the entangled story of jazz and Islam." -- Edward E. Curtis IV, William M. and Gail M. Plater Chair of the Liberal Arts, Indiana University, Indianapolis"Richard Brent Turner’s new book greatly expands our knowledge of the rise of Islam as an alternative religious vision among African Americans in the twentieth century. This much-needed study cogently depicts the invention and recrafting of Black notions of masculinity and “Black Atlantic coolness” that gave structure and shape to both Black militancy and jazz styles during the 1940s and postwar period. Very importantly, Turner contextualizes the intermingling of jazz and Islam against the backdrop of a burgeoning Black internationalism that still powerfully informs contemporary diasporic consciousness." -- Claude A. Clegg III, author of An Original Man: The Life and Times of Elijah Muhammad"Turner's powerful and well-written book taught me new things on just about every single page, new things about jazz much, about Islam in America, and about how those two spheres intersected in the lives and experiences of African Americans. Spanning several decades in the exploits and activities of various Islamic groups, as well as some canonical African American figures, this book provides us with a distinctively new soundtrack for the stories we tell ourselves about black political and religious life. This outstanding offering that will be valued by readers interested in religion, popular music, and/or African American life." -- John L. Jackson, Jr., co-author of Televised Redemption: Black Religious Media and Racial Empowerment"Clearly written and carefully researched, Soundtrack to a Movementestablishes the critical role of Islam within the expressive cultures of Black internationalist freedom struggles of the twentieth century, an area that deserves far more attention in the literature on Islam in the USA, as well as the broader field of race and religion." * Sociology of Religion *"Clearly written and carefully researched, Soundtrack to a Movement establishes the critical role of Islam within the expressive cultures of Black internationalist freedom struggles of the twentieth century, an area that deserves far more attention in the literature on Islam in the USA, as well as the broader field of race and religion." -- Sylvia Chan-Malik, Rutgers-New Brunswick * Sociology of Race and Ethnicity *"There are interesting new revelations in every chapter of Soundtrack to a Movement…Scholarly and popular readers alike will find much to engage with and discuss in Turner’s pathbreaking book." -- Patrick D. Jones, University of Nebraska–Lincoln * Journal of American History *"Soundtrack to a Movement is an engaging and well-rounded book that is a must read for anyone who is interested in how jazz became one of the most important sounds in the struggle for Black liberation and how Islam became one of the religions of that movement." * American Religion *

Read more less

Book SynopsisWinner of the 2022 Gustave O. Arlt Award in the Humanities, award by by the Council of Graduate SchoolsExplores the role of jazz celebrities like Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williams as representatives of African American religion in the twentieth centuryBeginning in the 1920s, the Jazz Age propelled Black swing artists into national celebrity. Many took on the role of race representatives, and were able to leverage their popularity toward achieving social progress for other African Americans. In Lift Every Voice and Swing, Vaughn A. Booker argues that with the emergence of these popular jazz figures, who came from a culture shaped by Black Protestantism, religious authority for African Americans found a place and spokespeople outside of traditional Afro-Protestant institutions and religious life. Popular Black jazz professionalssuch as Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williamsinherited religious authority though they were notTrade ReviewBooker offers a fresh and innovative perspective on twentieth-century African American religious history and culture by highlighting how Black jazz professionals functioned as “race representatives” in American public life and as agents in shaping and transforming the landscape of African American religious life. Mobilizing a host of unconventional sources for religious studies, Lift Every Voice and Swing presents a fascinating and original portrait of the dynamic relationship between popular culture and Black religious life. -- Judith Weisenfeld, author of New World A Coming: Black Religion and Racial Identity during the Great MigrationIn this vividly imagined, carefully researched, and musically written book, Vaughn Booker argues for jazz as the vector by which African American spiritual authority moved beyond black church life to saturate all of American culture, and from there to command the shape, feel, and sound of the long twentieth century. A book this fresh about religion in the lives and works of Cab Calloway, Duke Ellington, Ella Fitzgerald, and Mary Lou Williams would by itself be a remarkable achievement. But Lift Every Voice and Swing is more: a demonstration of the power of their artistry to move and change the world. -- Tracy Fessenden, Director of Strategic Initiatives in the Center for the Study of Religion and Conflict, Arizona State UniversityLift Every Voice and Swing is entirely original and groundbreaking. By way of incisive archival research and superb cultural analysis, Vaughn A. Booker has shown that there was a religiosity to the creation of jazz music and that some jazz musicians, such as Duke Ellington, Ella Fitzgerald, and Mary Lou Williams, represented alternative sources of spiritual authority and religious ways of being throughout the long twentieth century. Convincingly overturning notions of the innate secularity of jazz, Booker has provoked a powerful rethinking of African American religious history and the means by which we tell that history. -- Wallace Best, Princeton UniversityWhile Booker is an unconventional music researcher, readers benefit from his lifting up of the unspoken, unsung, and unswung flows of multi-faceted, religious jazz lives…His expansive inclusion of various types of texts makes our reading of these great figures richer by amplifying the musical meaning found in their envoiced and religio-socially swinging lives. * American Religion *Booker’s fluency in religious and music history is formidable. His book is dense with ideas expressed in prose that will reward both scholars and general readers with an interest in twentieth-century religion, American music, African American studies, and history. * The Journal of African American History *

Read more less

Book SynopsisWinner of the 2022 Gustave O. Arlt Award in the Humanities, award by by the Council of Graduate SchoolsExplores the role of jazz celebrities like Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williams as representatives of African American religion in the twentieth centuryBeginning in the 1920s, the Jazz Age propelled Black swing artists into national celebrity. Many took on the role of race representatives, and were able to leverage their popularity toward achieving social progress for other African Americans. In Lift Every Voice and Swing, Vaughn A. Booker argues that with the emergence of these popular jazz figures, who came from a culture shaped by Black Protestantism, religious authority for African Americans found a place and spokespeople outside of traditional Afro-Protestant institutions and religious life. Popular Black jazz professionalssuch as Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williamsinherited religious authority though they were notTrade Review"Booker offers a fresh and innovative perspective on twentieth-century African American religious history and culture by highlighting how Black jazz professionals functioned as “race representatives” in American public life and as agents in shaping and transforming the landscape of African American religious life. Mobilizing a host of unconventional sources for religious studies, Lift Every Voice and Swing presents a fascinating and original portrait of the dynamic relationship between popular culture and Black religious life." -- Judith Weisenfeld, author of New World A Coming: Black Religion and Racial Identity during the Great Migration"In this vividly imagined, carefully researched, and musically written book, Vaughn Booker argues for jazz as the vector by which African American spiritual authority moved beyond black church life to saturate all of American culture, and from there to command the shape, feel, and sound of the long twentieth century. A book this fresh about religion in the lives and works of Cab Calloway, Duke Ellington, Ella Fitzgerald, and Mary Lou Williams would by itself be a remarkable achievement. But Lift Every Voice and Swing is more: a demonstration of the power of their artistry to move and change the world." -- Tracy Fessenden, Director of Strategic Initiatives in the Center for the Study of Religion and Conflict, Arizona State University"Lift Every Voice and Swing is entirely original and groundbreaking. By way of incisive archival research and superb cultural analysis, Vaughn A. Booker has shown that there was a religiosity to the creation of jazz music and that some jazz musicians, such as Duke Ellington, Ella Fitzgerald, and Mary Lou Williams, represented alternative sources of spiritual authority and religious ways of being throughout the long twentieth century. Convincingly overturning notions of the innate secularity of jazz, Booker has provoked a powerful rethinking of African American religious history and the means by which we tell that history." -- Wallace Best, Princeton University"While Booker is an unconventional music researcher, readers benefit from his lifting up of the unspoken, unsung, and unswung flows of multi-faceted, religious jazz lives…His expansive inclusion of various types of texts makes our reading of these great figures richer by amplifying the musical meaning found in their envoiced and religio-socially swinging lives." * American Religion *"Booker’s fluency in religious and music history is formidable. His book is dense with ideas expressed in prose that will reward both scholars and general readers with an interest in twentieth-century religion, American music, African American studies, and history." * The Journal of African American History *

Read more less

Book SynopsisAn inside look at women graffiti artists around the worldSince the dawn of Hip Hop graffiti writing on the streets of Philadelphia and New York City in the late 1960s, writers have anonymously inscribed their tag names on trains, buildings, and bridges. Passersby are left to imagine who the author might be, and, despite the artists' anonymity, graffiti subculture is seen as a boys club, where the presence of the graffiti girl is almost unimaginable. In Graffiti Grrlz, Jessica Nydia Pabón-Colón interrupts this stereotype and introduces us to the world of women graffiti artists.Drawing on the lives of over 100 women in 23 countries, Pabón-Colón argues that graffiti art is an unrecognized but crucial space for the performance of feminism. She demonstrates how it builds communities of artists, reconceptualizes the Hip Hop masculinity of these spaces, and rejects notions of girl power. Graffiti Grrlz also unpacks the digital side of Hip Hop graffiti subculture anTrade ReviewBrilliantly countering any claims that feminism is dead and that the Hip-Hop culture & is detrimental to women and girls, Jessica Nydia Pabón-Colón has written an impeccably researched study of the grrls who have paved their way into the predominantly male graffiti culture, claiming their own space. * Street Art NYC *The graffiti grrlz featured here know how to throw up fresh ways of re-imagining feminism, urban belonging, and world-making practices. Through bright ethnographic accounts of graffitis gendered politics and global reach, Pabón-Colón takes down assumed notions of hip-hop culture by passing the mic to a new generation of feminist graffiti artists engaged in writing and speaking on their own terms. -- Juana María Rodríguez, author of Sexual Futures, Queer Gestures, and Other Latina LongingsVibrant, complex, and totally engaging, Graffiti Grrlz recovers womens presence in graffiti subcultures around the globe. In this ambitious and passionate book, Jessica Pabón-Colón amplifies the resistant and creative practices of women graffiti artists and masterfully highlights their important contributions to contemporary feminism. In doing so, she transforms and expands our ideas about the meaning of graffiti and of feminist political action. -- Jessica Taft, author of Rebel Girls: Youth Activism and Social Change Across the AmericasGraffiti Grrlz will change the way we think about women's involvement in Hip Hop culture and the way we think about feminist movements. Graffiti Grrlzgives us a part of the story we didn't know we were waiting for and we didn't know how much we needed. Powerful stuff, the prose takes shape like a fly graffiti backdrop and paints a picture that perfectly captures the work these women put in. Graffiti Grrlz is groundbreaking and game-changing scholarship that answers the question, where my grrlz at, with a powerful and provocative right here. This is a must read for anyone interested in Hip Hop Studies and Women's and Gender Studies. -- Gwendolyn D. Pough, author of Check It While I Wreck It: Black Womanhood, Hip-Hop Culture, and the Public SphereIn her groundbreaking book, Pabón-Colón explores how the graffiti subculture has been coded as male. . . Her dedication to detail and thoroughly researching is evident throughout the book. She explores over 100 women artists in 23 countries and makes a compelling case that graffiti subculture is a place where feminists come into their own. * Bitch Magazine *There hasnt been any significant interrogation into the gender politics of the art form or culture [of graffiti] until now. Jessica Nydia Pabón-Colón has presented her work inGraffiti Grrlzin a way that is thoughtful and thorough as she asks important questions about how women navigate the world of graffiti. Anyone with an interest in the art form and the culture should do themselves a favor and read this book. * Scratched Vinyl *Through stories from 100 womxn in 23 countries, Graffiti Grrlz examines the world of graffiti art, revealing the daily performance of feminism for the girls and womxn who write graffiti, and the spaces and subculture they inhabit. * Public Art Review *Pabón-Colón successfully shows that women graffiti writers are fundamentally important to the development of art, despite their exclusion and omission from historic and contemporary discussion of graffiti art and practice. * Resources for Gender and Women's Studies *A rigorous, loving take on women’s empowerment in a high-risk art. * Feminist Collections *Pabón-Colón’s wonderfully engaging, important new book locates itself in the midst of still-urgent questions about how we can ethically and effectively 'face' our shared publics. More than 15 years in the making and colored brightly by Pabón-Colón’s own experiences as a writer in feminist hip hop graffiti subcultures, this detailed performance ethnography examines the work and the working practices of graffiteras across the Americas, in Europe and the UK, South Africa, and elsewhere. Written in an intentionally accessible style, and wearing its heart on its sleeve, it nevertheless does an outstanding job of asking questions important to feminist performance theory and practice. * Social Forces *

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book SynopsisRez Metal captures the creative energy of Indigenous youth culture in the twenty-first century. Bridging communities from disparate corners of Indian Country and across generations, heavy metal has touched a collective nerve on the Navajo Reservation in Arizona in particular. Many cultural leaders—including former Navajo president Russell Begaye—have begun to recognize heavy metal’s ability to inspire Navajo communities facing chronic challenges such as poverty, depression, and addiction. Heavy metal music speaks to the frustrations, fears, trials, and hopes of living in Indian Country.Rez Metalhighlights a seminal moment in Indigenous heavy metal: when Kyle Felter, lead singer of the Navajo heavy metal band I Dont Konform, sent a demo tape to Flemming Rasmussen, the Grammy Award–winning producer of several Metallica albums, including Master of Puppets. A few months later, Rasmussen, captivated by the music, flew from Denmark toTrade Review"Rez Metal opens a path to filling a yawning hole in the literature on contemporary Indigenous musical activity, and understanding its cultural, political, and artistic history."—David Samuels, American Indian Culture and Research Journal"An intriguing and enlightening read."—Kathy Sexton, Booklist“Rez Metal represents the creative genius of contemporary Indigenous popular culture. Set within the heart of the Navajo Nation and including the voices of elders, council members, and metalheads of all ages, Soltani Stone and Zappia demonstrate the importance of metal as a source of hope and inspiration for Indigenous youth and its prominence as an organic Indigenous expressive culture.”—Kyle T. Mays, author of Hip Hop Beats, Indigenous Rhymes: Modernity and Hip Hop in Indigenous North AmericaTable of ContentsList of Illustrations Acknowledgments Introduction: History of the Project and Arrangement of the Book 1. What is Rez Metal? 2. Venues 3. The Band 4. Industry, Audience, and the Next Generation Notes Sources and Further Reading

Read more less

Book SynopsisExplores the ups and downs of one of the most successful girl groups of the early 1960s. Telling their story for the first time, in their own words, Chapel of Love reintroduces the Louisiana Music Hall of Famers to a new audience.

Read more less

Book SynopsisIn 1979, from the basement of a London squat, the Raincoats reinvented what punk could be. They had a violin player. They came from Portugal, Spain, and England. Their anarchy was poetic. Working with the iconic Rough Trade Records at its radical beginnings, they were the first group of punk women to actively call themselves feminists. In this short book the first on the Raincoats author Jenn Pelly tells the story of the group's audacious debut album, which Kurt Cobain once called wonderfully classic scripture. Pelly builds on rare archival materials and extensive interviews with members of the Raincoats, Sleater-Kinney, Bikini Kill, Hole, Scritti Politti, Gang of Four, and more. She draws formal inspiration from the collage-like The Raincoats itself to explore this album's magic, vulnerability, and strength.Trade ReviewIt is a record that could only be made by women, and although Pelly doesn't labor over this, she does an excellent job of showing its truth. Pelly writes of how, without any pretension or the slightest concern for the surface fashion of the movement, The Raincoats embodied the true expressive spirit of punk, and how these four women created music that was very much of their lives rather than by using any proven yet worn-out formulas. * Under the Radar *The book is a seamless hybrid of criticism and reportage; Pelly spent time with the band and visited their old haunts. But what’s extraordinary is that she doesn’t seem to be recounting the Raincoats’ early years so much as time-traveling back to the squats of late-’70s London and mind-melding with each of the four very different women who came together to make this strange, enchanting music. Over the years, The Raincoats has become a sort of talisman for feminist punks, a document that is somehow challenging and comforting at once. Pelly doesn’t just describe that effect—her writing recreates it. * Pitchfork *Pelly's writing is a pitch-perfect blend of academic references and a genuine fan's adoration that raises both the band and their debut record to a status they very much deserve but haven't received until now. * Record Collector: Books of 2017 *Recent years have seen some excellent additions to the [33 1/3] series ... Joining this list is Jenn Pelly's study of The Raincoats' self-titled debut album. * The Wire *The 33 1/3 series of books on individual albums ... is an intriguing project, and this title is a welcome addition. * International Times *One of the strangest and most inspiring of punk rock stories, finally brought into the light. Jenn Pelly’s brilliant book is a crucial work of history, not just music history, opening up the story of how four women formed a band and created a legend, passed from fan to fan around the world. * Rob Sheffield, author of Love Is a Mixtape and Dreaming the Beatles *Jenn Pelly's The Raincoats brings much-needed attention to the British post-punk group's landmark self-titled 1979 album. [Pelly] adeptly traces the connections between The Raincoats' arty, playfully inventive and boldly feminist music and the male-dominated classic-rock music scene they were rebelling against, and also points out how their unpredictable songs still resonate today. * LA Weekly *[An] empathetic, encyclopedic, and eloquent reclamation of the musical canon. Pelly’s vivid study offers a meticulously detailed look at the band’s origins, influences, and legacy from their days squatting in London basements to Kurt Cobain’s passionate fandom. * Bookforum *This book from Bloomsbury's 33 1/3 series is more than a history of The Raincoats' eponymous album. It is a very comprehensive and entertaining biography up until the release of the album, that also documents the development of the British punk and post-punk scene in the 1970s. * OX-Fanzine (Bloomsbury Translation) *Table of ContentsTracklist Preface I II III IV Epilogue Acknowledgements Works Cited

Read more less

Book SynopsisEvery now and then, a song inspires a cultural conversation that ends up looking like a brawl. Merle Haggard''s Okie from Muskogee, released in 1969, is a prime example of that important role of popular music. Okie immediately helped to frame an ongoing discussion about region and class, pride and politics, culture and counterculture. But the conversation around the song, useful as it was, drowned out the song itself, not to mention the other songs on the live albumnamed for Okie and performed in Muskogeethat Haggard has carefully chosen to frame what has turned out to be his most famous song. What are the internal clues for gleaning the intended meaning of Okie? What is the pay-off of the anti-fandom that Okie sparked (and continues to spark) in some quarters? How has the song come to be a shorthand for expressing all manner of anti-working class attitudes? What was Haggard''s artistic path to that stage in Oklahoma, and how did he come to shape theTable of Contents1. Introduction; or, Hag as Historian 2. The Bakersfield Sound; or, Hag Gets Hard 3. Singing a Group Autobiography; or, Hag as Hero 4. Misreading “Okie”; or, Hag Gets Hit 5. Country Music and Labor; or, Hag’s Two Hands 6. Good-bye, Merle: Hag Heads Home

Read more less

Book SynopsisMartin Roberts teaches courses on global digital media at Dartmouth College and Emerson College, USA. His research focuses on subcultural identities and practices in an age of globalization. His publications include essays on global documentary film, world music, and the J-pop genre Shibuya-kei.Trade ReviewA personal, yet professional, account of the intricacies of Fantasma. * Japan Times *Table of ContentsNote on Transliterations and Japanese Names Preface: White Rabbit 1 From Nakameguro to Everywhere 2 Magic Kingdom 3 Ape Shall Not Kill Ape 4 Mutations 5 Pet Sounds 6 Merrie Melodies 7 Three Dimensional Music 8 Analog Afterlives 9 Double Fantasy Notes References Index

Read more less

Book SynopsisWill Stockton is Associate Professor of English at Clemson University, and author of several books including Members of His Body: Shakespeare, Paul, and a Theology of Nonmonogamy (2017), and Playing Dirty: Sexuality and Waste in Early Modern Comedy (2011). D. Gilson is Assistant Professor of English at Texas Tech University, and author of I Will Say This Exactly One Time: Essays (2015) and Brit Lit (2013).Trade ReviewIn dc Talk’s Jesus Freak—their contribution to Bloomsbury’s 33? Series—Will Stockton and D. Gilson explore this 1995, genre-crossing, hit-making album by the Christian pop/rock/rap trio. As queer scholars with evangelical roots, Stockton and Gilson offer aunique understanding of how the band—with this album in particular—served to shape the theological and cultural understandings of young Christians. * Reading Religion *Table of ContentsIntroduction 1. Jesus Freak 2. Colored People 3. Between You and Me Outro: Queer Shame Acknowledgments Bibliography

Read more less

Book SynopsisAfter his breakthrough with Ziggy Stardust and before his U.S. pop hits Fame and Golden Years David Bowie produced a dark and difficult concept album set in a post-apocalyptic Hunger City populated by post-human mutants. Diamond Dogs includes the great glam anthem Rebel Rebel and utterly unique songs that combine lush romantic piano and nearly operatic singing with scratching, grungy guitars, creepy, insidious noises, and dark, pessimistic lyrics that reflect the album''s origins in a projected Broadway musical version of Orwell''s 1984 and Bowie''s formative encounter with William S. Burroughs. In this book Glenn Hendler shows that each song on Diamond Dogs shifts the ground under you as you listen, not just by changing in musical style, but by being sung by a different I who directly addresses a different you. Diamond Dogs is the product of a performer at the peak of his powers but uncomfortable with the rock star role he had constructed. All of theTrade Review[Hendler’s] textual analysis of Bowie’s lyrics and the influences of the album is deep, yet he doesn’t skimp on musicology … This 33 1/3 is worth reading even if you know nothing about Diamond Dogs. * Bomb *This latest volume of Bloomsbury’s 33 1/3 series sees US academic Glenn Hendler manfully take a crack at forensically unpacking the disparate ingredients of Bowie’s greatest future dystopia Diamond Dogs and passing with flying colours. * Shindig! Magazine *Table of ContentsTrack Listing Acknowledgments 1. This Is Not America 2. Who Can You Be Now? 3. 1984 in 1974 4. Mr. Burroughs Goes to Hunger City 5. Boys and Things 6. Rough Trade 7. Futures 8. This Ain’t Rock ‘n’ Roll 9. Repetition I 10. Repetition II 11. Wild Mutations 12 Everybody Wants to Be a Fascist 13. After the Human 14. It’s No Game

Read more less

Book SynopsisLila Ellen Gray is a cultural anthropologist, ethnomusicologist, and interdisciplinary scholar of music and sound. She is currently Associate Professor of Music at Dickinson College, USA. Her book Fado Resounding: Affective Politics and Urban Life (2013), was the recipient of the 2014 Woody Guthrie Award of the International Association for the Study of Popular Music (IASPM-US).Table of ContentsAcknowledgments Notes on the Text Track List Preface: A Yearning for Liveness Part I: Setting the Stage 1. Dresses, Acrobats, and the Sound of Moonlight 2. Biographies of Her Voice 3. A Fado Primer 4. Listening to Amália Interlude I: Mid-century Representations: NATO: “Introducing Portugal” Part II: Listening to Amalia à l’Olympia Prelude: On Love and Longing 5. Presentation and “Uma Casa Portuguesa” 6. “Perseguição” 7. “Barco Negro” 8. Fados about Fado: “Tudo Isto É Fado” and “Que Deus me Perdoe” Interlude II: Mid-Century Representations: Simone de Beauvoir’s Les Mandarins 9. Diva Constellations Coda: “Fado Amália” Notes References Index

Read more less

Book SynopsisThere has never been a band like Pearl Jam. The Seattle quintet has recorded eleven studio albums; sold some 85 million records; played over a thousand shows, in fifty countries; and had five different albums reach number one. But Pearl Jam's story is about much more than music. Through resilience, integrity, and sheer force of will, they transcended several eras, and shaped the way a whole generation thought about art, entertainment, and commerce.Not for You: Pearl Jam and the Present Tense is the first full-length biography of America's preeminent band, from Ten to Gigaton. A study of their role in history from Operation Desert Storm to the Dixie Chicks; Jeremy to Columbine; Kurt Cobain to Chris Cornell; Ticketmaster to Trump Not for You explores the band''s origins and evolution over thirty years of American culture. It starts with their founding, and the eruption of grunge, in 1991; continues through their golden age (Vs., VitalogyTrade ReviewRonen Givony's Not for You does what Givony would like Pearl Jam to do: it rises above its immediate purpose. It is a critical annotation to a body of work which lifts off the ground and becomes an extravagant performance about time, rebellion, fame, disenchantment, civil discourse, the idea of the mainstream, the desire of a fan, and what a band can do to answer it. * Ben Ratliff, author of Every Song Ever *An enjoyable book and, as a non-fan, I found myself coming around to their music and what they were trying to achieve. Whether you love them or not, it is clear they were trying to be genuine and reach out to their fans. -- Simon Cocking * Irish Tech News *Brilliantly contextualises the early ’90s socio-political climate from which the grunge icons emerged. It paints a vivid portrait … Not For You is a compelling examination of one of modern rock’s most enduring and compelling groups. -- Kate Brayden * Hot Press *Near perfect Pearl Jam prose… Not For You: Pearl Jam and the Present Tense is a book every Pearl Jam fan needs to read. Not only is it an excellent biography it is also the definitive unofficial Pearl Jam book for fans of the Last Grunge Band Standing.™ * Guerrilla Candy *[A] hefty and impressive work, digging into its subject with the kind of relentlessness any fan will appreciate… A thoughtful celebration of a band who’s still going strong, and should even be of interest to non-PJ fans, especially if they have an interest in alt rock of the ‘90s. * Record Collector News *[A]n insightful work for many reasons, not least its temperate analysis of fandom. Author Ronen Givony never forgets the whys and wherefores of the Seattle outfit and of how from their early days in the 1990s, despite their status as one of the mostpopular US acts, they sidelined traditional commercial channels in favour of servicing their fans … Givony incisively reflects on th[is] and more, but the primary selling point is what the band have meant to their fans across the years and the often-profound bonds that can be made. -- Tony Clayton-Lea * The Irish Times *The strength of Givony’s book lies in his readiness to make the tough call. His book is unreservedly opinionated, as so few these days are … Givony proves himself a master of the bon mot, the memorable soundbite, demonstrating ample literary chops throughout. If I had room, I’d quote a hundred worthy passages. -- Des Cowley * Rhythm Magazine *Givony trenchantly argues that Pearl Jam haven’t made a great album since 1998. Yet his sometimes contentious analysis is always delivered with a wry snap and bolstered by diligent sociocultural contextualisation, pinpointing one aspect of the band’s appeal; they’re more ‘for you’ than might initially appear to be the case. -- Keith Cameron * MOJO *CHOICE Magazine’s “New Year Reads” 2021 * CHOICE *CBC’s “18 Books for the Holiday Season” * CBC *Table of ContentsIntroduction: A Personal Preface 1 The Cast 2 A Dozen Moments in the Prehistory of Pearl Jam 3 The Bacchanal, San Diego (November 21, 1989) 4 The Off Ramp, Seattle (October 22, 1990) 5 “Jeremy,” “Garden,” “Yellow Ledbetter” (1991) 6 J.C. Dobbs, Philadelphia (July 12, 1991) 7 The Palladium, Hollywood (October 6, 1991) 8 Cow Palace, San Francisco (December 31, 1991) 9 MTV Unplugged (March 16, 1992) 10 Pinkpop Festival, Holland (June 8, 1992) 11 The Singles Soundtrack (1992) 12 Stadio Flaminio, Rome (July 6, 1993) 13 Lakefront Arena, New Orleans (November 16, 1993) 14 Hints, Allegations, and Things Left Unsaid (1993) 15 Civic Center, Pensacola (March 9, 1994) 16 Bayfront Amphitheater, Miami (March 28, 1994) 17 Patriot Center, Fairfax (April 8, 1994) 18 Rayburn House Office Building, Washington DC (June 30, 1994) 19 Dave (1994) 20 Self-Pollution Radio (January 8, 1995) 21 Soldier Field, Chicago (July 11, 1995) 22 38th Annual Grammy Awards (February 28, 1996) 23 Cox Arena, San Diego (July 10, 1998) 24 Binaural and the Battle of Seattle (1999) 25 Roskilde Festival, Denmark (June 30, 2000) 26 Madison Square Garden (October 15, 2000) 27 Nassau Veterans Memorial Coliseum, Uniondale (April 30, 2003) 28 Thin Air (2006—2013) 29 Tomas Young and Body of War (2005—2014) 30 Wells Fargo Center, Philadelphia (April 29, 2016) 31 Altice Arena, Lisbon (June 20, 2019) Afterword (For Chris Cornell) In Memoriam Acknowledgments Bibliography Index About the Author

Read more less

Book SynopsisJacopo Tomatis is a musicologist, music journalist, and musician. He is a Research Fellow at the University of Torino, Italy, where he teaches Popular Music and Ethnomusicology. His first book Storia culturale della canzone italiana (2019) won the IASPM book prize in 2021.Table of ContentsList of abbreviations of the archive funds Acknowledgements Prologue (in the form of a picture) INTRODUCTION 1. A song, a show, a record 2. Popular music and politics in the “boom” years 3. Communism, ethnomusicology and folk revival PART 1. The myth of Bella Ciao 4. Meet the Nuovo Canzoniere Italiano 5. One week in Spoleto 6. Constructing the myth: the countess, the colonel, the rice picker 7. Bella Ciao in the theater: protest and distinction 8. After Spoleto 9. Bella Ciao on disc: antagonism and the market PART 2. The performance of “real” folk 10. Organizing folk: the structure 11. Curating folk: the repertoire 12. “Bella Ciao” of the partisans 13. “Bella Ciao” of the rice pickers 14. Performing philology: Giovanna Marini’s “fakes” 15. Staging folk: direction, sets and costumes 16. Strumming folk: the arrangements 17. Singing and learning to sing folk: the voices 18. Sounding folk: the studio recording CODA: Us and them Notes Index

Read more less

Book SynopsisESG were one of the first bands to sign to British indie label Factory Records, working with famed producer Martin Hannett on their early EPs. The band''s signature guitar sound from iconic single UFO' has been sampled in hundreds of hip hop records, and everyone from Karen O to Kathleen Hanna lists the South Bronx group as a direct influence. So why do the Scroggins sisters appear as nothing more than a footnote in the 1980s music scene? Through interviews with founding member Renee Scroggins, alongside cult-figures from 1980s New York and North England, this book follows the story of a group of sisters who made it out of the New York projects and into the heart of the dancefloor. Come Away With ESG repositions ESG in their rightful place as punk pioneers and explains howtheir primal beats have paved the way for modern dance music today.Trade ReviewThe book gives ESG their rightful place as "funk punk pioneers" and describes how their original beats paved the way for the modern dance music of today. * Ox-Fanzine: Magazine for Rock'n'Roll (translated) *A superb addition to the series. . . . Percy skilfully guides the reader through the ESG story which is, unsurprisingly, often exasperating. . . . This is also a story of survival, a belief in a sound and ultimately a celebration of an album that ‘will sound out for years to come–omnipresent, unstoppable, and finally making sense to those that hear it.’ . . . A cautionary, compulsive tale, brilliantly told. * The Crack *Table of ContentsIntroduction 1. The South Bronx Story 2. From Downtown Manhattan to Up North Manchester: Come Away with ESG 3. Sample Credits Don’t Pay Our Bills 4. Keep On Moving 5. 40 Years of Dancing: ESG’s Decade-Spanning Legacy Notes

Read more less

Book SynopsisReleased in 1996, Kitten Licks catapulted Brisbane indie-rock three-piece Screamfeeder into the ''90s alternative-rock boom alongside Powderfinger, silverchair, You Am I and Regurgitator. International tours, regular festival shows, and TV appearances followed. And yet, commercial success for Screamfeeder was comparatively short-lived. By the end of the decade, the band's outlook was bleak: at a career standstill and unable to record new music. Today, both Screamfeeder and Kitten Licks endure as fiercely loved cult icons. In its vitality and idiosyncrasy, Kitten Licks captures a moment of cresting change for a band, a city and a national scene, while continuing to delight and inspire those who discover it anew.This book tells the story of Kitten Licks in the words of those who lived it, and who still do. How it was made, how it was swept up into ''90s mythology and what the journey tells us about the fickle nature of music production in Australia,Table of Contents1. Static from the Stars 2. Madmen to Screamfeeder 3. Side A 4. Side B 5. This Is It 6. Consistently Intermittent 7. Some Mysterious Transaction 8. If I Transmit Long Enough Cast of Characters Selected Discography Endnotes List of References Acknowledgements Index

Read more less

Book SynopsisDrop the record needle on any vinyl album in your collection, then read the first pages of that novel you've been meaning to pick upthe reverberations between them will be impossible to miss. Since Dylan went electric, listening to rock 'n' roll has often been a surprisingly literary experience, and contemporary literature is curiously attuned to the history and beat of popular music. In The Ink in the Grooves, Florence Dore brings together a remarkable array of acclaimed novelists, musicians, and music writers to explore the provocatively creative relationship between musical and literary inspiration: the vitality that writers draw from a three-minute blast of guitars and the poetic insights that musicians find in literary works from Shakespeare to Southern Gothic. Together, the essays and interviews in The Ink in the Grooves provide a backstage pass to the creative processes behind some of the most exciting and influential albums and novels of our time. Contributors: Laura Cantrell, Michael Chabon, Roddy Doyle, Bob Dylan, Steve Earle, William Ferris, Dom Flemons, Rhiannon Giddens, Dave Grohl, Peter Guralnick, Amy Helm, Randall Kenan, Jonathan Lethem, Greil Marcus, Rick Moody, Lorrie Moore, the John Prine band (Dave Jacques, Fats Kaplin, Pat McLaughlin, Jason Wilber), Dana Spiotta, John Jeremiah Sullivan, Richard Thompson, Scott Timberg, Daniel Wallace, Colson Whitehead, Lucinda Williams, Warren Zanes.Trade ReviewNovelists, musicians, and other cultural movers and shakers muse on the intersection of literature and rock music in this rich collection of essays. Music lovers with a literary bent will find this worth tuning in to. * Publishers Weekly *Florence Dore has created an excellent collection of old and new writing that explores the convergence of rock and literature. Readers will want to take the time to slowly savor this rich gathering. * Booklist *Florence Dore's search along the seam of rock music and fiction evinces rare moments in the lives of writers and musicians, epiphanies suggesting a shared psyche of art seeking freedom, art quaking with hungers of expression that anyone who has gone stomp-down dancing in a club where the music soars will feel into the bone. * The Daily Beast *Table of ContentsIntroduction: Needles and Pens, by Florence Dore Part 1: The Inescapable Dylan 1. Let it Rock 2. The Genius and Modern Times of Bob Dylan 3. All the Poets (Musicians on Writing): An Interview with Rhiannon Giddens 4. Chronicles: Volume One (Excerpt) Part II: Rock 'N' Roll Saved My Life: Writers on Music 5. Banjo Interlude: An Idle Teen's Life Is Saved by Music 6. Tonight We Improvise: From Sag Harbor (Excerpt) 7. Ubu Lives! Remembering Punk and Its Stories 8. By Heart: From Eat the Document (Excerpt) 9. Precious Resource (Rock and Our Generation of Novelists): An Interview with Jonathan Lethem and Dana Spiotta 10. Whack Fol the Daddy-O: How I Learned to Hate Irish Music Slightly Less Part III: Rock's Literary Identity: Musicians on Literature 11. Dear Dylan: An Interview with Lucinda Williams 12. Iambic Pentameter and the Blues: An Interview with Steve Earle 13. Sir Patrick Rocks! Dragging Ancient Ballads into the Twentieth Century, and What That Can Do to Fragile Young Minds 14. Two Blue Suedes Part IV: Don't Let Anyone Write Your Story: Musings on Rock as Literature 15. When We All Get to Heaven 16. English as a Second Language 17. Cosmic Ray: How Ray Charles's "I Got a Woman" Transformed the Music of Ray Charles, Allowed Him to Keep His Band, and Created a Musical and Social Revolution 18. Ain't It Always Stephen Stills Part V: Losses and Erasures 19. Black Cowboys and Jimi Hendrix: An Interview with Dom Flemons 20. Anatomy of a Canned Heat Hit: "Let's Work Together" by Wilbert Harrison 21. John Prine (The Reluctant Genius): An Interview with Dave Jacques, Jason Wilbur, Fats Kaplin, and Pat McLaughlin 22. The Day the Live Concert Returns 23. Unknown Band on a Forgotten Stage 24. Right on Time: An Interview with Amy Helm,

Read more less

Book SynopsisA sustained engagement with Theodor Adorno, Jazz As Critique looks to jazz for ways of understanding the inadequacies of contemporary life. Adorno's writings on jazz are notoriously dismissive. Nevertheless, Adorno does have faith in the critical potential of some musical traditions. Music, he suggests, can provide insight into the controlling, destructive nature of modern society while offering a glimpse of more empathetic and less violent ways of being together in the world. Taking Adorno down a path he did not go, this book calls attention to an alternative sociality made manifest in jazz. In response to writing that tends to portray it as a mirror of American individualism and democracy, Fumi Okiji makes the case for jazz as a model of "gathering in difference."Noting that this mode of subjectivity emerged in response to the distinctive history of black America, she reveals that the music cannot but call the integrity of the world into question.Trade Review"A lucidly argued, historically grounded, theoretically sophisticated, and timely book, Jazz as Critique redraws our maps of the relationship between black cultures, jazz music, and critical theory." -- Alexander G. Weheliye * Northwestern University *"Fumi Okiji combines a serious understanding of Adorno with a powerful portrayal of the black experience in the United States and melds it all with an encyclopedic knowledge of and respect for the jazz tradition. The world needs a book like this, as much as it needs jazz." -- Martin Shuster * Goucher College *"This important and engagingly written study offers new angles of vision on Adorno's notorious 'jazz critique,' on the nature of the jazz work, and on jazz's utopian promise. Informed both by a judicious reading of Adorno and by considerable jazz literacy, it illuminates the intersections of critical theory, jazz studies, and African American studies." -- Lorenzo C. Simpson * Stony Brook University *"Jazz As Critique serves as an invaluable resource for thinking about the types of listening and conversations that need to take place in order to confront today's outstanding racial injustice and inequalities." -- Alexander K. Rothe, Core Lecturer * Columbia University *"Okiji's book is a rare treat, unexpected in its outcome, and unconventional in its methodological approach." -- James B. Haile III * The Journal of Aesthetics and Art Criticism *"At stake in Okiji's text is not whether Adorno could have changed his mind about jazz but rather whether Black expression can, and should, change its mind about Adorno." -- Mark Christian Thompson * Monatshefte *Table of ContentsContents and Abstracts1Jazz, Individualism, and the Black Modern chapter abstractThis chapter seeks to establish the socio-historical basis of an alternate subjectivity, a gathering in difference in jazz, in contrast to the claims presented by some commentators—shown to relate more closely to the historical trajectory of the bourgeois. The inattention of both Adorno and jazz critics to the significance of a distinctive black American subject is shown to be a crucial oversight. It is argued that the notion of personal sovereignty (and its loss) must be seen as subordinate to fundamental everyday, often passive, battles between black life and how society tends to define it beyond recognition, the sequela of the dehumanization of African captives. This distinction is crucial to appreciating the manner in which jazz and other black expressive forms contribute to a model of a possible praxis. 2Double Consciousness and the Critical Potential of Black Expression chapter abstractAccording to Adorno, autonomous works of art, by virtue of their peculiar attuned-outsider perspective, are ideally positioned to provide a kind of social critique. Although implicated socio-historically in the advance of techno-rationality—in fact, because they are so implicated—musical works are able, in rearticulating available musical material, to expose the poor state of human relations within late capitalist society. It is essential to consider black expression's attuned-outsiderness within the specific historical and material conditions from which it emerged. These provide an alternative vantage to that of radical music of the European tradition. Resting on Nahum Chandler's illuminating interpretation of W.E.B. Du Bois's ideas concerning double consciousness, this chapter draws to the fore the importance of African America's contradictory nature, the critical character of its obligatory retention of conflicting positions. The chapter culminates in a discussion of jazz syncopation as a manifestation of this. 3Black Dwelling, a Refuge for the Homeless chapter abstractThis chapter frames some key turns of the study's central argument within a universalist inclination in black radical thought and expression. The chapter focuses on the opportunity the disjuncture between blackness and the world presents, and how it allows us to speculate on the broad ethical implications of black living in critical reflection on the world. Black wordlessness and homelessness are put into conversation with Adorno's ethics of resistance, particularly the imploration to not be at home in one's home. It is suggested that an embrace of blackness is a way to give up one's place in the world, and the prerequisite to any utopic future. 4Storytelling, Sound, and Silence chapter abstractThis chapter establishes the aesthetic terms of jazz's social character by showing that the tension between wanting to tell communal stories and doing so with distinction permeates jazz work and tradition. Drawing on Walter Benjamin's "The Storyteller: Reflections on the Works of Nikolai Leskov," on black thought, and on the music itself, a descriptive formulation of collaborative work in jazz is advanced. Storytelling in jazz scholarship has traditionally been associated with the linearity and coherence of the individual solo, with values modeled closely on those of the modern European tradition. The inadequacy of such approaches is discussed. The chapter shows how the elision between sound and sense (an evasion of designation but also a refusal to relinquish meaning) enabled black music to continue to communicate content of social significance, despite being faced with traumas comparable to those that have robbed Benjamin's storytelling community of its ability to communicate experience. 5Postscript: Some Thoughts on the Inadequacy and Indispensability of Jazz Records chapter abstractThe study concludes with a dialectical riffing on the indispensability and the inadequacy of jazz recording as a representative of the music's principles of structuration. It is suggested that jazz recording is destructive, that it congeals and obscured how jazz work is done and compromises the incompletion, partiality, and imperfection encoded the practice. And yet, jazz records are shown to be of crucial importance to the way the tradition has developed, particularly for how it has democratized study and has facilitated inter-generational collaborations while retaining the features of oral tradition. Introduction chapter abstractThis introductory chapter sketches the broad strokes of the argument that unfolds over the course of the book. A recording of the Charles Mingus Sextet at Cornell University anchors the chapter. In it is heard socio-musical work that appears to instantiate Adorno's ideas of art's potential for providing social theory. It prepares the ground for the extended conversation staged between the critical theorist and black thought and expression.

Read more less

Book SynopsisA sustained engagement with Theodor Adorno, Jazz As Critique looks to jazz for ways of understanding the inadequacies of contemporary life. Adorno's writings on jazz are notoriously dismissive. Nevertheless, Adorno does have faith in the critical potential of some musical traditions. Music, he suggests, can provide insight into the controlling, destructive nature of modern society while offering a glimpse of more empathetic and less violent ways of being together in the world. Taking Adorno down a path he did not go, this book calls attention to an alternative sociality made manifest in jazz. In response to writing that tends to portray it as a mirror of American individualism and democracy, Fumi Okiji makes the case for jazz as a model of "gathering in difference."Noting that this mode of subjectivity emerged in response to the distinctive history of black America, she reveals that the music cannot but call the integrity of the world into question.Trade Review"A lucidly argued, historically grounded, theoretically sophisticated, and timely book, Jazz as Critique redraws our maps of the relationship between black cultures, jazz music, and critical theory." -- Alexander G. Weheliye * Northwestern University *"Fumi Okiji combines a serious understanding of Adorno with a powerful portrayal of the black experience in the United States and melds it all with an encyclopedic knowledge of and respect for the jazz tradition. The world needs a book like this, as much as it needs jazz." -- Martin Shuster * Goucher College *"This important and engagingly written study offers new angles of vision on Adorno's notorious 'jazz critique,' on the nature of the jazz work, and on jazz's utopian promise. Informed both by a judicious reading of Adorno and by considerable jazz literacy, it illuminates the intersections of critical theory, jazz studies, and African American studies." -- Lorenzo C. Simpson * Stony Brook University *"Jazz As Critique serves as an invaluable resource for thinking about the types of listening and conversations that need to take place in order to confront today's outstanding racial injustice and inequalities." -- Alexander K. Rothe, Core Lecturer * Columbia University *"Okiji's book is a rare treat, unexpected in its outcome, and unconventional in its methodological approach." -- James B. Haile III * The Journal of Aesthetics and Art Criticism *"At stake in Okiji's text is not whether Adorno could have changed his mind about jazz but rather whether Black expression can, and should, change its mind about Adorno." -- Mark Christian Thompson * Monatshefte *Table of ContentsContents and Abstracts1Jazz, Individualism, and the Black Modern chapter abstractThis chapter seeks to establish the socio-historical basis of an alternate subjectivity, a gathering in difference in jazz, in contrast to the claims presented by some commentators—shown to relate more closely to the historical trajectory of the bourgeois. The inattention of both Adorno and jazz critics to the significance of a distinctive black American subject is shown to be a crucial oversight. It is argued that the notion of personal sovereignty (and its loss) must be seen as subordinate to fundamental everyday, often passive, battles between black life and how society tends to define it beyond recognition, the sequela of the dehumanization of African captives. This distinction is crucial to appreciating the manner in which jazz and other black expressive forms contribute to a model of a possible praxis. 2Double Consciousness and the Critical Potential of Black Expression chapter abstractAccording to Adorno, autonomous works of art, by virtue of their peculiar attuned-outsider perspective, are ideally positioned to provide a kind of social critique. Although implicated socio-historically in the advance of techno-rationality—in fact, because they are so implicated—musical works are able, in rearticulating available musical material, to expose the poor state of human relations within late capitalist society. It is essential to consider black expression's attuned-outsiderness within the specific historical and material conditions from which it emerged. These provide an alternative vantage to that of radical music of the European tradition. Resting on Nahum Chandler's illuminating interpretation of W.E.B. Du Bois's ideas concerning double consciousness, this chapter draws to the fore the importance of African America's contradictory nature, the critical character of its obligatory retention of conflicting positions. The chapter culminates in a discussion of jazz syncopation as a manifestation of this. 3Black Dwelling, a Refuge for the Homeless chapter abstractThis chapter frames some key turns of the study's central argument within a universalist inclination in black radical thought and expression. The chapter focuses on the opportunity the disjuncture between blackness and the world presents, and how it allows us to speculate on the broad ethical implications of black living in critical reflection on the world. Black wordlessness and homelessness are put into conversation with Adorno's ethics of resistance, particularly the imploration to not be at home in one's home. It is suggested that an embrace of blackness is a way to give up one's place in the world, and the prerequisite to any utopic future. 4Storytelling, Sound, and Silence chapter abstractThis chapter establishes the aesthetic terms of jazz's social character by showing that the tension between wanting to tell communal stories and doing so with distinction permeates jazz work and tradition. Drawing on Walter Benjamin's "The Storyteller: Reflections on the Works of Nikolai Leskov," on black thought, and on the music itself, a descriptive formulation of collaborative work in jazz is advanced. Storytelling in jazz scholarship has traditionally been associated with the linearity and coherence of the individual solo, with values modeled closely on those of the modern European tradition. The inadequacy of such approaches is discussed. The chapter shows how the elision between sound and sense (an evasion of designation but also a refusal to relinquish meaning) enabled black music to continue to communicate content of social significance, despite being faced with traumas comparable to those that have robbed Benjamin's storytelling community of its ability to communicate experience. 5Postscript: Some Thoughts on the Inadequacy and Indispensability of Jazz Records chapter abstractThe study concludes with a dialectical riffing on the indispensability and the inadequacy of jazz recording as a representative of the music's principles of structuration. It is suggested that jazz recording is destructive, that it congeals and obscured how jazz work is done and compromises the incompletion, partiality, and imperfection encoded the practice. And yet, jazz records are shown to be of crucial importance to the way the tradition has developed, particularly for how it has democratized study and has facilitated inter-generational collaborations while retaining the features of oral tradition. Introduction chapter abstractThis introductory chapter sketches the broad strokes of the argument that unfolds over the course of the book. A recording of the Charles Mingus Sextet at Cornell University anchors the chapter. In it is heard socio-musical work that appears to instantiate Adorno's ideas of art's potential for providing social theory. It prepares the ground for the extended conversation staged between the critical theorist and black thought and expression.

Read more less

Book SynopsisFor many fans, David Bowie's Ziggy Stardust era remains the most extraordinarily creative period in his career. As a member of Bowie's legendary band at the time - The Spiders From Mars - Woody Woodmansey played drums on four seminal albums: The Man Who Sold The World, Hunky Dory, The Rise And Fall Of Ziggy Stardust And The Spiders From Mars and Aladdin Sane. Woody's memoir, which he started work on in 2014, focuses on this key period and brings it to glorious life. With the confidence of youth, Woody always thought he'd be in a famous band but the nineteen-year-old rocker from Hull never expected to be thrust into London's burgeoning glam rock scene, and also into a bottle-green velvet suit and girl's shoes. Playing with Bowie took him on an eye-opening and transformative journey. In Spider From Mars he writes candidly about the characters who surrounded Bowie, recalling the album sessions as well as behind-the-scenes moments with one of the world's most iconic singers. The result is an insightful, funny, poignant memoir that lovingly evokes a seminal moment in music history and pays tribute to one of the most outstanding and innovative talents of our time.

Read more less

Book Synopsis 'A raw and raging celebration of music . . . astounding.' Megan Bradbury'Funny, filthy, erudite, and rude.' Carl Shuker'A magnificent novel.' Alan McMonagleDuring their 1985 tour, two events of hatred and stupidity forever change the lives of a band’s four members. Neues Bauen, a post-hardcore Illinois group homing in on their own small fame, head on with frontman Conrad Wells sexually assaulted and guitarist Tone Seburg wounded by gunshot. The band staggers forth into the American landscape, traversing time and investigating each of their relationships with history, memory, authenticity, violence and revelling in transcendence through the act of art.With decades passed and compelled by his wife’s failing health to track down Tone, Conrad flies to North Africa where her brother is rumoured to be hiding with a renowned artist from their past. There he instead meets various characters including his former drummer, Spence. Amongst the sprawl and shout of Morocco, the men attempt to recall what happened to them during their lost years of mental disintegration and emotional poverty.Dance Prone is a novel of music, ritual and love. It is live, tense and corporeal. Full of closely observed details of indie-rock, of punk infused performance, the road and the players’ relationship to violence, hate and peace. Set during both the post-punk period and the present day, Dance Prone was born out of a love of the underground and indie rock scenes of the 1980s, a fascination for their role in the cultural apparatus of memory, social decay and its reconstruction.Trade ReviewHis book is many things. A giddy rush of indie excess, punk mayhem, outsider art, blurred memory, lapsed existence and sudden grace. A mind-bending trip that plays out in that liminal space between innocence and insanity; drift and purpose; rational and rogue; anarchy and calm; between what was lost and what may endure. Cut with a cast of characters sawn through the bone, language that giddies-up the heart, and always, always, alive with a throbbing pulse that insists you read on. Lyrical. Violent. Elegiac. Epic. I adore David Coventry's writing and Dance Prone is a magnificent novel. -- Alan McMonagle, author of Ithaca. Taught and intelligent, this story of music, trauma and artistic ambition has all the precision, spookiness and elegance of the best post-rock. -- Matt Thorne'What a brute fucken show, man.’ David Coventry's new novel is a gorgeous panegyric to the purity, poison and impossibly high stakes of punk. A young band of fleeting genius tours the living rooms and crappy bars of early 80's US before imploding in violence and horror. Dance Prone captures that thing about beautiful doomed brilliance sanctified by its miniature life expectancy. It's funny, filthy, erudite, and rude, like LCD Soundsystem’s "Losing My Edge" as retold by the mid-period DeLillo of The Names and Mao II. -- Carl Shuker, author of A MistakeA novel that interrogates music and it’s capacity for producing societal change, the bonds of friendship and family, and the manner in which we avoid confronting ourselves with the truth . . . An attempt to create the novel in it’s essence: looking for the new, resisting the obvious, denying the familiar. * Red Close blog *Pitch-perfect and nuanced . . . extraordinary . . . remarkable . . . Coventry’s work is some of the finest in recent NZ literature. * Herald (New Zealand) *A transcendental quest through the mind, body and through landscape, and a raw and raging celebration of music . . . This book is astounding. -- Megan Bradbury, author of Everyone is Watching

Read more less

Book SynopsisBar Yarns and Manic Depressive Mix Tapes distills thirty delirious, jam-packed years of some of the best music writing ever to come out of the Twin Cities. As a writer and musician, the ever-curious Jim Walsh has lived a life immersed in music, and it all makes its way into his columns and feature articles, interviews and reviews, including personal essays on life, love, music, family, death, and, yes, the manic-depressive highs and lows that come with being an obsessive music lover and listener. From Minneapolis’s own Prince to such far-flung acts as David Bowie, the Waterboys, Lucinda Williams, Parliament-Funkadelic, L7, the Rolling Stones, the Ramones, U2, Hank Williams, Britney Spears, Elvis Presley and Nirvana, Walsh’s work treats us to a chorus of the voices and sounds that have made the music scene over the past three decades. The big names are here, from Rosanne Cash to Bruce Springsteen to Bob Marley and Jackson Browne, but so are those a little shy of superstardom, like the Tin Star Sisters and Uncle Tupelo, Son Volt, the Gear Daddies, Semisonic, and The Belfast Cowboys. The book is also a tour (de force) of the Twin Cities' most celebrated music venues past and present, from the Prom Ballroom to Paisley Park to Duffy's. When Walsh isn't celebrating the sheer magic of live music or dreaming to tunes blasting from the car console, he might be surveying the scene with the Hamm's Bear at Grumpy's or the Double Deuce or singing the last night at the Uptown Bar blues. Whether he's dishing dirt with Yoko Ono or digging the Replacements' roots, giving an old rocker a spin or offering a mic to the latest upstart, Jim Walsh reminds us that in the land of a thousand lakes there are a thousand dances, and the music never dies.Capturing the pure notes and character of the sound of the Twin Cities and beyond, with a keen eye for trends and the telling detail, his book truly is a mix tape of thirty years of unforgettable music.Trade Review"Jim Walsh has been the introspective and thoughtful voice of a generation that reenergized Minnesota music and gave it to the world. This is a book about a man in love with music."—Chris Osgood of The Suicide Commandos"Most mere mortals would have burned out after so many years and so many decibels and late nights, but Jim Walsh is the battery rabbit of the local music scene. For him it really is all about the passion: his contagious joy, awe, and fierce fidelity to the communal spirit are there in everything he writes, and his voice is unmistakable."—Brad Zellar, author of Suburban World: The Norling Photos, Conductors of the Moving World, and House of Coates"Jim Walsh's Bar Yarns and Manic-Depressive Mixtapes is as much a chronicle of the past few decades of the Minneapolis scene as it is a pitch-perfect memoir of what it means to live for music. A crucial read for anyone who has spent their days and nights tangled in the tether of a song."—Jessica Hopper, author of The First Collection of Criticism by a Living Female Rock Critic"Jim Walsh’s Bar Yarns and Manic-Depressive Mixtapes is like a cicada come trilling out of the fertile past. Each chapter is a love song of old for the here and now, a desperate season in need of music elixir."—Nicole Helget, author of Summer of Ordinary Ways, The Turtle Catcher, and Stillwater"Walsh’s writing is musical, rhythmic and tuned, with a throughline of humanity."—MinnPost.com"Jim Walsh is a true believer: For him, rock ’n’ roll is more than music or culture and becomes religion. Published in Rolling Stone and The Village Voice, the Minnesota writer-musician is a good and heartfelt essayist and memoirist. "—Shepherd Express"Whether he’s discussing Prince, Springsteen or the Uptown Bar, Walsh is a man and a fan in touch with his feelings about songs, his own life and the communal spirit that music builds."—Star Tribune"There are a lot of rock critics who focus on the negative, or shrug off the humanity of music fandom in favor of cold logic and bloodless analysis. Walsh is not that kind of writer or critic: even when he struggles with what’s going on around him, even when life is unbearably shitty, his writing is usually positive and filled with hope."—PopMatters.com"Organized thematically, it demonstrates Walsh’s knack for using music as a springboard for writing about people’s lives and the communities they inhabit. Walsh’s intimate, nuanced prose makes you feel as if you’ve known him, and the people he writes about, for years."—Minnesota HistoryTable of ContentsContents Introduction Summerteeth Fly Me to the Moon Chickery Chick We Could Be Heroes Just For One Day Nye’s: The Long Goodbye 1. Spirit in the Night We’re Gonna Be Friends Baptism By Bruce Taken by a Photograph For a Dancer 2. On the Road to Find Out No Direction Home Side of the Road All Down the Line Legalize It Merry Christmas to the Thief Who Stole My CD Player 3. Showmen’s Rest Are You Lonesome Tonight? All Apologies Do You Remember Rock ’n’ Roll Radio? Meeting Across the River 4. Bar Yarns From the Land of Sky-Blue Waters Uptown Bar Blues Closing Time Ballad of the Tin Star Sisters Driftwood Nights 5. The Beautiful Ones The Gold Experience Salesmen and Racists Put a Little Love in It Magic 6. Manic-Depressive Mix #1 One Love Ooh La La This is the Sea All My Life Beautiful Day 7. Manic-Depressive Mix #2 Free Your Mind . . . Windfall Ballad of El Goodo Second to No One 8. Minneapolis Confidential Geese of Beverly Road Greetings from Lake We Be Gone Phantom of First Avenue Winter of Our Swedish Fiddler All These Weeks 9. Prince in the ’90s Emancipation Give Up the Funk Everyday People 10. Manic-Depressive Mix #3 I Still Haven’t Found What I’m Looking For Peace on Earth The Ballad of Paul and Sheila Signed, Sealed, Delivered Love is the Law Toxic I Am the Cosmos Georgia On My Mind It’s the End of the World As We Know It (And I Feel Fine) 11. Manic-Depressive Mix #4 Singing in My Sleep Short Man’s Room After the Dance All About Chemistry I Saw the Light Times Like This Partners in Crime 12. Manic-Depressive Mix #5 Bittersweet Symphony Danny Boy How to Fight Loneliness She’s So Heavy Forever Young Looking for the Northern Lights Harriet If You Want To Sing Out, Sing Out Acknowledgments Index

Read more less

Book SynopsisHow the Chinese pop of the 1960s participated in a global musical revolution What did Mao’s China have to do with the music of youth revolt in the 1960s? And how did the mambo, the Beatles, and Bob Dylan sound on the front lines of the Cold War in Asia? In Circuit Listening, Andrew F. Jones listens in on the 1960s beyond the West, and suggests how transistor technology, decolonization, and the Green Revolution transformed the sound of music around the globe.Focusing on the introduction of the transistor in revolutionary China and its Cold War counterpart in Taiwan, Circuit Listening reveals the hidden parallels between music as seemingly disparate as rock and roll and Maoist anthems. It offers groundbreaking studies of Mandarin diva Grace Chang and the Taiwanese folk troubadour Chen Da, examines how revolutionary aphorisms from the Little Red Book parallel the Beatles’ “Revolution,” uncovers how U.S. military installations came to serve as a conduit for the dissemination of Anglophone pop music into East Asia, and shows how consumer electronics helped the pop idol Teresa Teng bring the Maoist era to a close, remaking the contemporary Chinese soundscape forever.Circuit Listening provides a multifaceted history of Chinese-language popular music and media at midcentury. It profiles a number of the most famous and best loved Chinese singers and cinematic icons, and places those figures in a larger geopolitical and technological context. Circuit Listening’s original research and far-reaching ideas make for an unprecedented look at the role Chinese music played in the ’60s pop musical revolution.Trade Review"Circuit Listening challenges our understanding of popular music as a Euro-American hegemony by demonstrating how the Sinophone music industries and markets partook of this global circuit through corporate expansion, as well as through local resistance and piracy. It is a long-awaited book on the way global popular music, in all its diversity, circularity, and promiscuity, should be re-historicized and reconceptualized."—Victor Fan, author of Cinema Approaching Reality: Locating Chinese Film Theory"Andrew F. Jones presents a complex transnational circuit with care and panache, explaining why mambo travels, how the Vietnam War created a demand for pirated recordings, and what Mao quotation songs had in common with British rock-and-roll hits. He guides the reader from transistor technology to rural electrification, from voice timbre to smuggling routes. Circuit Listening is cultural history at its richest."—Gail Hershatter, author of The Gender of Memory: Rural Women and China’s Collective Past"Listening is a feast for film buffs."—Shepherd Express"Jones's grasp and analysis of historical materials is impressive. This is an important source and research model for students of Chinese history."—CHOICE"The book is packed with exacting research and close textual decodings of music and films... for Chinese music nerds, Circuit Listening is an absolute must-have."—Taipei TimesTable of ContentsContentsAcknowledgmentsIntroduction. The East is Red: Towards a Sonic History of the 1960s1. Circuit Listening at the Dawn of the Chinese 1960s2. Quotation Songs: Media Infrastructure and Pop Song Form in Mao’s China3. Fugitive Sounds of the Taiwanese Musical Cinema4. Pirates of the China Seas: Vinyl Records and the Military Circuit5. Folk Circuits: Rediscovering Chen Da6. Teresa Teng and the Network TraceAppendix: “Listening to Songs in the Streets of Taipei” Hsu Tsang-HoueiNotesIndex

Read more less

Book SynopsisHow the Chinese pop of the 1960s participated in a global musical revolution What did Mao’s China have to do with the music of youth revolt in the 1960s? And how did the mambo, the Beatles, and Bob Dylan sound on the front lines of the Cold War in Asia? In Circuit Listening, Andrew F. Jones listens in on the 1960s beyond the West, and suggests how transistor technology, decolonization, and the Green Revolution transformed the sound of music around the globe.Focusing on the introduction of the transistor in revolutionary China and its Cold War counterpart in Taiwan, Circuit Listening reveals the hidden parallels between music as seemingly disparate as rock and roll and Maoist anthems. It offers groundbreaking studies of Mandarin diva Grace Chang and the Taiwanese folk troubadour Chen Da, examines how revolutionary aphorisms from the Little Red Book parallel the Beatles’ “Revolution,” uncovers how U.S. military installations came to serve as a conduit for the dissemination of Anglophone pop music into East Asia, and shows how consumer electronics helped the pop idol Teresa Teng bring the Maoist era to a close, remaking the contemporary Chinese soundscape forever.Circuit Listening provides a multifaceted history of Chinese-language popular music and media at midcentury. It profiles a number of the most famous and best loved Chinese singers and cinematic icons, and places those figures in a larger geopolitical and technological context. Circuit Listening’s original research and far-reaching ideas make for an unprecedented look at the role Chinese music played in the ’60s pop musical revolution.Trade Review"Circuit Listening challenges our understanding of popular music as a Euro-American hegemony by demonstrating how the Sinophone music industries and markets partook of this global circuit through corporate expansion, as well as through local resistance and piracy. It is a long-awaited book on the way global popular music, in all its diversity, circularity, and promiscuity, should be re-historicized and reconceptualized."—Victor Fan, author of Cinema Approaching Reality: Locating Chinese Film Theory"Andrew F. Jones presents a complex transnational circuit with care and panache, explaining why mambo travels, how the Vietnam War created a demand for pirated recordings, and what Mao quotation songs had in common with British rock-and-roll hits. He guides the reader from transistor technology to rural electrification, from voice timbre to smuggling routes. Circuit Listening is cultural history at its richest."—Gail Hershatter, author of The Gender of Memory: Rural Women and China’s Collective Past"Listening is a feast for film buffs."—Shepherd Express"Jones's grasp and analysis of historical materials is impressive. This is an important source and research model for students of Chinese history."—CHOICE"The book is packed with exacting research and close textual decodings of music and films... for Chinese music nerds, Circuit Listening is an absolute must-have."—Taipei TimesTable of ContentsContentsAcknowledgmentsIntroduction. The East is Red: Towards a Sonic History of the 1960s1. Circuit Listening at the Dawn of the Chinese 1960s2. Quotation Songs: Media Infrastructure and Pop Song Form in Mao’s China3. Fugitive Sounds of the Taiwanese Musical Cinema4. Pirates of the China Seas: Vinyl Records and the Military Circuit5. Folk Circuits: Rediscovering Chen Da6. Teresa Teng and the Network TraceAppendix: “Listening to Songs in the Streets of Taipei” Hsu Tsang-HoueiNotesIndex

Read more less

Book SynopsisHow sampling remade hip-hop over forty years, from pioneering superstar Grandmaster Flash through crate-digging preservationist and innovator Madlib Sampling—incorporating found sound and manipulating it into another form entirely—has done more than any musical movement in the twentieth century to maintain a continuum of popular music as a living document and, in the process, has become one of the most successful (and commercial) strains of postmodern art. Bring That Beat Back traces the development of this transformative pop-cultural practice from its origins in the turntable-manning, record-spinning hip-hop DJs of 1970s New York through forty years of musical innovation and reinvention.Nate Patrin tells the story of how sampling built hip-hop through the lens of four pivotal artists: Grandmaster Flash as the popular face of the music’s DJ-born beginnings; Prince Paul as an early champion of sampling’s potential to elaborate on and rewrite music history; Dr. Dre as the superstar who personified the rise of a stylistically distinct regional sound while blurring the lines between sampling and composition; and Madlib as the underground experimentalist and record-collector antiquarian who constantly broke the rules of what the mainstream expected from hip-hop. From these four artists’ histories, and the stories of the people who collaborated, competed, and evolved with them, Patrin crafts a deeply informed, eminently readable account of a facet of pop music as complex as it is commonly underestimated: the aesthetic and reconstructive power of one of the most revelatory forms of popular culture to emerge from postwar twentieth-century America. And you can nod your head to it.Trade Review"The rise of digital sampling is one of the most important musical development of the late twentieth century. Nate Patrin’s Bring That Beat Back is a rollicking, wide-ranging, and immensely readable history of sample-based music-making: its origins, its golden ages, and its enormous role in shaping modern popular music. This book is a must-read for hip-hop obsessives and casual listeners alike."—Jack Hamilton, author of Just around Midnight: Rock and Roll and the Racial Imagination"Much like the art of sampling itself, Nate Patrin deftly weaves pieces of history and criticism together to create a compelling new message. Bring That Beat Back is a masterful, scholarly analysis that illustrates just how essential sampling has been to the development of hip-hop and lifts up the oft-overlooked DJs and producers who paved the way for our genrefluid future."—Andrea Swensson, author of Got to Be Something Here: The Rise of the Minneapolis Sound"The painstaking attention to detail and droves of obscure yet essential information will make this book hard for the beat obsessive and music history buff to put down. The wealth of information won't deter the casual music fan, though—Bring That Beat Back is a fascinating read for anyone with a remote interest in hip-hop, breakbeat culture, the tug-of-war between instrumentalists and technology, or how the politics of the music business affects all three. A true breakbeat bonanza extravaganza!"—J-Zone, drummer, funk enthusiast, producer, author"If sampling is the most successful form of alchemy ever realized, Nate Patrin's meticulous prose and crate-digging research mirror the dazzling ingenuity of hip-hop's best producers. Breaks and loops are artfully recontextualized into a head-nodding slipstream of history, chronicled in a way to make classic rhythms seem fresh again. A necessary read for anyone who seeks to better understand the last half-century of future sound."—Jeff Weiss, founder and editor of POW (Passion of the Weiss)"Patrin conveys the drama of successive generations of musicians all questing for new ways to tap into the thing that makes hip-hop’s language unique—moments sourced from music’s past that somehow point the way forward, expressing both nostalgia and renewal in equal measure."—Library Journal"Could there a better argument for the artistry of sampling, its potential for beauty?"—The Arts Fuse"A must-read for any hip hop fan—Patrin clearly understands the artform of sampling and hip hop production, and he does a great job of not just discussing these different artists and eras in the four sections, but also showing how the sections overlap and inform each other and push the culture forward."—Scratched Vinyl"Patrin's book is packed with leaps, connections, and knowledge transfusions almost as dense as a Madvillain beat... though it proceeds in a somewhat more orderly manner. It functions on multiple levels: it's a history of hip-hop, it's an argument for that genre as a wholly distinctive art form with sampling technology at its root, and it's a map from hip-hop out to a wildly diverse set of artists connected to the genre by way of samples."—The Current"Patrin has an encyclopedic knowledge of his subject, packing each chapter with manic attention to detail."—4Columns"A truly postmodern endeavor that creates conversations between music originating in many eras and genres."—Shepherd Express"This musicological study is never dry, always enthusiastic and appreciative, and groundbreaking in its analysis of the art of sampling as just that: art. Featuring plenty of entertaining cultural history, this is a significant contribution to hip-hop studies."—Rolling Stone "Patrin’s work is thoroughly engaging from first needle drop to last. "—Kirkus ReviewsTable of ContentsContentsIntroduction: The Art of the LoopPart I. The Grandmaster1. Wheels of Steel: How Djs Became Artists2. Change the Beat: Hip-Hop’s First Crossover3. Funky Drummer: Sampling Reaches the PeoplePart II. The Prince4. Synthetic Substitution: A New Medium Finds Its Canon5. Talkin’ All That Jazz: The Legitimization of an Art Form6. Constant Elevation: Hip-Hop’s Rising UndergroundPart III. The Doctor7. Funky Enough: How the West was Made8. G Thang: The Producer as Superstar9. Aftermath: Auteurism in a Post-Gangsta WorldPart IV. The Beat Konducta10. The Loop Digga: Sampling Preserves History (and Itself)11. The Illest Villains: High Concepts and New Voices12. Survival Test: Hip-Hop as a CommunityEpilogue: Breaks and EchoesAcknowledgmentsNotesBibliographySelected DiscographyIndex

Read more less

Book SynopsisA sixty-year history of Afro–South Asian musical collaborations From Beyoncé’s South Asian music–inspired Super Bowl Halftime performance, to jazz artists like John and Alice Coltrane’s use of Indian song structures and spirituality in their work, to Jay-Z and Missy Elliott’s high-profile collaborations with diasporic South Asian artists such as the Panjabi MC and MIA, African American musicians have frequently engaged South Asian cultural productions in the development of Black music culture. Sounds from the Other Side traces such engagements through an interdisciplinary analysis of the political implications of African American musicians’ South Asian influence since the 1960s. Elliott H. Powell asks, what happens when we consider Black musicians’ South Asian sonic explorations as distinct from those of their white counterparts? He looks to Black musical genres of jazz, funk, and hip hop and examines the work of Miles Davis, John Coltrane, Rick James, OutKast, Timbaland, Beyoncé, and others, showing how Afro–South Asian music in the United States is a dynamic, complex, and contradictory cultural site where comparative racialization, transformative gender and queer politics, and coalition politics intertwine. Powell situates this cultural history within larger global and domestic sociohistorical junctures that link African American and South Asian diasporic communities in the United States. The long historical arc of Afro–South Asian music in Sounds from the Other Side interprets such music-making activities as highly political endeavors, offering an essential conversation about cross-cultural musical exchanges between racially marginalized musicians.Trade Review"Elliott H. Powell’s book is like the music he investigates: intelligent, intimate, and offering new possibilities for intercultural engagement. His analyses transcend appropriation narratives to unearth the nuances of power in Afro–South Asian exchanges. Importantly, Powell demonstrates the fallacy of placing white, heteronormative paradigms onto people of color and instead illuminates a diverse and innovative history of aesthetic and political collaboration."—T. Carlis Roberts, University of California, Berkeley"Sounds from the Other Side is a crucial intervention in the scholarship of Afro–South Asian cultural and political connections—an original, sophisticated, and multi-layered account of African American musicians’ creative engagements with South Asian musics, musicians, and spiritualties. Elliott H. Powell demonstrates that varied soundings and imaginings of South Asia have provided musicians as divergent as Miles Davis, Rick James, and Beyoncé with a terrain for conjuring new forms of radical Black being—a terrain in which Blackness, South Asianness, queerness, and liberatory politics are articulated together and coconstituted."—Vivek Bald, author of Bengali Harlem and the Lost Histories of South Asian AmericaTable of ContentsContentsIntroduction1. A Desi Love Supreme: John Coltrane, James Baldwin, and the Life Side of Afro–South Asian Music 2. Corner Politics: The Queer and South Asian Coalitional Black Politics of Miles Davis3. Punks, Freaks, OutKasts, and ATLiens: The Afro–South Asian Imaginings of Rick James and Andre 30004. Recovering Addict(ive): The Afro–South Asian Sexual Politics of Truth Hurts’ “Addictive”5. Do(ing) Something Different: Cross-Cultural Collaboration in the Work of Timbaland and Raje ShwariEpilogueAcknowledgmentsNotesIndex

Read more less

Book SynopsisA tour diary of life on the road with one of Minnesota’s greatest bands—with nearly 100 never-before-seen photographs “Don’t bore us, get to the chorus” is Bill Sullivan’s motto, which will come as no surprise to anyone who opens Lemon Jail. A raucous tour diary of rock ’n’ roll in the 1980s, Sullivan’s book puts us in the van with the Replacements in the early years. Barreling down the highway to the next show through quiet nights and hightailing it out of scandalized college towns, Sullivan—the young and reckless roadie—is in the middle of the joy and chaos, trying to get the band on stage and the crowd off it and knowing when to jump in and cover Alice Cooper. Lemon Jail shows what it’s like to keep the band on the road and the wheels on the van—and when to just close your eyes and hit the gas. That first van, dubbed the Lemon Jail by Bill, takes the now legendary Replacements from a south Minneapolis basement to dive bars and iconic rock clubs to college parties and eventually an international stage. It’s not a straight shot or a smooth ride, and there’s never a dull moment, whether Bob Stinson is setting a record for the quickest ejection from CBGB in NYC or hiding White Castle sliders around a hotel room or whether Paul Westerberg is sneaking gear out of a hostile venue or saving Bill’s life at a brothel in New Jersey. With growing fame (and new vans) come tours with REM and X (what happens when the audience isn’t allowed to stand?), Tom Petty and the Heartbreakers and the Violent Femmes (against their will), and Saturday Night Live, where the band’s televised antics earn the edict You’ll never play on NBC again. Fast forward: You’ll never play Washington, D.C., again. Or Moorhead.Hiding in fans’ backyards while the police search the streets and pelted with canned goods at a Kent State food drive, the Replacements hit rough patches along with sweet spots, and Lemon Jail reveals the grit and glory both onstage and off, all told in the irrepressible, full-throttle style that makes Bill Sullivan an irresistible guide on this once-in-a-lifetime road trip with a band on the make.Trade Review"As a guy who has had the privilege of being regaled by Billy's rock ’n’ roll tales for years, I can attest to the authenticity of his stories. They may not all be accurate, but they are all true, which is more important. He is a real link to our punk rock legends of lore. Any fan of the Replacements or any of the ’80s left-of-dial bands will greatly appreciate this book."—Conor Oberst"Reading Lemon Jail makes me think back to when Spoon would play Bill’s club in the early 2000s: he’d lay the welcome mat out for us from the moment we got to town, and we’d always drive off with an extra case of Tecate and a bit of weed. No one else in the touring world gave us that kinda treatment. This book is tour story after tour story from one of the most genuine originals in the game. Bill Sullivan is the spirit of rock and roll road life."—Britt Daniel"For fans who love the Replacements, this book is your only opportunity to go back in time and be a fly on the van wall. Bill Sullivan’s clever sarcasm, humble anti-rock star attitude, and complete access allow him to tell the band’s behind-the-scenes story perfectly."—Janet Weiss"Bill Sullivan captures the spirit and chaos of the earliest and best years of the band accurately due to the fact that he lived it right alongside us. A true kindred spirit, a fifth member if you will, who from the git-go, got what we were about to the point where it would not have been the same journey without him. Billy had our backs and represented much-needed comic relief on many occasions. Lemon Jail should come with a warning: ‘Don't Try This At Home.’ It's a quick read and, in my opinion, the most successful book to capture the essence of our destructive, drunken outcast brigade in all its successes and foibles. Bill’s ever-present comic sense, woven throughout the book, paints authentically the circus world that it was. I laughed aloud many times!"—Chris Mars"As every obsessive fan knows, there's been one essential voice missing from the recent wave of biographies, oral histories, and documentaries celebrating the storied and notorious legacy of the Replacements. This, then, is seriously great news, 'Mats​ droolers: Bill Sullivan has finally broken his omerta, and though no book could possibly contain Sullivan's legendary and seemingly bottomless trove of yarns—or quite capture his unparalleled ability to tell a story in person—Lemon Jail is a riotous, channel-surfing rip through his rubber-legged years with the band, and will more than tide us over until somebody gives the man the full-fledged biography his life deserves."—Brad Zellar, author of House of Coates"Bill Sullivan was right there alongside the band, right in the thick of it, discussing specific shows, tours, and a million anecdotes. In addition to his words, Sullivan snapped hundreds of Polaroids which are sprinkled throughout the book."—Daggerzine"Although brief in size, the book gives us another view of the turbulent madness that was the beloved ‘Mats. Tales of road-induced boredom, which with The Replacements always led to property destruction and dizzying hangovers, are of course recounted; but beyond the goofs lived people who for a brief moment created essential, meaningful art—which is why we continue to read about it, to try and recapture those moments."—The Big Takeover"Lemon Jail is a must-read for any Replacements’ fans; it’s deeply personal and a fun ride."—NeuFutur"Lemon Jail is at its best in moments that perfectly convey the state of pre-internet underground music in America, where house parties, college radio, and photocopied fanzines could propel a small hometown band into legend."—Pitchfork"Old tour passes, disk camera photographs, notes and scraps of paper with art from drummer-turned-artist Chris Mars are just a few of the things Sullivan collected on the road. The book is filled with these physical memories, which provide context and insight to the premier “college rock” band of the 1980s."—Columbia Missourian"Sullivan’s entertaining book, published by University of Minnesota Press, is a glorified tour diary full of sex, drugs, rock ’n’ roll, more drugs, and a story about Replacements guitarist Bob Stinson defecating in an ice bucket and sending it down a hotel’s dumbwaiter."—Boston GlobeTable of ContentsContents Get Out of the Basement Into the Lemon Jail Love It to Death

Read more less