1. it describes the way a European country and its jazz scene impacted the jazz world in the US from the late 1940s onwards. 2. it analyzes how the distinctive meaning of this music was constructed, paying specific attention to the influence of record covers, liner notes, jazz criticism and how these different elements related to each other. 3. it follows the one-way travel of jazz from the US to Europe, as well as the journey back into the US -- showing along the way how national borders have affected history writing in jazz. 4. it shows how non-American, European jazz was relevant earlier than has generally been recognized in the established narratives.

" With a foreword by Jennifer Baumgardner and Amy Richards Chosen by the The Amelia Bloomer Project committee for their 2005 list of recommended feminist books for young readers. Girls Rock explores the many ways women have defined themselves as rock musicians in an industry once dominated and controlled by men. Integrating history, feminist analysis, and developmental theory, the authors describe how and why women have become rock musicians -- what inspires them to play and perform, how they write, what their music means to them, and what they hope their music means to listeners. As these musicians tell their stories, topics emerge that illuminate broader trends in rock's history. From Wanda Jackson's revolutionary act of picking up a guitar to the current success of independent artists such as Ani DiFranco, Girls Rock examines the shared threads of these performers' lives and the evolution of women's roles in rock music since its beginnings in the 1950s. This provocative investigation of women in rock is based on numerous interviews with a broad spectrum of women performers -- those who have achieved fame and those just starting bands, those playing at local coffeehouses and those selling out huge arenas. Girls Rock celebrates what female musicians have to teach about their experiences as women, artists, and rock musicians.

A central criticism emerging from Black and Creole thinkers is that mainstream, white dominated, culture, consumes sounds and images of Creole and Black people in music, theater, and the white press, while ignoring critiques of the white consumption of black culture. Ironically, critiques of whiteness are found not only in black literature and media, but also within the blues, jazz, and spirituals that whites listened to, loved, collected, and archived. This book argues that whiteness is not only a visual orientation; it is a way of hearing. Inspired by formulations of the race and whiteness in the existential writings of Frantz Fanon, Simone de Beauvoir, Jean-Paul Sartre, W.E.B. Du Bois, Richard Wright, Lewis Gordon, Angela Davis, bell hooks and Sara Ahmed, T Storm Heter introduces the notion of the white sonic gaze. Through case studies and musical examples from the history of American jazz, the book builds a phenomenological archive to demonstrate the bad habits of 'white listening', drawing from black journalism, the autobiographies of Creole musicians, and the lyrics and sonic content of early jazz music emerging from New Orleans. Studying white listening orientations on the plantation, in vaudeville minstrel shows, and in cabarets, the book portrays six types of bad faith white listeners, including the white minstrel listener, the white savior listener, white hipster listener, and the white colorblind listener. Connecting critical race studies, music studies, philosophy of race and existentialism, this book is for students to learn how to critique the phenomenology of whiteness and practice decolonial listening.

- First volume in almost 10 years to bring together a broad collection on world music analysis, capturing where the field is now - Wide-reaching scope makes this the perfect first stop for anyone interested in world music analysis, and could make it a good focus for seminars at graduate or advanced undergraduate level.

Many educators already know that hip-hop can be a powerful tool for engaging students. But can hip-hop save our schools-and our society? Hip Hop Genius introduces an iteration of hip-hop education that goes far beyond studying rap music as classroom content. Through stories about the professional rapper who founded the first hip-hop high school and the aspiring artists currently enrolled there, sam seidel lays out a vision for how hip-hop's genius-the resourceful creativity and swagger that took it from a local phenomenon to a global force-can lead to a fundamental remix of the way we think of teaching, school design, and leadership. This 10-year anniversary edition welcomes two new contributing authors, Tony Simmons and Michael Lipset, who bring direct experience running the High School for Recording Arts. The new edition includes new forewords from some of the most prominent names in education and hip-hop, reflections on ten more years of running a hip-hop high school, updates to every chapter from the first edition, details of how the school navigated the unprecedented complexities brought about by the COVID-19 pandemic and uprising in response to the murder of George Floyd, and an inspiring new concluding chapter that is a call to action for the field.

'I see my story as a suite of songs that have a magical connection. I never understood that connection until I sat down to write. It was then that the magic started to flow.' Let Love Rule is a work of deep reflection. Lenny Kravitz looks back at his life with candor, self-scrutiny, and humour. 'My life is all about opposites,' he writes. 'Black and white. Jewish and Christian. The Jackson 5 and Led Zeppelin. I accepted my Gemini soul. I owned it. I adored it. Yins and yangs mingled in various parts of my heart and mind, giving me balance and fueling my curiosity and comfort.' Let Love Rule covers a vast canvas stretching from Manhattan's Upper East Side, Brooklyn's Bedford-Stuyvesant, Los Angeles's Baldwin Hills, Beverly Hills, and finally to France, England and Germany. It's the story of a wildly creative kid who, despite tough struggles at school and extreme tension at home, finds salvation in music. We see him grow as a musician and ultimately a master songwriter, producer, and performer. We also see Lenny's spiritual growth-and the powerful way in which spirit informs his music. The cast of characters surrounding Lenny is extraordinary: his father, Sy, a high-powered news executive; his mother, Roxie Roker, a television star; and Lisa Bonet, the young actress who becomes his muse. The central character, of course, is Lenny, who, despite his great aspirational energy, turns down record deal after record deal until he finds his true voice.The creation of that voice, the same voice that is able to declare 'Let Love Rule' to an international audience, is the very heart of this story. 'Whether recording, performing, or writing a book,' says Lenny, 'my art is about listening to the inspiration inside and then sharing it with people. Art must bring the world closer together.'

Kurt Cobain filled dozens of notebooks with lyrics, drawings, and writings about his plans for Nirvana and his thoughts about fame, the state of music, and the people who bought and sold him and his music. More than twenty of these notebooks survived his many moves and travels, and have been locked in a safe since his death. His journals reveal an artist who loved music, who knew the history of rock, and who was determined to define his place in that history. Here is a mesmerizing, incomparable portrait of the most influential musician of his time.

This book delves into the aural splendor of the Beatles' discography, breaking down each song and taking a close look at how the group's music sounds through headphones rather than external speakers. Mistakes, studio chatter, secret meanings and other audio esoterica are all identified and discussed. Thousands of books have been written about the Beatles' music, but this is the first to look at their discography through the prism of headphones, which yield a unique, artistic listening experience. The author argues that the Beatles should be heard through headphones to appreciate the real depth of their musical creativity and to fully understand the timeless songs that remain influential to this day.

Polyphonic Revolution focuses on the cultural debate within the left during the Popular Unity government in Chile (1970-73).Seeking to map such a debate to situate the discourses and artistic productions linked to the Chilean New Song movement, this book demonstrates that musicians were part of the committed intelligentsia. They actively participated in the discussion and proposal of ways to integrate culture in the revolutionary process, playing an important political and cultural role. Analysis is based on the government-friendly press and records released between 1970 and 1973; thus verifying how the main trends observed in the cultural debate were expressed in the movement, the extent to which the positions defended by the musicians have been in tune with governmental purposes, and how they influenced the cultural policies debated and pursued by Popular Unity. Scholars of Latin American studies, cultural studies, and music will find this book particularly interesting.

In The Performance of Authenticity: The Makings of Jazz and the Self in Autobiography Teofilo Espada-Brignoni analyzes the autobiographies of New Orleans musicians (Baby Dodds, Sidney Bechet, Pops Foster, and Lee Collins) who throughout their texts construct New Orleans jazz as an authentic musical expression grounded in their experiences and culture. The author argues the autobiographies reproduce and reinterpret modernist conceptions of authenticity to assert and affirm authority over the public representations and discussions of jazz. Through the autobiographers' use of ideas about authenticity, they establish the value of their narratives but at the same time reinforce some of the power dynamics they set out to criticize. Their narratives also reveal the complex ethics that emerged during the first decades of the music and problematize modernist values such as individualism, the dichotomy of work and life, as well as the self and the social. The book adopts Foucauldian and social-constructivist perspectives, complementing analysis of the autobiographies by drawing from literary theory, psychology, sociology, and jazz scholarship.

Nick Hasted's ground-breaking book traces Marshall Mathers' rise to fame from schools and workplaces of his native Detroit to global superstardom.
The author lays bare Eminem's relationships with his mother, his teenage soul-mate Kim Scott, producer Dr. Dre and the Bass Brothers who guided and inspired him from the age of 14.
This new edition comes right up to date, charting Eminem's period of seclusion following the death of fellow rapper and close friend Proof, who was shot dead in 2006, covering Eminem's battle with addiction to painkillers and finally analyzing the huge success of the two albums spawned by these events, Relapse and Recovery.

Has there ever been a more charismatic and intriguing rock star than David Bowie? In Starman, Paul Trynka has painted the definitive portrait of a great artist. From Bowie's early years in post-war, bombed-out Brixton to the decadent glamour of Ziggy Stardust to the controversial but vital Berlin period, this essential biography is a celebration of Bowie's brilliance and a timely reminder of how great music is made - now with an update on the making and release of The Next Day.

From Fred Astaire to Raven Wilkinson, Misty Copeland to Janet Jackson, Dance Legends Alphabet shimmies and shakes through eras and genres to present the quintessential A to Z of dance. Dynamically illustrated and rhythmically written, Dance Legends Alphabet is the perfect move for every young dance enthusiast.

This fascinating autobiography of the country music legend recounts the highs and lows, the struggles and hard-won triumphs of his remarkable life. The story takes us from Johnny Cash's childhood on an Arkansas cotton farm to his early years at Sun Records. We read of his life on the road and meetings with, and performances for, world leaders. There is also the darker side of his life: the years of addiction to amphetamines and pain killers, a suicide attempt and the spiritual awakening that pulled him through. He looks unsparingly at his turbulent past, but remains a man of honesty, humility and humour. His memoir reveals his friendships with Roy Orbison, Willie Nelson, Bob Dylan and Billy Graham.

North Carolina fiddler and banjo player Jim Scancarelli's extensive career as a string band musician began in the early 1960s. A founding member of the Kilocycle Kowboys, one of Charlotte's longest-lived bluegrass bands, he played banjo with the Mole Hill Highlanders, and in the 1980s formed Sanitary Cafe with fiddler Tommy Malboeuf. Through the 1970s, his annual recordings at the Union Grove Fiddlers Convention captured superlative music and performer interviews. Scancarelli also had a successful career as a freelance magazine artist and collaborated on the syndicated comic strips "Mutt and Jeff" and "Gasoline Alley," eventually taking over authorship of the latter in 1986. This biography traces his creative trajectory in music, art, radio and television, and the cartooning industry.

Sound Heritage is the first study of music in the historic house museum, featuring contributions from both music and heritage scholars and professionals in a richly interdisciplinary approach to central issues. It examines how music materials can be used to create narratives about past inhabitants and their surroundings - including aspects of social and cultural life beyond the activity of music making itself - and explores how music as sound, material, and practice can be more consistently and engagingly integrated into the curation and interpretation of historic houses. The volume is structured around a selection of thematic chapters and a series of shorter case studies, each focusing on a specific house, object or project. Key themes include: Different types of historic house, including the case of the composer or musician house; what can be learned from museums and galleries about the use of sound and music and what may not transfer to the historic house setting Musical instruments as part of a wider collection; questions of restoration and public use; and the demands of particular collection types such as sheet music Musical objects and pieces of music as storytelling components, and the use of music to affectively colour narratives or experiences. This is a pioneering study that will appeal to all those interested in the intersection between Music and Museum and Heritage Studies. It will also be of interest to scholars and researchers of Music History, Popular Music, Performance Studies and Material Culture.

1) A scientific sociological study that rigorously establishes how female discrimination really works in jazz worlds in the 2000s, 2) Demonstrates how female jazz musicians are invisibly discriminated in the French jazz world and the ways some of them do access to jazz professional music anyway --- and how that applies to the greater jazz world. 3) Shows different "rules" for female singers vrs instrumentalists: female singers are affected by a stereotypical confinement in a "feminine" profession, while female instrumentalists must build themselves into a public "male" job

1) A scientific sociological study that rigorously establishes how female discrimination really works in jazz worlds in the 2000s, 2) Demonstrates how female jazz musicians are invisibly discriminated in the French jazz world and the ways some of them do access to jazz professional music anyway --- and how that applies to the greater jazz world. 3) Shows different "rules" for female singers vrs instrumentalists: female singers are affected by a stereotypical confinement in a "feminine" profession, while female instrumentalists must build themselves into a public "male" job

1. This study gives book readers a broader understanding of what engagement with a literary text historically is, not just a private reading experience, but a living, every changing communal oral experience. 2. The book shifts the basic focus of epic studies from the codified texts of standard Western epics to the living tradition of generally unknown Mongol oral heroic epics and from isolated textual analysis to investigations of the creative interaction of singer and audience in a live performance. 3. It provides literature students with reference material about modern oral poetic research as focused on a work's content, narrative scale, social dimensions, cultural significance, performance strategies and modes of transmission. 4. It provides researchers of oral poetry and communication with theoretical approaches and practical guidelines for field and textual investigations based on relationships between inherited text and performance, performer and audience. 5. It provides seasoned epic scholars with first-hand information on Mongol oral epic, especially on lengthy epics' structures and incorporation of smaller poems, on singers' innovative use of traditional material, and on the strengths and weaknesses of Chinese oral epic research.

This book presents an analysis of 100 rock concert performances and answers the question "What makes a truly great rock performance?" Author Peter Smith, an experienced concert goer, delves into his own recollections of experiencing rock performances over the last 50+ years and, with the support of his daughter, Laura Smith, analyzes 100 selected performances covering the themes of icons, persona, energy, fandom, venues, communities, politics, art-rock, authenticity and maturity. The approach taken is based upon qualitative analysis, reflection, and autoethnography. The selected performances cover a range of diverse acts such as the Rolling Stones, ABBA, Sex Pistols, Barbara Streisand, David Bowie, etc.

Music and World-Building in the Colonial City investigates how nineteenth-century migrants to Australia used music as a resource for world-building, focusing on coalmining regions of New South Wales. It explores how music-making helped British migrants to create communities in unfamiliar country, often with little to no infrastructure. Its key themes are as follows: people's relationships to music within specific contexts; how music-making intersects with class, gender and ethnic background; identity through music. Situated within a wider discourse on music and identity, music and well-being and music and emotions, this is an authoritative study of historical communities and their relationship with music. It will be of particular interest to scholars and researchers working in the fields of sociomusicology, colonial studies and cultural studies.