Art forms tend to mirror themselves in each other. In order to understand literature and fine arts better, we often turn to music, speaking of the 'tone' in a book and of the 'rhythm' in a painting. In attempts to understand music better, we turn instead to the narrative arts, speaking of the 'story' of a musical piece. This book focuses on two examples of such conceptual mirror reflexivity: narrativity in jazz music and musicality in spoken theatre. These intermedial metaphors are shown to be significant to the practice and reflection of performing artists through their ability to mediate holistic views of what is considered to be of crucial importance in artistic practice, analysis, and education. This exploration opens up possibilities for new theoretical and practical insights with regard to how the borderland between temporal art forms can be conceptualized. The book will be of interest not only to scholars of music and theatre, but also to those who work in the fields of aesthetics, intermedial studies, cognitive linguistics, arts theory, communication theory, and cultural studies.

As one of the people who defined punk's protest art in the 1970s and 1980s, Gee Vaucher (b. 1945) deserves to be much better-known. She produced confrontational album covers for the legendary anarchist band Crass and later went on to do the same for Northern indie legends the Charlatans, among others. More recently, her work was recognised the day after Donald Trump's 2016 election victory, when the front page of the Daily Mirror ran her 1989 painting Oh America, which shows the Statue of Liberty, head in hands. This is the first book to critically assess an extensive range of Vaucher's work. It examines her unique position connecting avant-garde art movements, counterculture, punk and even contemporary street art. While Vaucher rejects all 'isms', her work offers a unique take on the history of feminist art. -- .

Converging theory and practice, this book provides a unique analysis of Korean youth's attempts to become global celebrities within the growing K-pop phenomenon, which is rapidly becoming part of global media systems and culture. K-pop has become one of the most popular cultural forms in the global music markets, despite having a relatively new global presence. Its recent spread around the world suggests that K-pop exists as a local-based genre of music in global markets, including Western markets. Unlike other existing books on K-pop, which mainly focus solely on academic analyses or industrial perspectives, K-Pop Idols: Popular Culture and the Emergence of Korean Music Industry combines theory with industry and musical aesthetics. Following the idol group Nine Muses through a year-long chronicle, the authors portray the everyday lives of young girls relentlessly pursuing happiness, satisfaction, and the achievement of their dreams in the K-pop world.

Black Music Matters: Jazz and the Transformation of Music Studies is one of the first books to promote the reform of music studies with a centralized presence of jazz and black music to ground American musicians in a core facet of their true cultural heritage. Ed Sarath applies an emergent consciousness-based worldview called Integral Theory to music studies while drawing upon overarching conversations on diversity and race and a rich body of literature on the seminal place of black music in American culture. Combining a visionary perspective with an activist tone, Sarath installs jazz and black music in as a foundation for a new paradigm of twenty-first-century musical training that will yield an unprecedented skill set for transcultural navigation among musicians. Sarath analyzes prevalent patterns in music studies change discourse, including an in-depth critique of multiculturalism, and proposes new curricular and organizational systems along with a new model of music inquiry called Integral Musicology. This jazz/black music paradigm further develops into a revolutionary catalyst for development of creativity and consciousness in education and society at large. Sarath's work engages all those who share an interest in black-white race dynamics and its musical ramifications, spirituality and consciousness, and the promotion of creativity throughout all forms of intellectual and personal expression.

Carpet Burns is Tom Hingley's account of his life as lead singer of Inspiral Carpets, one of the big three bands of the Manchester movement who, along with The Stone Roses and Happy Mondays, changed music for a generation. Tom's own words provide an account of what it felt like to be in the eye of a pop hurricane and what happens when the hits end and the arguments kick in.

This new collection is the second in the Global Punk series. Following the publication of the first volume the series editors invited proposals for a second volume, and selected contributions from a range of interdisciplinary areas, including cultural studies, musicology, ethnography, art and design, history and the social sciences. This collection extends the theme into new territories, with a particular emphasis on contemporary global punk scenes, post-2000, reflecting upon the notion of origin, music(s), identity, careers, membership and circulation. This area of subcultural studies is far less documented than more 'historical' work related to earlier punk scenes and subcultures of the late 1970s and early 1980s. This new volume covers countries and regions including New Zealand, Indonesia, Cuba, Ireland, South Africa, Siberia and the Philippines, alongside thematic discussions relating to trans-global scenes, the evolution of subcultural styles, punk demographics and the notion of punk identity across cultural and geographic boundaries. The book series adopts an essentially analytical perspective, raising questions over the dissemination of punk scenes and their form, structure and contemporary cultural significance in the daily lives of an increasing number of people around the world. This book has a genuine crossover market, being designed in such a way that it can be adopted as an undergraduate student textbook while at the same time having important currency as a key resource for established academics, postdoctoral researchers and PhD students. In terms of the undergraduate market for the book, it is likely that it will be adopted by convenors of courses on popular music, youth culture and in discipline areas such as sociology, popular music studies, urban/cultural geography, political history, heritage studies, media and cultural studies.

To date there has been a significant gap in existing knowledge about the social history of music in Britain from 1950 to the present day. The three volumes of Live Music in Britain address this gap and do so through a unique prism-that of live music. The key theme of the books is the changing nature of the live music industry in the UK, focused upon popular music but including all musical genres. Via this focus, the books offer new insights into a number of other areas including the relationship between commercial and public funding of music; changing musical fashions and tastes; the impact of changing technologies; the changing balance of power within the music industries; the role of the state in regulating and promoting various musical activities within an increasingly globalised music economy; and the effects of demographic and other social changes on music culture. Drawing on new archival research, a wide range of academic and non- academic secondary sources, participant observation and a series of interviews with key personnel, the books have the potential to become landmark works within Popular Music Studies and broader cultural history. The third volume covers the period from Live Aid to Live Nation (1985- 2015).

Women have been pivotal in the country music scene since its inception, as Charles K. Wolfe and James E. Akenson make clear in The Women of Country Music. Their groundbreaking volume presents the best current scholarship and writing on female country musicians. Beginning with the 1920s career of teenage guitar picker Roba Stanley, the contributors go on to discuss Polly Jenkins and Her Musical Plowboys, 50s honky-tonker Rose Lee Maphis, superstar Faith Hill, the relationship between Emmylou Harris and poet Bronwen Wallace, the Louisiana Hayride's Margaret Lewis Warwick, and more.

Opening up the dialogue between popular music studies and aging studies, this book offers a major exploration of age and popular music across Europe. Using a variety of methods to illustrate how age within popular music is contingent and compelling, the volume explores how it provokes curation and devotion across a variety of sites and artists who record in several European languages, and genres including waltz music, electronica, pop, folk, rap, and the French 'chanson.' Visiting the many ways in which age is problematized, revered, and performed within Europe in relation to popular music, case studies analyze: French touring shows of popular music stars from the 1960s; Andre Rieu's annual Vrijthof concerts in the Netherlands; Kraftwerk and Bjoerk's appearances at renowned art museums as curated objects; queer approaches to popular music space and time; British folk music inheritances; pan-European strategies of stardom and career longevity; and inheritance and post-colonial hauntings of race and identity. The book works with the notion of travelling, across borders, genres, sexualities, and media, highlighting the visibility of the aging body across a variety of European sites in order to establish popular music through the lens of age as a positive methodology with which to approach popular music cultures, and to offer a counter-narrative to age as decline. This book will appeal to scholars of popular music, popular culture, media studies, cultural studies, aging studies, and cultural gerontology.

This book provides a sequel to Robert Ford's comprehensive reference work A Blues Bibliography, the second edition of which was published in 2007. Bringing Ford's bibliography of resources up to date, this volume covers works published since 2005, complementing the first volume by extending coverage through twelve years of new publications. As in the previous volume, this work includes entries on the history and background of the blues, instruments, record labels, reference sources, regional variations, and lyric transcriptions and musical analysis. With extensive listings of print and online articles in scholarly and trade journals, books, and recordings, this bibliography offers the most thorough resource for all researchers studying the blues.

In Learning to Listen, Gary Burton shares his fifty years of experiences at the top of the jazz scene. A seven-time Grammy award winner, Burton made his first recordings at age 17, has toured and recorded with a who's who of famous jazz names, and is one of only a few openly gay musicians in jazz. Burton is a true innovator, both as a performer and an educator. His autobiography is one of the most personal and insightful jazz books ever written.

The book "Jazzmen" (1939) claimed New Orleans as the birthplace of jazz and introduced the legend of Buddy Bolden as the "First Man of Jazz." Much of the information that the book relied on came from a highly controversial source: Bunk Johnson. He claimed to have played with Bolden and that together they had pioneered jazz.

Johnson made many recordings talking about and playing the music of the Bolden era. These recordings have been treated with skepticism because of doubts about Johnson's credibility. Using oral histories, the "Jazzmen" interview notes, and unpublished archive material, this book confirms that Bunk Johnson did play with Bolden. This confirmation, in turn, has profound implications for Johnson's recorded legacy in describing the music of the early years of New Orleans jazz.

New Orleans jazz was different from ragtime in a number of ways. It was a music that was collectively improvised, and it carried a new tonality--the tonality of the blues. How early jazz musicians improvised together and how the blues became a part of jazz has until now been a mystery. Part of the reason New Orleans jazz developed as it did is that all the prominent jazz pioneers, including Buddy Bolden, Bunk Johnson, Louis Armstrong, Sidney Bechet, Johnny Dodds, and Kid Ory, sang in barbershop (or barroom) quartets. This book describes in both historical and musical terms how the practices of quartet singing were converted to the instruments of a jazz band, and how this, in turn, produced collectively improvised, blues-inflected jazz, that unique sound of New Orleans.

How did Korea with a relatively small-scale music industry come to create a vibrant pop culture scene that would enthrall not only young Asian fans but also global audiences from diverse racial and generational backgrounds? From idol training to fan engagement, from studio recording to mastering choreographic sequences, what are the steps that go into the actual production and promotion of K-pop? And how can we account for K-pop's global presence within the rapidly changing media environment and consumerist culture in the new millennium? As an informed guide for finding answers to these questions, The Cambridge Companion to K-Pop probes the complexities of K-pop as both a music industry and a transnational cultural scene. It investigates the meteoric ascent of K-pop against the backdrop of increasing global connectivity wherein a distinctive model of production and consumption is closely associated with creativity and futurity.

Wilcopedia is a comprehensive guide to the music of the preeminent American rock band of the twenty-first century. It offers a thorough appraisal of the entire Wilco canon, with detailed insights into every album and song the band have released, as well as side projects, collaborations, covers, and more. Since their formation in 1994, Wilco have become one of the most acclaimed and influential bands of modern times. While previous books have told their story in a biographical sense, Wilcopedia zeroes in on the music, tracing the evolution of the band s material from the studio to the concert stage, from the formative Uncle Tupelo recordings through the mould-breaking Yankee Hotel Foxtrot to latter-day gems Star Wars and Schmilco and beyond. Throughout their twenty-five year career, Wilco s founder and primary songwriter, Jeff Tweedy, has led his band through various shifts in line-up and genre that have kept fans on their toes and made their music difficult to categorize. While they are largely considered an Americana act, their music has touched on hard rock, electronica, pop, soul, punk, folk, and more. If you re looking for a thorough appraisal of the band s first quarter-century, one thing s for sure: Wilcopedia will love you, baby.

Jazz has always been a genre built on the blending of disparate musical cultures. Latin jazz illustrates this perhaps better than any other style in this rich tradition, yet its cultural heritage has been all but erased from narratives of jazz history. Told from the perspective of a long-time jazz insider, Latin Jazz: The Other Jazz corrects the record, providing a historical account that embraces the genre's international nature and explores the dynamic interplay of economics, race, ethnicity, and nationalism that shaped it.

This is the definitive biography of rap supergroup and cultural icons, Wu-Tang Clan (WTC). Heralded as one of the most influential groups in modern music-hip hop or otherwise-WTC created a rap dynasty on the strength of seven gold and platinum albums that launched the careers of such famous rappers as RZA, GZA, Ol' Dirty Bastard, Raekwon, Ghostface Killah, Method Man, and more. During the '90s, they ushered in a hip-hop renaissance, rescuing rap from the corporate suites and bringing it back to the gritty streets where it started. In the process they changed the way business was conducted in an industry known for exploiting artists. Creatively, Wu-Tang pushed the boundaries of the artform dedicating themselves to lyrical mastery and sonic innovation, and one would be hard pressed to find a group who's had a bigger impact on the evolution of hip hop. S.H. Fernando Jr., a veteran music journalist who spent a significant amount of time with The Clan during their heyday of the '90s, has written extensively about the group for such publications as Rolling Stone, Vibe, and The Source. Over the years he has built up a formidable Wu-Tang archive that includes pages of unpublished interviews, videos of the group in action in the studio, and several notepads of accumulated memories and observations. Using such exclusive access as well as the wealth of open-source material, Fernando reconstructs the genesis and evolution of the group, delving into their unique ideology and range of influences, and detailing exactly how they changed the game and established a legacy that continues to this day. The book provides a startling portrait of overcoming adversity through self-empowerment and brotherhood, giving us unparalleled insights into what makes these nine young men from the ghetto tick. While celebrating the myriad accomplishments of The Clan, the book doesn't shy away from controversy-we're also privy to stories from their childhoods in the crack-infested hallways of Staten Island housing projects, stints in Rikers for gun possession, and million-dollar contracts that led to recklessness and drug overdoses (including Ol' Dirty Bastard's untimely death). More than simply a history of a single group, this book tells the story of a musical and cultural shift that started on the streets of Shaolin (Staten Island) and quickly spread around the world. Biographies on such an influential outfit are surprisingly few, mostly focused on a single member of the group's story. This book weaves together interviews from all the Clan members, as well as their friends, family and collaborators to create a compelling narrative and the most three-dimensional portrait of Wu-Tang to date. It also puts The Clan within a social, cultural, and historical perspective to fully appreciate their impact and understand how they have become the cultural icons they are today. Unique in its breadth, scope, and access, From The Streets of Shaolin is a must-have for fans of WTC and music bios in general.

"The Music of the Netherlands Antilles: Why Eleven Antilleans Knelt before Chopin's Heart" is not your usual musical scholarship. In October 1999, eleven Antilleans attended the service held to commemorate the 150th anniversary of Frederic Chopin's death. This service, held in the Warsaw church where the composer's heart is kept in an urn, was an opportunity for these Antilleans to express their debt of gratitude to Chopin, whose influence is central to Antillean music history. Press coverage of this event caused Dutch novelist and author Jan Brokken (b. 1949) to start writing this book, based on notes he took while living on Curacao from 1993 to 2002.

Anyone hoping to discover an overlooked chapter of Caribbean music and music history will be amply rewarded with this Dutch-Caribbean perspective on the pan-Caribbean process of creolization. On Curacao, the history and legacy of slavery shaped culture and music, affecting all the New World. Brokken's portraits of prominent Dutch Antillean composers are interspersed with cultural and music history. He puts the Dutch Caribbean's contributions into a broader context by also examining the nineteenth-century works by pianist Louis Moreau Gottschalk from New Orleans and Manuel Saumell from Cuba. Brokken explores the African component of Dutch Antillean music--examining the history of the rhythm and music known as "tambu" as well as American jazz pianist Chick Corea's fascination with the tumba rhythm from Curacao. The book ends with a discussion of how recent Dutch Caribbean adaptations of European dance forms have shifted from a classical approach to contemporary forms of Latin jazz."

*THE SUNDAY TIMES TOP TEN BESTSELLER* As seen on Apple TV - 1971: The Year That Music Changed Everything The Sixties ended a year late - on New Year's Eve 1970, when Paul McCartney initiated proceedings to wind up The Beatles. Music would never be the same again. The next day would see the dawning of a new era. 1971 saw the release of more monumental albums than any year before or since and the establishment of a pantheon of stars to dominate the next forty years - Led Zeppelin, David Bowie, the Rolling Stones, Pink Floyd, Marvin Gaye, Carole King, Joni Mitchell, Rod Stewart, the solo Beatles and more. January that year fired the gun on an unrepeatable surge of creativity, technological innovation, blissful ignorance, naked ambition and outrageous good fortune. By December rock had exploded into the mainstream. How did it happen? This book tells you how. It's the story of 1971, rock's golden year.

Popular World Music, Second Edition introduces students to popular music genres and artists from around the world. Andrew Shahriari discusses international music styles familiar to most students-Reggae, Salsa, K-Pop, and more-with a comprehensive listening-oriented introduction to mainstream musical culture. Each chapter focuses on specific music styles and their associated geographic origin, as well as best-known representative artists, such as Bob Marley, Carmen Miranda, ABBA, and Ladysmith Black Mambazo. The text assumes no prior musical knowledge and emphasizes listening as a pathway to learning about music and culture. The subject matter fulfills core, general education requirements found today in the university curriculum. The salient musical and cultural features associated with each example are discussed in detail to increase appreciation of the music, its history, and meaning to its primary audience. NEW to this edition Updates to content to reflect recent developments in resources and popular music trends. Contributing authors in additional areas, including Folk Metal, Chinese Ethnic Minority Rock, and Trinidadian Steel Drum and Soca. "Artist Spotlight" sections highlighting important artists, such as Mary J. Blige, Bob Marley, Tito Puente, Enya, Umm Kulthum and more. "Ad-lib Afterthought" sections and "Questions to Consider" to prompt further discussion of each chapter. Lots of new photos! Updated and additional website materials for students and instructors.

Hipsters have always used clothing, hairstyle, gesture, and slang to mark their distance from consensus culture, yet it is music that has always been the privileged means of cultural disaffiliation, the royal road to hip. Hipness in postwar America became an indelible part of the nation's intellectual and cultural landscape, and during the past half century, hip sensibility has structured self-understanding and self-representation, thought and art, in various recognizable ways. Although hipness is a famously elusive and changeable quality, what remains recognizable throughout its history in American intellectual life is a particular conception of the individual's alienation from society-alienation due not to any specific political wrong but to something more radical, a clash of perception and consciousness. The dominant culture thus constitutes a system bent on foreclosing the creativity, self-awareness, and self-expression by which people might find satisfaction in their lives. The hipster's project is to imagine this system and define himself against it; his task is to resist being stamped in its uniform, squarish mold. Culture then becomes the primary medium of hip resistance rather than political action as such, and this resistance is manifested in aesthetic creation, be that artworks or the very self. Music has stood consistently at the center of the evolving and alienated hipster's self-structuring: every hip subculture at least tags along with some kind of music (as the musically ungifted Beats did with jazz), and for many subcultures music is their raison d'etre. In Dig, author Phil Ford argues that hipness is in fact wedded to music at an altogether deeper level. In hip culture it is sound itself, and the faculty of hearing, that is the privileged part of the sensory experience. Ford's discussion of songs and albums in context of the social and political world illustrates how hip intellectuals conceived of sound as a way of challenging meaning - that which is cognitive and abstract, timeless and placeless - with experience - that which is embodied, concrete and anchored in place and time. Through Charlie Parker's "Ornithology," Ken Nordine's "Sound Museum," Bob Dylan's "Ballad of a Thin Man," and a string of other lucid and illuminating examples, Ford shows why and how music became a central facet of hipness and the counterculture. Shedding new light on an elusive and enigmatic culture, Dig is essential reading for students and scholars of popular music and culture, as well as anyone fascinated by the counterculture movement of the mid-twentieth-century.

With Chris Trengove and Peter Lawrence In 1967 Peter 'Dougal' Butler became a roadie for The Who and their mercurial genius drummer Keith Moon. Soon he would be Moon's personal assistant, chauffeur, and all-purpose wingman. The ride lasted a tumultuous ten years, ending just prior to Moon's untimely death in 1978. Full Moon is Butler's memoir of that ride: essential reading for Who fans, and a masterclass in the mayhem caused by rock 'n' roll excess. 'The most candid insight into the Who star's life.' Daily Star 'Written in a wonderful fast, racy style, Runyonesque and full of good jokes.' Girl About Town 'A welcome change from the usual bland rock book reportage... Butler clearly has a deep and lasting affection for Moon.' Andy Gill, NME 'Certainly outrageous, sometimes funny, but mostly a sad account of life with a talented neurotic.' Daily Mirror

Florence + the Machine is the recording name of English musician Florence Welch and a collaboration of other artists who provide music for her voice. Florence + the Machine's sound has been described as a combination of various genres, including rock and soul. The Sunday Times described Welch as "the most peculiar and most highly acclaimed female singer of the moment" Tells the story of her upbringing in South London to her thrilling rise to international fame as a singer and also a highly individual fashion icon. Her collaborations and working relationships with Chanel Creative Director Karl Lagerfeld, her manager Mairead Nash and her friend Isabella Summers who to this day forms part of 'the machine'. How her sense of style has captured the imaginations of fans and fashion editors the world over. The stories behind the glittering award ceremonies, TV appearances and international tours.