When Music Migrates uses rich material to examine the ways that music has crossed racial faultlines that have developed in the post-Second World War era as a consequence of the movement of previously colonized peoples to the countries that colonized them. This development, which can be thought of in terms of diaspora, can also be thought of as postmodern in that it reverses the modern flow which took colonizers, and sometimes settlers, from European countries to other places in the world. Stratton explores the concept of 'song careers', referring to how a song is picked up and then transformed by being revisioned by different artists and in different cultural contexts. The idea of the song career extends the descriptive term 'cover' in order to examine the transformations a song undergoes from artist to artist and cultural context to cultural context. Stratton focuses on the British faultline between the post-war African-Caribbean settlers and the white Britons. Central to the book is the question of identity. For example, how African-Caribbean people have constructed their identity in Britain can be considered through an examination of when 'Police on My Back' was written and how it has been revisioned by Lethal Bizzle in its most recent iteration. At the same time, this song, written by the Guyanese migrant Eddy Grant for his mixed-race group The Equals, crossed the racial faultline when it was picked up by the punk-rock group, The Clash. Conversely, 'Johnny Reggae', originally a pop-ska track written about a skinhead by Jonathan King and performed by a group of studio artists whom King named The Piglets, was revisioned by a Jamaican studio group called The Roosevelt Singers. After this, the character of Johnny Reggae takes on a life of his own and appears in tracks by Jamaican toasters as a Rastafarian. Johnny's identity is, then, totally transformed. It is this migration of music that will appeal not only to those studying popular music, but

Normal 0 MicrosoftInternetExplorer4 st1\: *{behavior: url(#ieooui) } /* Style Definitions */ table.MsoNormalTable {mso-style-name: "Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow: yes; mso-style-parent: "; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom: .0001pt; mso-pagination: widow-orphan; font-size:10.0pt; font-family: "Times New Roman";}

From youth violence, to the impact of high stakes educational testing, to editorial hand wringing over the moral failures of hip-hop culture, young people of color are often portrayed as gang affiliated, "troubled," and ultimately, dangerous. The Hip-Hop Generation Fights Back examines how youth activism has emerged to address the persistent inequalities that affect urban youth of color. Andreana Clay provides a detailed account of the strategies that youth activists use to frame their social justice agendas and organize in their local communities.

Based on two years of fieldwork with youth affiliated with two non-profit organizations in Oakland, California, The Hip-Hop Generation Fights Back shows how youth integrate the history of social movement activism of the 1960s, popular culture strategies like hip-hop and spoken word, as well as their experiences in the contemporary urban landscape, to mobilize their peers. Ultimately, Clay's comparison of the two youth organizations and their participants expands our understandings of youth culture, social movements, popular culture, and race and ethnic relations.

American composer George Gershwin, an icon of the American Jazz Age, indelibly marked 20th-century music, with many of his works becoming standards in the popular and jazz music repertory, not to mention his world-famous classical works such as Rhapsody in Blue (1924) and Porgy and Bess (1935). This major bibliography includes a brief biography, which examines Gershwin's influence and situates him within the cultural context of his time, a complete cross-reference list of all his compositions, a discography of more than 1,150 items, and a descriptive filmography. The extensive bibliography includes writings by both George and his brother Ira, and more than 2,100 entries about George's compositions.

As an exhaustive research tool, this up-to-date bibliographic reference compiles information on George Gershwin from numerous, disparate sources and should appeal to music and theater scholars, cultural historians, and Gershwin enthusiasts alike. The work is divided among seven sections that cross-reference one another. A separate appendix lists itineraries for the Paul Whiteman tours of 1924-1925, and the Leo Reisman tour of 1934, at which Gershwin's music figured prominently, and a comprehensive index completes the volume.

Pepper Adams' Joy Road is more than a compendium of sessions and gigs done by the greatest baritone saxophone soloist in history. It's a fascinating overview of Adams' life and times, thanks to colorful interview vignettes, drawn from the author's unpublished conversations with Adams and other musicians. These candid observations from jazz greats about Adams and his colleagues reveal previously unknown, behind-the-scenes drama about legendary recordings made by John Coltrane, Charles Mingus, Thelonious Monk, Dizzy Gillespie, Duke Pearson, Thad Jones, David Amram, Elvin Jones, and many others. All types of sound material-studio recordings, private tapes and broadcasts, film scores, audience tapes, and even jingles-are listed, and Adams' oeuvre is pushed back from 1956 to 1947, when Adams was 16 years old, before he played baritone saxophone. Because of Carner's access to Adams' estate, just prior to its disposition in 1987, much new discographical material is included, now verified by Adams' date books and correspondence. Since Adams worked in so many of the great bands of his era, Pepper Adams' Joy Road is a refreshing, sometimes irreverent walk through a large swath of jazz history. This work also functions as a nearly complete band discography of the Thad Jones-Mel Lewis Orchestra, the most influential big band of its time. Adams was a founding member and stayed with the band until a year before Jones left to relocate in Denmark. Finally, Carner charts the ascent of Adams as an original yet still underappreciated composer, one who wrote 43 unique works, nearly half of them after August, 1977, when he left Jones-Lewis to tour the world as a soloist. Pepper Adams' Joy Road, the first book ever published about Pepper Adams, is a companion to the author's forthcoming biography on Adams.

Terry Gibbs, legendary jazz vibraphonist and bandleader, was 12 years old when he kicked off his career as a professional musician, winning first place in an amateur performance. Born and raised in the heart of Brooklyn and possessing tremendous musical talent, Gibbs learned the ins and outs of bebop from pioneers like Dizzy Gillespie, Charlie Parker, and Bud Powell. In 1959 his ensemble, later dubbed The Dream Band, became the toast of Hollywood. Four decades, 65 albums, and 300 compositions later, his story is one of great substance-his foot tapping music, revolutionary. Good Vibes is a rollicking autobiography that tracks jazz from the turbulent post-war years through the rise of bebop, traversing its changes through the eyes of one of its greatest practitioners. Gibbs's hilarious, poignant, and always fascinating anecdotes reveal little-known attributes and quirks about legendary personalities such as Benny Goodman, Buddy Rich, Steve Allen, Frank Sinatra, Don Rickles, Billie Holiday, and many more. A foreword by Chubby Jackson, a discography, and an index round out this work."

Interaction, Improvisation, and Interplay in Jazz Performance offers a new and exciting way to listen to and understand jazz. When describing a performance, most jazz writers focus on the improvised lines of the soloist and their underlying harmonic progressions. This approach overlooks the basic fact that when you listen to jazz, you almost never hear a single line, but rather a musical fabric woven by several musicians in real time. While it is often pragmatic to single out an individual solo line, it is important to remember that an improvised solo is but one thread in that fabric; and it is a thread supported by, responded to, and responsive of the parts being played by the other musicians in the group.

Interaction, Improvisation, and Interplay in Jazz Performance explores the process of player interaction in jazz, and the role this interaction plays in creating improvised music, including:

• jazz improvisation through theory and analysis
• musical roles, behaviours and relationships
• harmony, interaction and performance

Interaction, Improvisation, and Interplay in Jazz Performance will appeal to students of jazz history, composition, and performance, as well as to the general jazz audience.

Greg Lake first won acclaim as lead vocalist, bass guitarist and producer when, together with Robert Fripp, he formed King Crimson. Their first album, the landmark In the Court of the Crimson King, co-produced by Greg, featured the iconic song '21st Century Schizoid Man'. King Crimson pioneered progressive rock and paved the way for many famous bands that followed, from Yes and Genesis to the Red Hot Chilli Peppers. In 1970 Greg met fellow legend Keith Emerson during a North American tour; the two shared common bonds: European musical influences and a desire to reinterpret classical works while creating a new musical genre. After being introduced to drummer Carl Palmer, they formed the first progressive rock supergroup Emerson, Lake and Palmer. To date ELP has sold over 50 million records. Lake produced Emerson, Lake & Palmer, Tarkus, Pictures at an Exhibition, Trilogy, Brain Salad Surgery, Works Vol. 1 and 2, and two different live albums. All went platinum and featured a series of hit singles, most written and all sung by Lake. The three created a unique live theatrical performance which featured Emerson attacking his keyboards with knives, Palmer playing a 2.5 ton stainless steel kit and Lake performing on a GBP6,000 Persian rug which had its own roadie. One of their very first performances was at the historic Isle of Wight Festival in 1970 and they went on to headline California Jam, one of the biggest concerts of the 1970s, attended by 350,000 people. Probably the voice of his generation, Greg fronted the greatest rock supergroup of the 1970s but never held with the 'progressive' tag that attached itself to both the music and the excess. Lucky Man not only charts the highs and lows of a career in rock music but also reflects on the death of Keith Emerson last year, living with terminal cancer and the end of life. Greg can best be summed up by his now-famous line: 'Material wealth is a very fleeting pleasure ... when you can buy anything you want and do anything you want, you soon discover that you actually don't want any of it.'

- Long considered the last word on Hank Williams, this biography has remained continuously in print since its first publication in 1994.- This new edition has been completely updated and includes many previously unpublished photographs, as well as a complete catalog detailing all the songs Hank Williams ever wrote, even those he never recorded.- Colin Escott is codirector and cowriter of the forth-coming two-hour PBS/BBC television documentary on Hank Williams, set to broadcast in spring 2004, and coauthor of "Hank Williams: Snapshots from the Lost Highway.- HANK WILLIAMS was the third-prize winner of the prestigious Ralph J. Gleason Music Book Award.

Jazz has had a peculiar and fascinating history in Germany. The influential but controversial German writer, broadcaster, and record producer, Joachim-Ernst Berendt (1922-2000), author of the world's best-selling jazz book, labored to legitimize jazz in West Germany after its ideological renunciation during the Nazi era. German musicians began, in a highly productive way, to question their all-too-eager adoption of American culture and how they sought to make valid artistic statements reflecting their identity as Europeans. This book explores the significance of some of Berendt's most important writings and record productions. Particular attention is given to the "Jazz Meets the World" encounters that he engineered with musicians from Japan, Tunisia, Brazil, Indonesia, and India. This proto-"world music" demonstrates how some West Germans went about creating a post-nationalist identity after the Third Reich. Berendt's powerful role as the West German "Jazz Pope" is explored, as is the groundswell of criticism directed at him in the wake of 1968.

"Duxbury attempts to document the connections between the rock and classical music genres by listing recorded examples of rock instrumentals and songs that borrow from the classics, and orchestral versions of songs originally composed and/or recorded by rock musicians. . . . There are appendices of selective' lists: big-band versions of the classics, etc. The general index includes the names of classical composers, rock groups and artists, orchestras, choruses, conductors, producers, and song titles. . . . The selective nature of the work might make it less appropriate for scholars, but it will interest and amuse fans and general readers. Recommended for collections specializing in popular music." Choice

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.

Selected and arranged by the author, How To Be Invisible presents the lyrics of Kate Bush in a beautiful new paperback edition featuring a new cover by illustrator Jim Kay. 'The greatest singer-songwriter of the past 40 years, whose work is complex, ethereal and filled with so many secrets that one can listen to the albums for decades and still discover new delights every time [. . .] There's not a spare word anywhere in Bush's work. Everything means something.' Irish Times

The Rolling Stones: Sociological Perspectives, edited by Helmut Staubmann, draws from a broad spectrum of sociological perspectives to contribute both to the understanding of the phenomenon Rolling Stones and to an in-depth analysis of contemporary society and culture that takes The Stones a starting point. Contributors approach The Rolling Stones from a range of social science perspectives including cultural studies, communication and film studies, gender studies, and the sociology of popular music. The essays in this volume focus on the question of how the worldwide success of The Rolling Stones over the course of more than half a century reflects society and the transformation of popular culture.

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.

When Mark Radcliffe was born in the late 1950s, Britain was trying to find its own version of the dangerously sexy Elvis ... we gave the world Cliff Richard but by the time Mark was old enough to recognise pop songs on the radio, the UK was exploding into the world's most exciting place to be for a young music fan. In this, his eagerly awaited new book, Mark Radcliffe takes a record from each year of his life, using the song as a starting point from which to reach out and pull together a wonderfully entertaining catalogue of memories and asides about British culture. And, as one would expect from this unique and popular broadcaster, the tunes he lists are not the usual suspects. From The Kinks' 'See My Friends', through Slade's 'Coz I Luv You' to Kraftwerk's 'Europe Endless' and Joy Division's 'Atmosphere', Mark's selections bring forth a diverse collision of styles from eras uniquely defined by their musical genres and fashions. Bringing his choices right up to the present day, we see the inclusion of artists such as Richard Hawley, Elbow and Fleet Foxes. Mark's hugely entertaining and affectionate trawl through his favourite music of the past 50 years is guaranteed to surprise and delight his many fans.

Serge Chaloff (1923-1957) is most widely remembered as the flamboyant baritone saxophone star with Woody Herman's 2nd Herd whose problems with drugs extended to erratic personal behavior. Nevertheless, there were many brilliant sessions featuring his work before and after his stint with Herman. This work attempts to bring them the recognition they deserve. Simosko details the life and music of Serge Chaloff in an engaging style, from his childhood in Boston, Massachusetts, through his untimely death in 1957. He also provides a discography of Chaloff's recorded output, much of which has been made available by the 1993 Mosaic Records release of The Complete Serge Chaloff Sessions.

This volume provides a transnational study of the impact of musical cultures in the Eastern Baltics-Lithuania, Latvia, Poland, and Russia-at the end of the Cold War and in the early post-Communist period. Throughout the book, the contributors explore and conceptualize transnational musical collaboration and the diffusion of information, people, and ideas focusing on musical activity which shaped the moral and artistic outlook of several generations. The volume sheds light on the transformative power of politically and socially engaged music and offers a deeper understanding of the artistic potential of societies and its impact on social and political change.

From the mid-1950s to the late 1970s, jazz was harnessed as America's "sonic weapon" to promote an image to the world of a free and democratic America. Dizzy Gillespie, Dave Brubeck, Duke Ellington and other well-known jazz musicians were sent around the world - including to an array of Communist countries - as "jazz ambassadors" in order to mitigate the negative image associated with domestic racial problems. While many non-Americans embraced the Americanism behind this jazz diplomacy without question, others criticized American domestic and foreign policies while still appreciating jazz - thus jazz, despite its popularity, also became a medium for expressing anti-Americanism. This book examines the development of jazz outside America, including across diverse historical periods and geographies - shedding light on the effectiveness of jazz as an instrument of state power within a global political context. Saito examines jazz across a wide range of regions, including America, Europe, Japan and Communist countries. His research also draws heavily upon a variety of sources, primary as well as secondary, which are accessible in these diverse countries: all had their unique and culturally specific domestic jazz scenes, but also interacted with each other in an interesting dimension of early globalization. This comparative analysis on the range of unique jazz scenes and cultures offers a detailed understanding as to how jazz has been interpreted in various ways, according to the changing contexts of politics and society around it, often providing a basis for criticizing America itself. Furthering our appreciation of the organic relationship between jazz and global politics, Saito reconsiders the uniqueness of jazz as an exclusively "American music." This book will be of interest to students and scholars of international relations, the history of popular music, and global politics.

The field of popular music production is overwhelmingly male dominated. Here, Paula Wolfe discusses gendered notions of creativity and examines the significant under-representation of women in studio production. Wolfe brings an invaluable perspective as both a working artist-producer and as a scholar, thereby offering a new body of research based on interviews and first-hand observation. Wolfe demonstrates that patriarchal frameworks continue to form the backbone of the music industry establishment but that women's work in the creation and control of sound presents a potent challenge to gender stereotyping, marginalisation and containment of women's achievements that is still in evidence in music marketing practices and media representation in the digital era.

This book focuses on 50 of the most important entertainers in contemporary country music, providing a brief biography of each artist with special emphasis on experiences that influenced their musical careers. The work is divided into five distinct categories. ""The New Traditionalists"" features artists such as George Strait, Reba McEntire, and Clint Black, who established the mainstream country sound in the 1980s and delivered country music to urban America for the first time. ""Alternative Country"" features artists such as Steve Earle and Bela Fleck, who made country music on their own terms and explored radical or alternative sounds. ""Groups"" includes several ensemble acts, among them Alabama, The Dixie Chicks, and Rascal Flatts, that have carried on the tight-knit traditions of the Carter family and other prominent groups of the 1920s and 1930s. ""Country-Pop"" features artists such as Garth Brooks and Shania Twain who firmly established the ""countrypolitan"" sound as the cash cow of Nashville while also attracting a new generation of fans. Finally, ""New Country"" focuses on the next generation of country-pop artists, with particular attention paid to international megastars, such as Keith Urban, and teen sensations, including LeAnn Rimes and Taylor Swift.

The playback of recordings is the primary means of experiencing music in contemporary society, and in recent years 'classical' musicologists and popular music theorists have begun to examine the ways in which the production of recordings affects not just the sound of the final product but also musical aesthetics more generally. Record production can, indeed, be treated as part of the creative process of composition. At the same time, training in the use of these forms of technology has moved from an apprentice-based system into university education. Musical education and music research are thus intersecting to produce a new academic field: the history and analysis of the production of recorded music. This book is designed as a general introductory reader, a text book for undergraduate degree courses studying the creative processes involved in the production of recorded music. The aim is to introduce students to the variety of approaches and methodologies that are currently being employed by scholars in this field. The book is divided into three sections covering historical approaches, theoretical approaches and case studies and practice. There are also three interludes of commentary on the academic contributions from leading record producers and other industry professionals. This collection gives students and scholars a broad overview of the way in which academics from the analytical and practice-based areas of the university system can be brought together with industry professionals to explore the ways in which this new academic field should progress.

The playback of recordings is the primary means of experiencing music in contemporary society, and in recent years 'classical' musicologists and popular music theorists have begun to examine the ways in which the production of recordings affects not just the sound of the final product but also musical aesthetics more generally. Record production can, indeed, be treated as part of the creative process of composition. At the same time, training in the use of these forms of technology has moved from an apprentice-based system into university education. Musical education and music research are thus intersecting to produce a new academic field: the history and analysis of the production of recorded music. This book is designed as a general introductory reader, a text book for undergraduate degree courses studying the creative processes involved in the production of recorded music. The aim is to introduce students to the variety of approaches and methodologies that are currently being employed by scholars in this field. The book is divided into three sections covering historical approaches, theoretical approaches and case studies and practice. There are also three interludes of commentary on the academic contributions from leading record producers and other industry professionals. This collection gives students and scholars a broad overview of the way in which academics from the analytical and practice-based areas of the university system can be brought together with industry professionals to explore the ways in which this new academic field should progress.

(Easy Guitar). A jam-packed collection of 100 country classics arranged for beginning-level guitarists. Includes: Achy Breaky Heart (Don't Tell My Heart) * All the Gold in California * Could I Have This Dance * Coward of the County * Down at the Twist and Shout * Folsom Prison Blues * He Stopped Loving Her Today * Jambalaya * Lucille * On the Road Again * Rocky Top * Walkin' After Midnight * Wichita Lineman * and more.

When singer Amy Winehouse was found dead at her London home in 2011, the press inducted her into what Kurt Cobain's mother named the 27 Club. Now he's gone and joined that stupid club, she said in 1994, after being told that her son, the front man of Nirvana, had committed suicide. I told him not to... Kurt's mom was referring to the extraordinary roll call of stars who died at the same young age, including Brian Jones of the Rolling Stones, Jimi Hendrix, Janis Joplin, and Jim Morrison of the Doors. All were talented. All were dissipated. All were 27. In this haunting book, author Howard Sounes conducts the definitive forensic investigation into the lives and deaths of the six most iconic members of the Club, as well as some lesser known members, to discover what, apart from coincidence, this phenomenon signifies. In a grimly fascinating journey through the dark side of the music business, Sounes uncovers a common story of excess, madness, and self-destruction. The fantasies, half-truths, and mythologies that have become associated with the Club are debunked. Instead, a clear and compelling narrative emerges, one based on hard facts, that unites these lost souls in both life and death.