Few styles of popular music have generated as much controversy as progressive rock, a musical genre best remembered today for its gargantuan stage shows, its fascination with epic subject matter drawn from science fiction, mythology, and fantasy literature, and above all for its attempts to combine classical music's sense of space and monumental scope with rock's raw power and energy. Its dazzling virtuosity and spectacular live concerts made it hugely popular with fans during the 1970s, who saw bands such as King Crimson, Emerson, Lake and Palmer, Yes, Genesis, Pink Floyd, and Jethro Tull bring a new level of depth and sophistication to rock. On the other hand, critics branded the elaborate concerts of these bands as self- indulgent and materialistic. They viewed progressive rock's classical/rock fusion attempts as elitist, a betrayal of rock's populist origins.
In Rocking the Classics, the first comprehensive study of progressive rock history, Edward Macan draws together cultural theory, musicology, and music criticism, illuminating how progressive rock served as a vital expression of the counterculture of the late 1960s and 1970s. Beginning with a description of the cultural conditions which gave birth to the progressive rock style, he examines how the hippies' fondness for hallucinogens, their contempt for Establishment-approved pop music, and their fascination with the music, art, and literature of high culture contributed to this exciting new genre. Covering a decade of music, Macan traces progressive rock's development from the mid- to late-sixties, when psychedelic bands such as the Moody Blues, Procol Harum, the Nice, and Pink Floyd laid the foundation of the progressive rock style, and proceeds to the emergence of the mature progressive rock style marked by the 1969 release of King Crimson's album In the Court of the Crimson King. This "golden age" reached its artistic and commercial zenith between 1970 and 1975 in the music of bands such as Jethro Tull, Yes, Genesis, ELP, Gentle Giant, Van der Graaf Generator, and Curved Air.
In turn, Macan explores the conventions that govern progressive rock, including the visual dimensions of album cover art and concerts, lyrics and conceptual themes, and the importance of combining music, visual motif, and verbal expression to convey a coherent artistic vision. He examines the cultural history of progressive rock, considering its roots in a bohemian English subculture and its meteoric rise in popularity among a legion of fans in North America and continental Europe. Finally, he addresses issues of critical reception, arguing that the critics' largely negative reaction to progressive rock says far more about their own ambivalence to the legacy of the counterculture than it does about the music itself.
An exciting tour through an era of extravagant, mind-bending, and culturally explosive music, Rocking the Classics sheds new light on the largely misunderstood genre of progressive rock.

Beginning in the 1930s, men and a handful of women came from India's many communities-Marathi, Parsi, Goan, North Indian, and many others--to Mumbai to work in an industry that constituted in the words of some, "the original fusion music." They worked as composers, arrangers, assistants, and studio performers in one of the most distinctive popular music and popular film cultures on the planet. Today, the songs played by Mumbai's studio musicians are known throughout India and the Indian diaspora under the popular name "Bollywood," but the musicians themselves remain, in their own words, "behind the curtain"--the anonymous and unseen performers of one of the world's most celebrated popular music genres.
Now, Gregory D. Booth offers a compelling account of the Bollywood film music industry from the perspective of the musicians who both experienced and shaped its history. In a rare insider's look at the process of musical production from the late 1940s to the mid 1990s, before the advent of digital recording technologies, Booth explains who these unknown musicians were and how they came to join the film music industry. On the basis of a fascinating set of first-hand accounts from the musicians themselves, he reveals how the day-to-day circumstances of technology and finance shaped both the songs and the careers of their creator and performers. Booth also unfolds the technological, cultural, and industrial developments that led to the enormous studio orchestras of the 1960s-90s as well as the factors which ultimately led to their demise in contemporary India.
Featuring an extensive companion website with video interviews with the musicians themselves, Behind the Curtain is apowerful, ground-level view of this globally important music industry.

The Oxford Handbook of Music and World Christianities investigates music's role in everyday practice and social history across the diversity of Christian religions and practices around the globe. The volume explores Christian communities in the Americas, Europe, Africa, Asia, and Australia as sites of transmission, transformation, and creation of deeply diverse musical traditions. The book's contributors, while mostly rooted in ethnomusicology, examine Christianities and their musics in methodologically diverse ways, engaging with musical sound and structure, musical and social history, and ethnography of music and musical performance. These broad materials explore five themes: music and missions, music and religious utopias (and other oppositional religious communities), music and conflict, music and transnational flows, and music and everyday life. The volume as a whole, then, approaches Christian groups and their musics as diverse and powerful windows into the way in which music, religious ideas, capital, and power circulate (and change) between places, now and historically. It also tries to take account of the religious self-understandings of these groups, presenting Christian musical practice and exchange as encompassing and negotiating deeply felt and deeply rooted moral and cultural values. Given that the centerpiece of the volume is Christian religious musical practice, the volume reveals the active role music plays in maintaining and changing religious, moral, and cultural values in a long history of intercultural and transnational encounters.

A cogent blueprint for the development of a "public philosophy" that integrates shared principles and values into our troubled social structure and articulates a consensus vision of society's future.

The continuing vitality of American thought stems, to a large extent, from the application of its historical roots embedded in contemporary problems and issues. Yet for some time the signal contributions of Josiah Royce (1855-1916) have been overlooked in the formulation and shaping of critical areas of public policy. In this brilliantly articulated new book, ethicist Jacquelyn Kegley carefully explicates and enlarges the scope of Roycean thought and shows that Royce's views on public philosophy have direct and valuable application to current social problems.

Working from the assumption that issues of family, education, and health care are not merely exigent political tempests but areas of genuine, long-lasting concern, Kegley opens fresh perspectives on Royce's philosophy by introducing and applying his ideas to discussions of how we care for ourselves and our society today. She analyzes Roycean criteria that can be successfully used to nourish developmental stages within families, promote intellectual and social growth in schooling and scholarship, and sustain physical and mental well-being throughout the life cycle.

"Genuine Individuals and Genuine Communities" should be a springboard for the reassessment of contemporary public policy and the reapplication of the American philosophical legacy to current issues and decisions. Kegley's work serves as a solid contribution both to public philosophy and to the continued vitality of American thought, and it extends the range of both.

Trance events have an uncanny ability to capture an era, and captivate an audience of travellers occupying the eternal theatre of the dance floor. As this book shows, the tendency within psytrance is to thwart the passage of time, to prolong the night, for those who adopt a liminal lifestyle. Amid the hustle and hubris of the psytrance carnival there is a peaceful repose that you sometimes catch when you've drifted into a sea of outstretched limbs, bodies swaying like a field of sunflowers in a light breeze. And you feel intense joy in this fleeting moment. You are the moment. You are inside the flow. You are all. Embodying the poetry of dance, you are living evidence that nothing lasts. And this is a deep revelation of the mystical function of trance. It is difficult to emerge from this little death, because one does not want the party to end. But it must end, even so that it can recommence - so that one can return to repeat the cycle. The result of fifteen years of research in over a dozen countries, this book applies a sharp lens on a little understood global dance culture that has mushroomed all over the world since its beginnings in the diverse psychedelic music scenes flourishing in Goa in the 1970s and 1980s. The paramount expression of this movement has been the festival, from small parties to major international events such as Portugal's Boom Festival, which promotes itself as a world-summit of visionary arts and trance, a "united tribe of the world". Via first-hand accounts of the scenes, events and music of psychedelic trance in Australia, Israel, Germany, Italy, the UK, the US, Turkey and other places, the book thoroughly documents this transnational movement with its diverse aesthetic roots, multiple national translations and internal controversies. As a multi-sited ethnography and an examination of the digital, chemical, cyber and media assemblage constituting psytrance, the book explores the integrated role that technology and spirituality have played in the formation of this visionary arts movement and shows how these event-cultures accommodate rites of risk and consciousness, a complex circumstance demanding revision of existing approaches to ritual, music and culture.

On the back of his published diary Brian Eno describes himself variously as: a mammal, a father, an artist, a celebrity, a pragmatist, a computer-user, an interviewee, and a 'drifting clarifier'. To this list we might add rock star (on the first two Roxy Music albums); the creator of lastingly influential music (Another Green World; Music for Airports); a trusted producer (for Talking Heads, U2, Coldplay and a host of other artists); the maker of large-scale video and installation artworks; a maker of apps and interactive software; and so on. All in all, he is one of the most feted and most influential musical figures of the past forty years even though he himself has consistently downplayed his musical abilities, describing himself as a non-musician on more than one occasion. This volume examines Eno's work as a musician, as a theoretician, as a collaborator, and as a producer. Brian Eno is one of the most influential figures in popular music; an updated examination of his work on this scale is long overdue.

"If You Don't Know Me By Now," "The Love I Lost," "The Soul Train Theme," "Then Came You," "Ain't No Stoppin' Us Now"--the distinctive music that became known as Philly Soul dominated the pop music charts in the 1970s. In A House on Fire, John A. Jackson takes us inside the musical empire created by Kenny Gamble, Leon Huff, and Thom Bell, the three men who put Philadelphia Soul on the map.
Here is the eye-opening story of three of the most influential and successful music producers of the seventies. Jackson shows how Gamble, Huff, and Bell developed a black recording empire second only to Berry Gordy's Motown, pumping out a string of chart-toppers from Harold Melvin & the Blue Notes, the Spinners, the O'Jays, the Stylistics, and many others. The author underscores the endemic racism of the music business at that time, revealing how the three men were blocked from the major record companies and outlets in Philadelphia because they were black, forcing them to create their own label, sign their own artists, and create their own sound. The sound they created--a sophisticated and glossy form of rhythm and blues, characterized by crisp, melodious harmonies backed by lush, string-laden orchestration and a hard-driving rhythm section--was a glorious success, producing at least twenty-eight gold or platinum albums and thirty-one gold or platinum singles. But after their meteoric rise and years of unstoppable success, their production company finally failed, brought down by payola, competition, a tough economy, and changing popular tastes.
Funky, groovy, soulful--Philly Soul was the classic seventies sound. A House on Fire tells the inside story of this remarkable musical phenomenon.

The Bloomsbury Encyclopedia of Popular Music Volume 7 is one of five volumes within the 'Locations' strand of the series. This volume discusses the popular music of Europe in a historical, geographical, demographical, political, economic, and cultural context. It also examines the genres associated with the region, significant venues such as theatres, dance halls, clubs and bars, and notable performers and other practitioners such as producers, engineers, and technological innovators. The volume consists of over 100 entries written by more than 60 leading popular music scholars and practitioners, including Paolo Prato on Italy and Alf Bjoernberg on Sweden. This and all other volumes of the Encyclopedia are now available through an online version of the Encyclopedia: https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW. A general search function for the whole Encyclopedia is also available on this site. A subscription is required to access individual entries. Please see: https://www.bloomsburypopularmusic.com/for-librarians.

The Real Singing Cowboys profiles contemporary cowboy--and cowgirl--singers and musicians who are, or have been, authentic working cowboys or ranchers, or involved in related occupations tied to ranching and cowboy culture. The book includes over fifty brief biographies and photos of the singers and musicians, including Glenn Ohrlin, Dave Stamey, Wylie Gustafson, and R.W. Hampton. The stories of traditional occupational songs of working cowboys and how that tradition continues in today's world provide context for the contemporary performers included in the book. These men, women, and children are, or have been, working cowboys, ranchers, packers, and horse trainers, or have deep roots in cowboy and ranching culture that have shaped and informed their music.

Many describe jazz asa the one true form of American music. Arising out of the syncopated rhythms of African music, Cajun songs, and Ragtime, jazz evolved in many 'scenes' throughout the country. The Young Lions jazz movement in New Orleans spread up the Mississippi in the northern Migration. Communities such as St. Louis and Sedalia became jazz centers, while Count Bassie led a revolution in Kansas City. Chicago became a center of freewheeling jazz in the 1920s with the efforts of Jelly Roll Morton, King Oliver, and Louis Armstrong, while classic jazz and swing took root in New York City in the '30s and '40s behind Duke Ellington, Cab Calloway, and Benny Goodman. And while 'boogie woogie' and 'hot jazz' grew out of the Big Apple, a generation of experimental musicians such as Chet Baker and Stan Kenton stood at the forefront of West Coast jazz. Yankow carefully traces the evolution of jazz from regional manifestations to an increasingly national language at the turn of the 20th century. Many audiophiles describe jazz as the one true form of American music. Arising out of the syncopated rhythms of African music, Cajun songs, and Ragtime, jazz evolved in many scenes throughout the country. The Young Lions jazz movement in New Orleans spread up the Mississippi in the northern Migration. Missouri communities such as St. Louis and Sedalia became jazz centers, while Count Basie led a revolution in Kansas City. Chicago became a center of freewheeling jazz in the 1920s with the efforts of Jelly Roll Morton, King Oliver, and Louis Armstrong, while classic jazz and swing took root in New York City in the '30s and '40s behind Duke Ellington, Cab Calloway, and Benny Goodman, the King of Swing. And while boogie woogie and hot jazz grew out of the Big Apple, a generation of experimental musicians such as Chet Baker and Stan Kenton stood at the forefront of West Coast jazz and the Los Angeles scene. Noted jazz writer Scott Yanow carefully traces the evolution of jazz from regional manifestations to an increasingly national language at the turn of the 20th and 21st centuries. The Greenwood Guide to American Roots Music series includes volumes on musical genres that have pervaded American culture. This series describes American musical traditions that have been associated with specific geographic regions throughout our nation. Each volume explores the different ways that a genre, such as jazz, has evolved naturally in different regions and scenes while becoming an undeniable element of American culture.

Providing a fresh reevaluation of a specific era in popular music, this book contextualizes the era in terms of both radio history and cultural analysis. "Early '70s Radio" focuses on the emergence of commercial music radio "formats", which refer to distinct musical genres aimed toward specific audiences. This formatting revolution took place in a period rife with heated politics, identity anxiety, large-scale disappointments and seemingly insoluble social problems. As industry professionals worked overtime to understand audiences and to generate formats, they also laid the groundwork for market segmentation. Audiences, meanwhile, approached these formats as safe havens wherein they could reimagine and redefine key issues of identity. A fresh and accessible exercise in audience interpretation, "Early '70s Radio" is organized according to the era's five prominent formats and analyzes each of these in relation to their targeted demographics, including Top 40, "Soft rock", Album-oriented rock, Soul and Country. The book closes by making a case for the significance of early '70s formatting in light of commercial radio today.

The Bloomsbury Encyclopedia of Popular Music Volume 6 is one of five volumes within the 'Locations' strand of the series. This volume discusses the popular music of African and the Middle East in a historical, geographical, demographical, political, economic, and cultural context. It also examines the genres associated with the region, significant venues such as theatres, dance halls, clubs and bars, and notable performers and other practitioners such as producers, engineers, and technological innovators. The volume consists of over 100 entries written by more than 60 leading popular music scholars and practitioners, including John Collins on Ghana, Moya Aliya Malamusi on Malawi, and, Motti Regev on Israel. This and all other volumes of the Encyclopedia are now available through an online version of the Encyclopedia: https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW. A general search function for the whole Encyclopedia is also available on this site. A subscription is required to access individual entries. Please see: https://www.bloomsburypopularmusic.com/for-librarians.

Hip-Hop Within and Without the Academy explores why hip-hop has become such a meaningful musical genre for so many musicians, artists, and fans around the world. Through multiple interviews with hip-hop emcees, DJs, and turntablists, the authors explore how these artists learn and what this music means in their everyday lives. This research reveals how hip-hop is used by many marginalized peoples around the world to help express their ideas and opinions, and even to teach the younger generation about their culture and tradition. In addition, this book dives into how hip-hop is currently being studied in higher education and academia. In the process, the authors reveal the difficulties inherent in bringing this kind of music into institutional contexts and acknowledge the conflicts that are present between hip-hop artists and academics who study the culture. Building on the notion of bringing hip-hop into educational settings, the book discusses how hip-hop is currently being used in public school settings, and how educators can include and embrace hip-hop s educational potential more fully while maintaining hip-hop s authenticity and appealing to young people. Ultimately, this book reveals how hip-hop s universal appeal can be harnessed to help make general and music education more meaningful for contemporary youth."

Essays in this volume explore the popular cultural effects of rock culture on high literary production in Spain in the 1990s.

From the Jim Crow world of 1920s Greenville, South Carolina, to Greenwich Village's Café Society in the '40s, to their 1974 Grammy-winning collaboration on "Loves Me Like a Rock," the Dixie Hummingbirds have been one of gospel's most durable and inspiring groups. Now, Jerry Zolten tells the Hummingbirds' fascinating story and with it the story of a changing music industry and a changing nation. When James Davis and his high-school friends starting singing together in a rural South Carolina church they could not have foreseen the road that was about to unfold before them. They began a ten-year jaunt of "wildcatting," traveling from town to town, working local radio stations, schools, and churches, struggling to make a name for themselves. By 1939 the a cappella singers were recording their four-part harmony spirituals on the prestigious Decca label. By 1942 they had moved north to Philadelphia and then New York where, backed by Lester Young's band, they regularly brought the house down at the city's first integrated nightclub, Café Society. From there the group rode a wave of popularity that would propel them to nation-wide tours, major record contracts, collaborations with Stevie Wonder and Paul Simon, and a career still vibrant today as they approach their seventy-fifth anniversary. Drawing generously on interviews with Hank Ballard, Otis Williams, and other artists who worked with the Hummingbirds, as well as with members James Davis, Ira Tucker, Howard Carroll, and many others, The Dixie Hummingbirds brings vividly to life the growth of a gospel group and of gospel music itself.

From the dankest rat hole basements to flash arenas, here is a wild ride through Rock 'n' Roll's nightmare -moments. Rife with hellfire confessionals straight from the bruised lips and shaky hands of jobbing bands, "Gigs from Hell "strips the mythology and starry-eyed allure of life on the road to its barest essentials-puke, sodomy, rip-offs, come-downs, and the odd stab at glory.

Collected and translated from drunken rock-speak by speedball music writer Sleazegrinder, "Gigs From Hell "is a rare glimpse into what it's really liketo tour, record, and survive in the cutthroat world of the -music industry-no holds barred, full speed ahead, the most cringe-worthy moments fully intact.

Foreword by Vadge Moore, drummer for the Dwarves.

The Bloomsbury Encyclopedia of Popular Music Volume 4 is one of five volumes within the 'Locations' strand of the series. This volume discusses the popular music of North America in a historical, geographical, demographical, political, economic, and cultural context. It also examines the genres associated with the region, significant venues such as theatres, dance halls, clubs and bars, and notable performers and other practitioners such as producers, engineers, and technological innovators. The volume consists of over 90 entries written by more than 60 leading popular music scholars and practitioners, including Richard Peterson on Nashville, Amy Ku'uleialoha Stillman on Hawai'I, and David Laing on Los Angeles. This and all other volumes of the Encyclopedia are now available through an online version of the Encyclopedia: https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW. A general search function for the whole Encyclopedia is also available on this site. A subscription is required to access individual entries. Please see: https://www.bloomsburypopularmusic.com/for-librarians.

Sting has successfully established himself as one of the most important singer-songwriters in Western popular music over the past twenty years. His affinity for collaborative work and disparate musical styles has pushed his music into an astonishing array of contexts, but no matter what the style or who the collaborator, Sting's voice always remains distinct, and this fact has earned him success amongst a correspondingly broad audience. Songs from his period with The Police, such as "Roxanne," "Don't Stand So Close to Me," "Every Breath You Take," and "King of Pain," helped establish his reputation as a sophisticated craftsman; however, it is in his solo career that he has truly come into his own as a songwriter, and several of his solo works, including "Fragile," "All This Time," "Fields of Gold," "Desert Rose," and "Moon Over Bourbon Street," are modern classics. Aside from his commercial success, Sting is also interesting for the use of recurring themes in his lyrics (such as family relationships, love, war, spirituality, and work) and for his use of jazz and world music to illustrate or work against the "meaning" of a song. Sting's life also sheds light on his music, as his working-class roots in Newcastle, England are never far removed from his international superstardom. Throughout his life, he has been musically open-minded and inquisitive, always seeking out new styles and often incorporating them into his compositions. The Words and Music of Sting subdivides Sting's life and works into rough periods of creative activity and offers a fantastic opportunity to view Sting's many stylistic changes within a coherent general framework. After analyzing Sting's musical output album byalbum and song by song, author Christopher Gable sums up Sting's accomplishments and places him on the continuum of influential singer-songwriters, showing how he differs from and relates to other artists of the same period. A discography, filmography, and bibliography conclude the work.

Jazz, Rags & Blues, Books 1 through 5 contain original solos for late elementary to early advanced-level pianists that reflect the various styles of the jazz idiom. An excellent way to introduce your students to this distinctive American contribution to 20th century music. Available separately (item #18115), the CD includes dynamic recordings of each song in Books 1-3 of this series.

In literature and popular imagination, the Bauls of India and Bangladesh are characterized as musical mystics: orange-clad nomads of both Hindu and Muslim backgrounds. They wander the countryside and entertain with their passionate singing and unusual behavior, and they are especially well-known for their evocative songs, which challenge the caste system and sectarianism prevalent in South Asia.
Although Bauls claim to value women over men, little is known about the individual views and experiences of Baul women. Based on ethnographic research in both the predominantly Hindu context of West Bengal (India) and the Muslim country of Bangladesh, this book explores the everyday lives of Baul women. Lisa Knight examines the contradictory expectations regarding Baul women: on the one hand, the ideal of a group unencumbered by societal restraints and concerns and, on the other, the real constraints of feminine respectability that seemingly curtail women's mobility and public performances.
Knight demonstrates that Baul women respond to these conflicting expectations in various ways, sometimes adopting and other times subverting local gendered norms to craft meaningful lives. More so than their male counterparts, Baul women feel encumbered by norms. But rather than seeing Baul women's normative behavior as indicative of their conformity to gendered roles (and, therefore, failures as Bauls), Knight argues that these women creatively draw on societal expectations to transcend their social limits and create new paths.

In 1968, rock promoter Bill Graham launched the Fillmore East in New York City and the Fillmore West in San Francisco, changing music forever. For three years, every major rock band played the Fillmores, performing legendary shows: Jimi Hendrix, the Grateful Dead, Santana, Jefferson Airplane, Led Zeppelin, Cream, the Allman Brothers, and many more. Author John Glatt tells the story of the Fillmores through the lives of Bill Graham, Janis Joplin, Grace Slick, Carlos Santana, and an all-star supporting cast. Joplin opened the Fillmore East and delivered some of her greatest performances there and at its San Francisco twin. Carlos Santana grew up as a performer at the Fillmore West after being discovered by Graham on audition night. Always unpredicatable, Grace Slick's electrifying Jefferson Airplane was the de facto resident band at both Fillmores. Chronicling the East and West Coast cultures of the late '60s and early '70s-New York City with its speed, heroin, and the Velvet Underground versus San Francisco with the LSD-drenched Summer of Love-Glatt reveals how Graham the made it all possible . . . that is, until August 1969 when Woodstock changed everything and musicians suddenly realized their power. But why did Bill Graham shutter both Fillmores within weeks of each other in 1971, during the height of their popularity? Live at the Fillmore East and West reveals how Graham's claim that "The flowers wilted and the scene changed," was not quite the whole story.

The Bloomsbury Encyclopedia of Popular Music Volume 3 is one of five volumes within the 'Locations' strand of the series. This volume discusses popular music of the Caribbean and Latin America in a historical, geographical, demographical, political, economic, and cultural context. It also examines the genres associated with the region, significant venues such as theatres, dance halls, clubs and bars, and notable performers and other practitioners such as producers, engineers, and technological innovators. The volume consists of over 90 entries written by more than 60 leading popular music scholars and practitioners, including Jose de Menezes Bastos on Brazil and Peter Manuel on India and the Caribbean Islands. This and all other volumes of the Encyclopedia are now available through an online version of the Encyclopedia: https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW. A general search function for the whole Encyclopedia is also available on this site. A subscription is required to access individual entries. Please see: https://www.bloomsburypopularmusic.com/for-librarians.