For the modern West, Bali has long served as an icon of exotic pre-modern innocence. Yet the reality of modern Bali stands in stark contrast to this prevailing and enduring image, a contrast embodied by a movement of local musical experimentation, musik kontemporer, which emerged in the 1970s and which still thrives today. In Radical Traditions, author Andrew Clay McGraw shows how music kontemporer embodies the tensions between culture as represented and lived, between the idea of Balinese culture and the experience of living it. Through a highly interdisciplinary approach informed by ethnomusicology, cultural studies, postcolonial studies, anthropology, and theater studies, McGraw presents an all-encompassing social and musical history of musik kontemporer, and its intersections with class, ethnicity, and globalization. As the first English language monograph on this important Indonesian musical genre, Radical Traditions is an essential resource for anyone fascinated by modern Indonesian and Balinese music and culture.

In Arranging Gershwin, author Ryan Banagale approaches George Gershwin's iconic piece Rhapsody in Blue not as a composition but as an arrangement -- a status it has in many ways held since its inception in 1924, yet one unconsidered until now. Shifting emphasis away from the notion of the Rhapsody as a static work by a single composer, Banagale posits a broad vision of the piece that acknowledges the efforts of a variety of collaborators who shaped the Rhapsody as we know it today. Arranging Gershwin sheds new light on familiar musicians such as Leonard Bernstein and Duke Ellington, introduces lesser-known figures such as Ferde Grofe and Larry Adler, and remaps the terrain of this emblematic piece of American music. At the same time, it expands on existing approaches to the study of arrangements -- an emerging and insightful realm of American music studies -- as well as challenges existing and entrenched definitions of composer and composition.
Based on a host of newly discovered manuscripts, the book significantly alters existing historical and cultural conceptions of the Rhapsody. With additional forays into visual media, including the commercial advertising of United Airlines and Woody Allen's Manhattan, it moreover exemplifies how arrangements have contributed not only to the iconicity of Gershwin and Rhapsody in Blue, but also to music-making in America -- its people, their pursuits, and their processes."

The myth of Orpheus articulates what social theorists have known since Plato: music matters. It is uniquely able to move us, to guide the imagination, to evoke memories, and to create spaces within which meaning is made. Popular music occupies a place of particular social and cultural significance. Christopher Partridge explores this significance, analyzing its complex relationships with the values and norms, texts and discourses, rituals and symbols, and codes and narratives of modern Western cultures. He shows how popular musics power to move, to agitate, to control listeners, to shape their identities, and to structure their everyday lives is central to constructions of the sacred and the profane. In particular, he argues that popular music can be important edgework, challenging dominant constructions of the sacred in modern societies. Drawing on a wide range of musicians and musical genres, as well as a number of theoretical approaches from critical musicology, cultural theory, sociology, theology, and the study of religion, The Lyre of Orpheus reveals the significance and the progressive potential of popular music.

Rufus Thomas may not be a household name, but he is widely regarded as the patriarch of Memphis R&B, and his music influenced three generations. His first singles in the early 1950s were recorded as blues transitioned into R&B, and he was arguably one of the founding fathers of early rock ’n’ roll. In the early 1960s, his songs "The Dog" and "Walking the Dog" made a huge impact on the emerging British "mod" scene, influencing the likes of the Georgie Fame, the Rolling Stones, and the Who. And in the early 1970s, Thomas rebranded himself as the "funkiest man alive" and recorded funk classics that were later sampled by the likes of Public Enemy, Missy Elliot, and the Wu-Tang Clan. In Funkiest Man Alive: Rufus Thomas and Memphis Soul, Matthew Ruddick reveals the amazing life and career of Thomas, who started as a dancer in the minstrel shows that toured the South before becoming one of the nation’s early African American disc jockeys, and then going on to record the first hit singles for both Chess Records and Stax Records. Ruddick also examines the social fabric of the city of Memphis, analyzing the factors behind the vast array of talent that appeared in the late 1950s, with singers like Isaac Hayes, William Bell, Maurice White (Earth, Wind & Fire), and Thomas’s older daughter, Carla Thomas, all emerging from the tightly knit African American community. He also tells the story of Memphis-based Stax Records, one of the nation’s leading R&B record labels. From the earliest blues, the segregated minstrel shows, and the birth of rock ’n’ roll through to the emergence of R&B and funk, Rufus Thomas saw it all.

For jazz historians, Louis Armstrong's Hot Five and Hot Seven recordings mark the first revolution in the history of a music riven by upheaval. Yet few traces of this revolution can be found in the historical record of the late 1920s, when the records were made. Even black newspapers covered Armstrong as just one name among many, and descriptions of his playing, while laudatory, bear little resemblance to those of today. For this reason, the perspective of Armstrong's first listeners is usually regarded as inadequate, as if they had missed the true significance of his music. This attitude overlooks the possibility that those early listeners might have heard something valuable on its own terms, something we ourselves have lost. If we could somehow recapture their perspective-without abandoning our own-how might it change our understanding of these seminal recordings? In Louis Armstrong's Hot Five and Hot Seven Recordings, Harker selects seven exceptional records to study at length: "Cornet Chop Suey," "Big Butter and Egg Man," "Potato Head Blues," "S.O.L. Blues"/"Gully Low Blues," "Savoy Blues," and "West End Blues." The world of vaudeville and show business provide crucial context, revealing how the demands of making a living in a competitive environment could catalyze Armstrong's unique artistic gifts. Technical achievements such as virtuosity, structural coherence, harmonic improvisation, and high-register playing are all shown to have a basis in the workaday requirements of Armstrong's profession. Invoking a breadth of influences ranging from New Orleans clarinet style to Guy Lombardo, and from tap dancing to classical music, this book offers bold insights, fresh anecdotes, and, ultimately, a new interpretation of Louis Armstrong and his most influential body of recordings.

The International Who's Who in Popular Music 2007 provides biographical details on some of the most talented and influential artists, as well as up-and-coming individuals from the world of popular music. International in scope, this new edition provides information on artists, varying from Eminem to Wynton Marsalis; Ray Davies to Talvin Singh. Listed alphabetically by surname, entries provide full biographical profiles, including personal information, principal career details, recordings and compositions, and full contact details, where available. An index of groups is provided for ease of reference. Appendices include directories listing music festivals, music organizations, music awards and digital music sites providing legal downloads. The careers of pop, rock, folk, jazz, dance, world and country music artists from around the world are profiled in this new edition. New artists are included, as well as established names in popular music. Entrants include Elvis Costello, Carlos Santana, Wayne Shorter, Dizzee Rascal, Gil Scott-Heron and Joss Stone. Over 6,000 alphabetically arranged entries. Fully revised and updated for this ninth edition. Spans the full range of popular music.

Though you may not know the man, you probably know his music. Arkansas-born Louis Jordan's songs like "Baby, It's Cold Outside," "Caldonia" and "Ain't Nobody Here But Us Chickens" can still be heard today, decades since Jordan ruled the charts. In his five-decade career, Jordan influenced American popular music, film and more and inspired the likes of James Brown, B.B. King, Chuck Berry and Ray Charles. Known as the "King of the Jukeboxes," he and his combo played a hybrid of jazz, swing, blues and comedy music during the big band era that became the start of R&B.

In a stunning narrative portrait of Louis Jordan, author Stephen Koch contextualizes the great, forgotten musician among his musical peers, those he influenced and the musical present.

The music we hear is always inhabited by voices of previous performances. Because listening is now so often accompanied by moving images, this process is more complex than ever. Music videos, television and film music, interactive video games, and social media are now part of the contemporary listening experience.
In An Eye for Music, author John Richardson navigates key areas of current thought - from music theory to film theory to cultural theory - to explore what it means that the experience of music is now cinematic, spatial, and visual as much as it is auditory. Richardson maps out the terrain of recent audiovisual production over a wide array of styles and practices, and sketches out a set of common structures that inform how we experience sound and vision. Whether examining Philip Glass or The Gorillaz, Richard Linklater's Waking Life or Michel Gondry's Be Kind Rewind, Richardson's arguments are both fascinating and provocative.

How does the immediate experience of musical sound relate to processes of meaning construction and discursive mediation?
This question lies at the heart of the studies presented in Experience and Meaning in Music Performance, a unique multi-authored work that both draws on and contributes to current debates in a wide range of disciplines, including ethnomusicology, musicology, psychology, and cognitive science. Addressing a wide range of musical practices from Indian raga and Afro-Brazilian Congado rituals to jazz, rock, and Canadian aboriginal fiddling, the coherence of this study is underpinned by its three main themes: experience, meaning, and performance. Central to all of the studies are moments of performance: those junctures when sound and meaning are actually produced. Experience-what people do, and what they feel, while engaging in music-is equally important. And considered alongside these is meaning: what people put into a performance, what they (and others) get out of it, and, more broadly, how discourses shape performances and experiences of music. In tracing trajectories from moments of musical execution, this volume a novel and productive view of how cultural practice relates to the experience and meaning of musical performance.
A model of interdisciplinary study, and including access to an array of audio-visual materials available on an extensive companion website, Experience and Meaning in Music Performance is essential reading for scholars and students of ethnomusicology and music psychology.

Embodying Mexico examines two performative icons of Mexicanness--the Dance of the Old Men and Night of the Dead of Lake P tzcuaro--in numerous manifestations, including film, theater, tourist guides, advertisements, and souvenirs. Covering a ninety-year period from the postrevolutionary era to the present day, Hellier-Tinoco's analysis is thoroughly grounded in Mexican politics and history, and simultaneously incorporates choreographic, musicological, and dramaturgical analysis.
Exploring multiple contexts in Mexico, the USA, and Europe, Embodying Mexico expands and enriches our understanding of complex processes of creating national icons, performance repertoires, and tourist attractions, drawing on wide-ranging ethnographic, archival, and participatory experience. An extensive companion website illustrates the author's arguments through audio and video.

Blues history is steeped in Chicago's sidewalks; it floats out of its restaurants, airport lounges and department stores. It is a fundamental part of the city's heritage that every resident should know and every visitor should be afraid to miss. Allow Rosalind Cummings-Yeates to take you inside the Checkerboard and Gerri's Palm Tavern, where folks like Muddy Waters, Howlin' Wolf, Willie Dixon and Ma Rainey transformed Chicago into the blues mecca. Continue on to explore the contemporary blues scene and discover the best spots to hear the purest sounds of Sweet Home Chicago.

Intimate, anecdotal, and spell-binding, Singing Out offers a fascinating oral history of the North American folk music revivals and folk music. Culled from more than 150 interviews recorded from 1976 to 2006, this captivating story spans seven decades and cuts across a wide swath of generations and perspectives, shedding light on the musical, political, and social aspects of this movement. The narrators highlight many of the major folk revival figures, including Pete Seeger, Bernice Reagon, Phil Ochs, Mary Travers, Don McLean, Judy Collins, Arlo Guthrie, Ry Cooder, and Holly Near. Together they tell the stories of such musical groups as the Composers' Collective, the Almanac Singers, People's Songs, the Weavers, the New Lost City Ramblers, and the Freedom Singers. Folklorists, musicians, musicologists, writers, activists, and aficionados reveal not only what happened during the folk revivals, but what it meant to those personally and passionately involved. For everyone who ever picked up a guitar, fiddle, or banjo, this will be a book to give and cherish. Extensive notes, bibliography, and discography, plus a photo section.

On January 16, 1938 Benny Goodman brought his swing orchestra to America's venerated home of European classical music, Carnegie Hall. The resulting concert - widely considered one of the most significant events in American music history - helped to usher jazz and swing music into the American cultural mainstream. This reputation has been perpetuated by Columbia Records' 1950 release of the concert on LP. Now, in Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert, jazz scholar and musician Catherine Tackley provides the first in depth, scholarly study of this seminal concert and recording. Combining rigorous documentary and archival research with close analysis of the recording, Tackley strips back the accumulated layers of interpretation and meaning to assess the performance in its original context, and explore what the material has come to represent in its recorded form. Taking a complete view of the concert, she examines the rich cultural setting in which it took place, and analyzes the compositions, arrangements and performances themselves, before discussing the immediate reception, and lasting legacy and impact of this storied event and album. As the definitive study of one of the most important recordings of the twentieth-century, Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert is a must-read for all serious jazz fans, musicians and scholars.

Music is one of the most distinctive cultural characteristics of Latin American countries. But, while many people in the United States and Europe are familiar with musical genres such as salsa, merengue, and reggaeton, the musical manifestations that young people listen to in most Latin American countries are much more varied than these commercially successful ones that have entered the American and European markets. Not only that, the young people themselves often have little in common with the stereotypical image of them that exists in the American imagination.
Bridging this divide between perception and reality, Music and Youth Culture in Latin America brings together contributors from throughout Latin America and the US to examine the ways in which music is used to advance identity claims in several Latin American countries and among Latinos in the US. From young Latin American musicians who want to participate in the vibrant jazz scene of New York without losing their cultural roots, to Peruvian rockers who sing in their native language (Quechua) for the same reasons, to the young Cubans who use music to construct a post-communist social identification, this volume sheds new light on the complex ways in which music provides people from different countries and social sectors with both enjoyment and tools for understanding who they are in terms of nationality, region, race, ethnicity, class, gender, and migration status. Drawing on a vast array of fields including popular music studies, ethnomusicology, sociology, and history, Music and Youth Culture in Latin America is an illuminating read for anyone interested in Latin American music, culture, and society."

Tracing Tangueros offers an inside view of Argentine tango music in the context of the growth and development of the art form's instrumental and stylistic innovations. Rather than perpetuating the glamorous worldwide conceptions that often only reflect the tango that left Argentina nearly 100 years ago, authors Kacey Link and Kristin Wendland trace tango's historical and stylistic musical trajectory in Argentina, beginning with the guardia nueva's crystallization of the genre in the 1920s, moving through tango's Golden Age (1925-1955), and culminating with the "Music of Buenos Aires" today. Through the transmission, discussion, examination, and analysis of primary sources currently unavailable outside of Argentina, including scores, manuals of style, archival audio/video recordings, and live video footage of performances and demonstrations, Link and Wendland frame and define Argentine tango music as a distinct expression possessing its own musical legacy and characteristic musical elements. Beginning by establishing a broad framework of the tango art form, the book proceeds to move through twelve in-depth profiles of representative tangueros (tango musicians) within the genre's historical and stylistic trajectory. Through this focused examination of tangueros and their music, Link and Wendland show how the dynamic Argentine tango grows from one tanguero linked to another, and how the composition techniques and performance practices of each generation are informed by that of the past.

Keith Jarrett ranks among the most accomplished and influential pianists in jazz history. His TheKoln Concert stands among the most important jazz recordings of the past four decades, not only because of the music on the record, but also because of the remarkable reception it has received from musicians and lay-listeners alike. Since the album's 1975 release, it has sold over three million copies: a remarkable achievement for any jazz record, but an unprecedented feat for a two-disc set of solo piano performances featuring no well-known songs.
In Keith Jarrett's The Koln Concert, author Peter Elsdon seeks to uncover what it is about this recording, about Keith Jarrett's performance, that elicits such success. Recognizing The Koln Concert as a multi-faceted text, Elsdon engages with it musically, culturally, aesthetically, and historically in order to understand the concert and album as a means through which Jarrett articulated his own cultural and musical outlook, and establish himself as a serious artist. Through these explorations of the concert as text, of the recording and of the live performance, Keith Jarrett's The Koln Concert fills a major hole in jazz scholarship, and is essential reading for jazz scholars and musicians alike, as well as Keith Jarrett's many fans."

In Spirit Song: Afro-Brazilian Religious Music and Boundaries, ethnomusicologist Marc Gidal explains how and why a multi-faith community in southern Brazil uses music to combine and segregate three Afro-Brazilian religions: Umbanda, Quimbanda, and Batuque. Spirit Song will be the first book in any language about the music of Umbanda and its close relative Quimbanda-twentieth-century fusions of European Spiritism, Afro-Brazilian religion, and Folk Catholicism-as well as the first publication in English about the music of the African-derived Batuque religion and "Afro-gaucho" identity, a local term that celebrates the contributions of African descendants to the cowboy culture of southernmost Brazil. Combining ethnomusicology and symbolic boundary studies, Gidal advances a theory of musical boundary-work: the use of music to reinforce, bridge, or blur boundaries, whether for personal, social, spiritual, or political purposes. The Afro-gaucho religious community uses music and rituals to varisuly promote innovation and egalitarianism in Umbanda and Quimbanda, whereas it reinforces musical preservation and hierarchies in Batuque. Religious and musical leaders carefully restrict the cosmologies, ceremonial sequences, and sung prayers of one religion from affecting the others so as to safeguard Batuque's African heritage. Members of disenfranchised populations have also used the religions as vehicles for empowerment, whether based on race-ethnicity, gender, or religious belief; and innovations in ritual music reflect this activism. Gidal explains these points by describing and interpreting spirit-mediumship rituals and their musical accompaniment, drawing on the perspectives of participants, with video and audio examples available on the book's companion website. The first book in English to explore music in Afro-Brazilian religions, Spirit Song is a landmark study that will be of interest to ethnomusicologists, anthropologists, and religious studies scholars.

Modern Moves traces the movement of American social dance styles between black and white cultural groups and between immigrant and migrant communities during the early twentieth century. Its central focus is New York City, where the confluence of two key demographic streams - an influx of immigrants from Eastern Europe and the growth of the city's African American community particularly as it centered Harlem - created the conditions of possibility for hybrid dance forms like blues, ragtime, ballroom, and jazz dancing. Author Danielle Robinson illustrates how each of these forms came about as the result of the co-mingling of dance traditions from different cultural and racial backgrounds in the same urban social spaces. The results of these cross-cultural collisions in New York City, as she argues, were far greater than passing dance trends; they in fact laid the foundation for the twentieth century's social dancing practices throughout the United States. By looking at dance as social practice across conventional genre and race lines, this book demonstrates that modern social dancing, like Western modernity itself, was dependent on the cultural production and labor of African diasporic peoples - even as they were excluded from its rewards. A cornerstone in Robinson's argument is the changing role of the dance instructor, which was transformed from the proprietor of a small-scale, local dance school at the end of the nineteenth century to a member of a distinct, self-identified social industry at the beginning of the twentieth. Whereas dance studies has been slow to connect early twentieth century dancing with period racial politics, Modern Moves departs radically from prior scholarship on the topic, and in so doing, revises social and African American dance history of this period. Recognizing the rac(ial)ist beginnings of contemporary American social dancing, it offers a window into the ways that dancing throughout the twentieth century has provided a key means through which diverse groups of people have navigated shifting socio-political relations through their bodily movement. Modern Moves asserts that the social practice of modern dancing, with its perceived black origins, empowered displaced people such as migrants and immigrants to grapple with the effects of industrialization, urbanization, and the rise of North American modernity. Far more than simple appropriation, the selling and practicing of "black" dances during the 1910s and 1920s reinforced whiteness as the ideal racial status in America through embodied and rhetorical engagements with period black stereotypes.

Recorded by his quartet in a single session in 1964, A Love Supreme is widely considered John Coltrane's magnum opus and one of the greatest jazz albums of all time.
In Beyond A Love Supreme, Tony Whyton explores both the musical complexities of A Love Supreme and the album's seminal importance in jazz history. Marking Coltrane's transition from the bebop and hard bop of his earlier recordings to the free jazz style perfected throughout the rest of his career, the album also embodies the deep spirituality that characterized the final years of his life. The titles of the four part suite--"Acknowledgment," "Resolution," "Pursuance," and "Psalm"--along with the poem Coltrane composed for inclusion in the liner notes, which he "recites" instrumentally in "Psalm," reflect the religious aspect of the album, a quality that contributes to its mystique and symbolic importance within the canon of major jazz recordings. But Whyton also shows how A Love Supreme challenges many of the traditional, unreflective assumptions that permeate jazz culture--the binary oppositions between improvisation and composition, black music and white music, live performance and studio recording. He critically examines many of the mythologizing narratives about how the album was conceived and recorded and about what it signifies in terms of the trajectory of Coltrane's personal life. Sifting through the criticism of late Coltrane, Whyton suggests ways of listening to these recordings that go beyond the conventional ideologies of mainstream jazz practice and open the music to a wider range of responses.
Filled with fresh insights into one of the most influential recordings in jazz history, Beyond A Love Supreme is an indispensable resource for jazz scholars, jazz musicians, and fans and aficionados at all levels.

In this groundbreaking study, D. R. M. Irving reconnects the Philippines to current musicological discourse on the early modern Hispanic world. For some two and a half centuries, the Philippine Islands were firmly interlinked to Latin America and Spain through transoceanic relationships of politics, religion, trade, and culture. The city of Manila, founded in 1571, represented a vital intercultural nexus and a significant conduit for the regional diffusion of Western music. Within its ethnically diverse society, imported and local musics played a crucial role in the establishment of ecclesiastical hierarchies in the Philippines and in propelling the work of Roman Catholic missionaries in neighboring territories. Manila's religious institutions resounded with sumptuous vocal and instrumental performances, while an annual calendar of festivities brought together many musical traditions of the indigenous and immigrant populations in complex forms of artistic interaction and opposition.
Multiple styles and genres coexisted according to strict regulations enforced by state and ecclesiastical authorities, and Irving uses the metaphors of European counterpoint and enharmony to critique musical practices within the colonial milieu. He argues that the introduction and institutionalization of counterpoint acted as a powerful agent of colonialism throughout the Philippine Archipelago, and that contrapuntal structures were reflected in the social and cultural reorganization of Filipino communities under Spanish rule. He also contends that the active appropriation of music and dance by the indigenous population constituted a significant contribution to the process of hispanization. Sustained "enharmonic engagement" between Filipinos and Spaniards led to the synthesis of hybrid, syncretic genres and the emergence of performance styles that could contest and subvert hegemony. Throwing new light on a virtually unknown area of music history, this book contributes to current understanding of the globalization of music, and repositions the Philippines at the frontiers of research into early modern intercultural exchange.

Black Sabbath is currently on The End Tour," which they have proclaimed as their final concert tour . Iron Man chronicles the story of both pioneering guitarist Tony Iommi and legendary band Black Sabbath, dubbed The Beatles of heavy metal" by Rolling Stone . Iron Man reveals the man behind the icon yet still captures Iommi's humour, intelligence, and warmth. He speaks honestly and unflinchingly about his rough-and-tumble childhood, the accident that almost ended his career, his failed marriages, personal tragedies, battles with addiction, band mates, famous friends, newfound daughter, and the ups and downs of his life as an artist. Everything associated with hard rock happened to Black Sabbath first: the drugs, the debauchery, the drinking, the dungeons, the pressure, the pain, the conquests, the company men, the contracts, the combustible drummer, the critics, the comebacks, the singers, the Stonehenge set, the music, the money, the madness, the metal.

Country music in the Carolinas and the southern Appalachian Mountains owes a tremendous debt to freedom-loving Scotch-Irish pioneers who settled the southern backcountry during the eighteenth and nineteenth centuries. These hardy Protestant settlers brought with them from Lowland Scotland, Northern England and the Ulster Province of Ireland music that created the essential framework for "old-time string band music." From the cabins of the Blue Ridge and Great Smoky Mountains to the textile mills and urban centers of the Carolina foothills, this colorful, passionate, heartfelt music transformed the culture of America and the world and laid the foundation for western swing, bluegrass, rockabilly and modern country music. Author Michael Scoggins takes a trip to the roots of country music in the Carolinas.

An insightful examination of the impact of the Civil Rights Movement and African Independence on jazz in the 1950s and 60s, Freedom Sounds traces the complex relationships among music, politics, aesthetics, and activism through the lens of the hot button racial and economic issues of the time. Ingrid Monson illustrates how the contentious and soul-searching debates in the Civil Rights, African Independence, and Black Power movements shaped aesthetic debates and exerted a moral pressure on musicians to take action. Throughout, her arguments show how jazz musicians' quest for self-determination as artists and human beings also led to fascinating and far reaching musical explorations and a lasting ethos of social critique and transcendence.
Across a broad body of issues of cultural and political relevance, Freedom Sounds considers the discursive, structural, and practical aspects of life in the jazz world in the 1950s and 1960s. In domestic politics, Monson explores the desegregation of the American Federation of Musicians, the politics of playing to segregated performance venues in the 1950s, the participation of jazz musicians in benefit concerts, and strategies of economic empowerment. Issues of transatlantic importance such as the effects of anti-colonialism and African nationalism on the politics and aesthetics of the music are also examined, from Paul Robeson's interest in Africa, to the State Department jazz tours, to the interaction of jazz musicians such Art Blakey and Randy Weston with African and African diasporic aesthetics.
Monson deftly explores musicians' aesthetic agency in synthesizing influential forms of musical expression from a multiplicity of stylistic andcultural influences--African American music, popular song, classical music, African diasporic aesthetics, and other world musics--through examples from cool jazz, hard bop, modal jazz, and the avant-garde. By considering the differences between aesthetic and socio-economic mobility, she presents a fresh interpretation of debates over cultural ownership, racism, reverse racism, and authenticity.
Freedom Sounds will be avidly read by students and academics in musicology, ethnomusicology, anthropology, popular music, African American Studies, and African diasporic studies, as well as fans of jazz, hip hop, and African American music.

On New Year's Day 1953, Hank Williams-numbed by a deadly combination of whiskey and narcotics-died in the back seat of his Cadillac en route to a performance in Canton, Ohio. He was only twenty nine years old at the time of his death and his passing appeared to bring his rags-to-riches success and destructive lifestyle to an abrupt end. Few figures before or since have cast as long or as broad a shadow over American popular music. Today, Hank Williams is considered by many to be the greatest singer and songwriter in the history of country music, and it is the combination of his remarkable musical achievements, his tumultuous personal life, and his tragic and still-mysterious demise that make him such a compelling historical figure. As volume demonstrates, Williams's death was the beginning of an equally gripping second act: for more than sixty years, an ever-lengthening parade of journalists, family and friends, musical contemporaries, biographers, historians and scholars, fans, and novelists have attempted to capture in words the man, the artist, and the legend. The Hank Williams Reader, the first book of its kind devoted to this giant of American music, collects more than sixty of the most compelling, insightful, and historically significant of these writings. The selections cover a broad assortment of themes and perspectives, ranging from heartfelt reminiscences and shocking tabloid exposes to thoughtful meditations and critical essays. Featured authors include Hank Williams, Jr., Bob Dylan, Steve Earle, David Halberstam, Greil Marcus, Rick Bragg, and Lee Smith, to name but a few. The Hank Williams Reader also features a lengthy interpretive introduction and the most extensive bibliography of Williams-related writings ever published. Over time, writers have sought to explain Williams in a variety of ways, and in tracing these shifting interpretations, this anthology chronicles his cultural transfiguration from star-crossed hillbilly singer to enduring American icon.

Music- and style-centred youth cultures are now a familiar aspect of everyday life in countries as far apart around the globe as Nepal and Jamaica, Hong Kong and Israel, Denmark and Australia. This lucid and original text provides a lively and wide-ranging account of the relationship between popular music and youth culture within the context of debates about the spatial dimensions of identity. It begins with a clear and comprehensive survey, and critical evaluation, of the existing body of literature on youth culture and popular music developed by sociologists and cultural and media theorists. It then develops a fresh perspective on the ways in which popular music is appropriated as a cultural resource by young people, using as a springboard a series of original ethnographic studies of dance music, rap, bhangra and rock. Bennett's original research material is carefully contextualised within a wider international literature on youth styles, local spaces and popular music but it serves to illustrate graphically how styles of music and their attendant stylistic innovations are appropriated and `lived out' by young people in particular social spaces. Music, Bennett argues, is produced and consumed by young people in ways that both inform their sense of self and also serve to construct the social world in which their identities operate. With its comprehensive coverage of youth and music studies and its important new insights, Popular Music and Youth Culture is essential reading for undergraduate and postgraduate students in sociology, cultural studies, media studies and popular music studies. Dr ANDY BENNETT is lecturer in Sociology at the University of Kent at Canterbury. He has published articles on aspects of youth culture, popular music, local identity and music and ethnicity in a number of journals, including Sociological Review, Media Culture and Society and Popular Music. He is currently co-editing a book on guitar cultures.