Is there such a thing today as music that's meaningfully new? In our contemporary era of remixing and retro styles, cynics and romantics alike cry "It's all been done before" while record labels and media outlets proclaim that everything is new. Coded into our daily conversations about popular music, newness as an artistic and cultural value is too often taken for granted. Nothing Has Been Done Before instigates a fresh debate about newness in American pop, rock 'n' roll, rap, folk, and R&B made since the turn of the millennium. Utilizing an interdisciplinary approach that combines music criticism, philosophy, and the literary essay, Robert Loss follows the stories of a diverse cast of musicians who seek the new by wrestling with the past, navigating the market, and speaking politically. The transgressions of Bob Dylan's "Love and Theft". The pop spectacle of Katy Perry's 2015 Super Bowl halftime show. Protest songs against the war in Iraq. Nothing Has Been Done Before argues that performance heard in a historical context always creates a possibility for newness, whether it's Kendrick Lamar's multi-layered To Pimp a Butterfly, the Afrofuturist visions of Janelle Monae, or even a Guided By Voices tribute concert in a local dive bar. Provocative and engaging, Nothing Has Been Done Before challenges nothing less than how we hear and think about popular music-its power and its potential.

This book is a lively, comprehensive and timely reader on the music video, capitalising on cross-disciplinary research expertise, which represents a substantial academic engagement with the music video, a mediated form and practice that still remains relatively under-explored in a 21st century context. The music video has remained suspended between two distinct poles. On the one hand, the music video as the visual sheen of late capitalism, at the intersection of celebrity studies and postmodernism. On the other hand, the music video as art, looking to a prehistory of avant-garde film-making while perpetually pushing forward the digital frontier with a taste for anarchy, controversy, and the integration of special effects into a form designed to be disseminated across digital platforms. In this way, the music video virally re-engenders debates about high art and low culture. This collection presents a comprehensive account of the music video from a contemporary 21st century perspective. This entails revisiting key moments in the canonical history of the music video, exploring its articulations of sexuality and gender, examining its functioning as a form of artistic expression between music, film and video art, and following the music video's dissemination into the digital domain, considering how digital media and social media have come to re-invent the forms and functions of the music video, well beyond the limits of "music television".

Widespread distribution of recorded music via digital networks affects more than just business models and marketing strategies; it also alters the way we understand recordings, scenes and histories of popular music culture. This Is Not a Remix uncovers the analog roots of digital practices and brings the long history of copies and piracy into contact with contemporary controversies about the reproduction, use and circulation of recordings on the internet. Borschke examines the innovations that have sprung from the use of recording formats in grassroots music scenes, from the vinyl, tape and acetate that early disco DJs used to create remixes to the mp3 blogs and vinyl revivalists of the 21st century. This is Not A Remix challenges claims that 'remix culture' is a substantially new set of innovations and highlights the continuities and contradictions of the Internet era. Through an historical focus on copy as a property and practice, This Is Not a Remix focuses on questions about the materiality of media, its use and the aesthetic dimensions of reproduction and circulation in digital networks. Through a close look at sometimes illicit forms of composition-including remixes, edits, mashup, bootlegs and playlists-Borschke ponders how and why ideals of authenticity persist in networked cultures where copies and copying are ubiquitous and seemingly at odds with romantic constructions of authorship. By teasing out unspoken assumptions about media and culture, this book offers fresh perspectives on the cultural politics of intellectual property in the digital era and poses questions about the promises, possibilities and challenges of network visibility and mobility.

Popular music artists, as performers in the public eye, offer a privileged site for the witnessing and analysis of ageing and its mediation. The Late Voice undertakes such an analysis by considering issues of time, memory, innocence and experience in modern Anglophone popular song and the use by singers and songwriters of a 'late voice'. Lateness here refers to five primary issues: chronology (the stage in an artist's career); the vocal act (the ability to convincingly portray experience); afterlife (posthumous careers made possible by recorded sound); retrospection (how voices 'look back' or anticipate looking back); and the writing of age, experience, lateness and loss into song texts. There has been recent growth in research on ageing and the experience of later stages of life, focusing on physical health, lifestyle and psychology, with work in the latter field intersecting with the field of memory studies. The Late Voice seeks to connect age, experience and lateness with particular performers and performance traditions via the identification and analysis of a late voice in singers and songwriters of mid-late twentieth century popular music.

The evidence of death and dying has been removed from the everyday lives of most Westerners. Yet we constantly live with the awareness of our vulnerability as mortals. Drawing on a range of genres, bands and artists, Mortality and Music examines the ways in which popular music has responded to our awareness of the inevitability of death and the anxiety it can evoke. Exploring bereavement, depression, suicide, violence, gore, and fans' responses to the deaths of musicians, it argues for the social and cultural significance of popular music's treatment of mortality and the apparent absurdity of existence.

Not many have managed it, but like Robbie Williams and Justin Timberlake, Zayn Malik has successfully escaped his boyband image to become a credible popstar in his own right. Zayn's debut solo single `Pillowtalk' topped the charts around the world and has had over half a billion views on YouTube. His album Mind of Mine debuted at no.1 in both the UK and US charts, proving that he's on his way to becoming as colossal as the band he left behind. Not only have the Directioners remained as loyal as ever, but his fanbase has also grown as he has developed his more mature, R&B sound. With almost 20m Twitter followers, he's certainly lost none of his popularity. Zayn's life remains of huge interest to his fans and gossip-followers worldwide, whether for his hairstyles, comments about his former bandmates or his relationship with American supermodel Gigi Hadid. In this completely updated title, bestselling celebrity biographer Sarah Oliver charts Zayn's incredible journey from Bradford to Los Angeles and all that's happened in between.

During the Great War, composers and performers created music that expressed common sentiments like patriotism, grief, and anxiety. Yet music also revealed the complexities of the partnership between France, Great Britain, Canada, and the United States. At times, music reaffirmed a commitment to the shared wartime mission. At other times, it reflected conflicting views about the war from one nation to another or within a single nation.Over Here, Over There examines how composition, performance, publication, recording, censorship, and policy shaped the Atlantic allies' musical response to the war. The first section of the collection offers studies of individuals. The second concentrates on communities, whether local, transnational, or on the spectrum in-between. Essay topics range from the sinking of the Lusitania through transformations of the entertainment industry to the influenza pandemic.Contributors: Christina Bashford, William Brooks, Deniz Ertan, Barbara L. Kelly, Kendra Preston Leonard, Gayle Magee, Jeffrey Magee, Michelle Meinhart, Brian C. Thompson, and Patrick Warfield

Popular music, today, has supposedly collapsed into a 'retromania' which, according to leading critic Simon Reynolds, has brought a 'slow and steady fading of the artistic imperative to be original.' Meanwhile, in the estimation of philosopher Alain Badiou, a significant political event will always require 'the dictatorial power of a creation ex nihilo'. Everywhere, it seems, at least amongst commentators of a certain age and type, pessimism prevails with regards to the predominant aesthetic preferences of the twenty first century: popular music, supposedly, is in a rut. Yet when, if ever, did the political engagement kindled by popular music amount to more than it does today? The sixties? The punk explosion of the late 1970s? Despite an on-going fixation upon these periods in much rock journalism and academic writing, this book demonstrates that the utilisation of popular music to promote political causes, on the one hand, and the expression of dissent through the medium of 'popular song', on the other hand, remain widely in practice today. This is not to argue, however, for complacency with regards to the need for expressions of political dissent through popular culture. Rather, the book looks carefully at actual usages of popular music in political processes, as well as expressions of political feeling through song, and argues that there is much to encourage us to think that the demand for radical change remains in circulation. The question is, though, how necessary is it for politically-motivated popular music to offer aesthetic novelty?

"She made you think that she knew who you were, that she was singing only to you..." Miss Peggy Lee cast a spell when she sang. She purred so intimately in nightclubs that couples clasped hands and huddled closer. She hypnotized, even on television. Lee epitomized cool, but her trademark song, "Fever"-covered by Beyonce and Madonna-is the essence of sizzling sexual heat. Her jazz sense dazzled Ray Charles, Duke Ellington, and Louis Armstrong. She was the voice of swing, the voice of blues, and she provided four of the voices for Walt Disney's Lady and the Tramp, whose score she co-wrote. But who was the woman behind the Mona Lisa smile? With elegant writing and impeccable research, including interviews with hundreds who knew Lee, acclaimed music journalist James Gavin offers the most revealing look yet at an artist of infinite contradictions and layers. Lee was a North Dakota prairie girl who became a temptress of enduring mystique. She was a singer-songwriter before the term existed. Lee "had incredible confidence onstage," observed the Godfather of Punk, Iggy Pop; yet inner turmoil wracked her. She spun a romantic nirvana in her songs, but couldn't sustain one in reality. As she passed middle age, Lee dwelled increasingly in a bizarre dreamland. She died in 2002 at the age of eighty-one, but Lee's fascination has only grown since. This masterful account of Peggy Lee's strange and enchanting life is a long overdue portrait of an artist who redefined popular singing.

Joe Longthorne is one of the UK's leading live entertainers, and an icon of his era. In the golden days of Joe's career, he was one of television's highest paid performers, attracting audiences of over 12 million courtesy of his amazing voice and impressions of singers such as Shirley Bassey, Tom Jones and Frank Sinatra. He has countless gold and platinum albums to his name, has appeared on the Royal Variety Show and sells out iconic venues the world over, including the Palladium, Royal Albert Hall, Sydney Opera House and Drury Lane Chicago. However, tragedy and trauma have haunted the Hull-born singer and he tells his life story in his own words in this wonderful book. From his childhood in the travelling community and singing on the streets for money to the colourful rock and roll lifestyle of sex, drugs, bankruptcy, court appearances and the bizarre, hilarious stories which worldwide touring produces. But Joe's toughest times have been found in his repeated battles with cancer, having fought off the illness multiple times over the last three decades, most recently in the summer of 2014 when Joe beat throat cancer - and began singing again hours after his life-saving operation!This is the true story of one of Britain's most iconic entertainers, a man who has never flinched from doing what he was born for - performing. In a book which for critics and fans have been united in praise, Joe Longthorne lays bare his incredible life in this, his official autobiography.

The evidence of death and dying has been removed from the everyday lives of most Westerners. Yet we constantly live with the awareness of our vulnerability as mortals. Drawing on a range of genres, bands and artists, Mortality and Music examines the ways in which popular music has responded to our awareness of the inevitability of death and the anxiety it can evoke. Exploring bereavement, depression, suicide, violence, gore, and fans' responses to the deaths of musicians, it argues for the social and cultural significance of popular music's treatment of mortality and the apparent absurdity of existence.

***NOMINATED FOR THE NME BEST BOOK AWARD 2017 *** The first and only OFFICIAL book from ZAYN, for his ultimate fans. Zayn's autobiography features exclusive, never-before-seen photographs alongside his story. -------------------------------- 'This book is my diary of a period that I would like to share with you all. I hope that there are things in the book that contextualise some of the moments and memories we have all shared together. There are things I address in the book that are very personal to me, things that I have never told anyone, things I still find hard to talk about. It's a part of a journey I'm still on' - ZAYN ZAYN opens up with this collection of thoughts, inspiration, and never-before-seen personal photographs. After five years of massive success with One Direction, ZAYN launched his career as a solo artist with Mind of Mine, becoming one of the most successful artists in the world. Now, for the first time ever, ZAYN is going to tell and show all in this intimate and raw scrapbook of his life. Never-before-released photos give readers insight to ZAYN, no-holds-barred. Gorgeously designed with hundreds of full-color photographs and Zayn's notes, drawings, song lyrics, and personal stories, the book captures Zayn's most private moments and his candid feelings on fame, success, music, and life. The next chapter of ZAYN'S evolution into global superstar, told by the artist who is living it. Global superstar ZAYN shares a photographic journey of his life since leaving One Direction. *** Reviews for Mind of Mine: "A singer eager to reclaim the parts of himself that five years in the pop klieg lights forced into the shadows." -The New York Times "Sonically, you won't find many pop albums in 2016 more immaculately conceived than this." -SPIN "Sublime." -USA Today "Malik can sing . . . he's done this before, but not like this." -Rolling Stone "A moody, deeply textured R&B album..." -Los Angeles Times "Zayn has clearly achieved his aim of making an album of sexy, credible pop-R&B." -NME

The essay collection Rhythm Revolution provides a compact but detailed analysis of significant genres, artists, and trends characterizing popular music's evolution after the emergence of rock & roll. It addresses the creative, economic, social, and political contexts of key creative and commercial transitions in the recording industry. Primarily focused on events between the 1960s and 1980s, the book's chronological structure highlights interconnected histories of the pop, rock, soul, funk, jazz/rock fusion, reggae, and punk rock genres that were major features of the American musical soundscape. The text also discusses the expanding role of televised music in its chapter on the 1980s. In addition, the anthology provides a wealth of detail on topics not typically covered, including the history of the album cover, the roots of reggae, and the formation and impact of significant record labels. Rhythm Revolution is ideal for teachers who want to engage their students in a detailed examination of pivotal eras. It can be used as a stand-alone text, or as a supplemental reader to standard textbooks on popular music history.

Peggy Lee holds a special place in the history of American popular and jazz music. From her birth on May 26, 1920, to her final recording on August 26, 1995, to the New Yorker's obituary from February of 2002, this chronological record covers every moment of her professional life. Detailed entries describe recordings (both albums and songs), radio and television appearances, her work in films, and her songwriting efforts, drawing from interviews with Lee and others, nightclub and concert reviews, and a wealth of other sources. Appendices list CD releases of Lee's recordings and the songs she composed. Illustrated with many rare photographs.

A teen idol of the 1950s who virtually invented the singer/songwriter/heartthrob combination that still tops pop music today, Paul Anka rocketed to fame with a slew of hits--from "Diana" to "Put Your Head on my Shoulder"--that earned him a place touring with the major stars of his era, including Chuck Berry, Jerry Lee Lewis, and Buddy Holly. He wrote Holly's last hit, and just missed joining the rocker on his final, fatal plane flight. Anka also stepped in front of the camera in the teen beach-party movie era, scoring the movies and romancing their starlets, including Annette Funicello.

When the British invasion made his fans swoon for a new style of music--and musician--Anka made sure he wasn't conquered. A rapier-canny businessman and image-builder who took his career into his own hands--just as he had from the very beginning, swiping his mother's car at fourteen to drive himself, underage, to his first gigs in Quebec--Anka toured the world until he could return home in triumph. A charter member of the Rat Pack, he wrote the theme music for "The Tonight Show" as well as his friend Frank Sinatra's anthem "My Way." By the 1970s, a multi-decade string of pop chart-toppers, including "Puppy Love" and "(You're) Having My Baby," cemented his status as an icon.

"My Way" is bursting with rich, rollicking stories of the business and the people in Anka's life: Elizabeth Taylor, Dodi Fayed, Tom Jones, Michael Jackson, Adnan Khashoggi, Little Richard, Brooke Shields, Johnny Roselli, Sammy Davis, Jr., Brigitte Bardot, Barnum & Bailey Circus acrobats, and many more. Anka is forthcoming, funny and smart as a whip about the business he's been in for almost six decades. "My Way" moves from New York to Vegas, from the casino stage to backstages all over the world. It's the most entertaining autobiography of the year.

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The Biographical Dictionary of Popular Music" is an incredible and opinionated collection of celebrated cultural critic Dylan Jones's thoughts on more than 350 of the most important artists around the world--alive and dead, big and small, at length and in brief. This A to Z reference is the true musical heir to David Thomson's seminal "The New Biographical Dictionary of Popular Film." Jones writes entertainingly about bands that have inspired, bedeviled, and fascinated him over the years.

"In the Groove: Form and Function in Popular Music" gives students a clear, concise, accessible introduction to popular music, and the features of popular songs.
Students begin by learning the musical terms and concepts they will use throughout the text to better understand the structures and musicality of various pieces of music. Boxed hints help students with pronunciation, and show how specific terms are applied in specific songs. Boxed warnings minimize confusion between similar terms and concepts, and educate students about common mistakes.
The chapters that follow discuss musical forms, advanced features of songs, and rhythm and meter. The book helps students discover new ways to engage with and think about music they already know and love. It also introduces them to music that is less familiar to them. Reading through the material makes it possible for students to approach all music from a more knowledgeable perspective. A song analysis template is included so students can apply what they have learned.
"In the Groove" includes diverse musical material that reflects different pop traditions from a variety of eras. The book is an excellent supplemental text for classes in popular music, music history, and music appreciation.
Mark Elliot Bergman serves on the faculty of George Mason University in Fairfax, Virginia. In addition to his work in education, he is a bassist, composer and author. Professor Bergman is a member of the Fairfax Symphony Orchestra, the Alexandria Symphony Orchestra, and the Britt Festival Orchestra. In 2006 he founded the award-winning string trio Virginia Virtuosi. Fairfax Connections credit the ensemble with turning classical music cool. In 2011 Professor Bergman received the William Strauss Fellowship from the Arts Council of Fairfax County in recognition of his work as a composer. His previous writing about popular music has been published by Oxford University Press.

Vic Damone is one of the enduring legends of American pop music. His early days were spent as an usher who longed to take the stage at New York City's legendary Paramount Theater. On August 30, 1947, he got his wish when his first hit "I Have But One Heart" reached #7 on the Billboard Chart. Befriended by Frank Sinatra and encouraged by legends like Perry Como and Tommy Dorsey, Damone had one of the greatest voices ever recorded covering such Lerner and Loewe classics as "On the Street Where You Live" and "Gigi" while making other numbers, like "You Do," his own.

In "Singing Was the Easy Part," Damone tells the whole story of his life - and what a life it's been A mob boss tried to throw him out the window of the Edison Hotel in New York City when he broke off an engagement to the boss's daughter. He was married to a string of glamorous women including the beautiful Anna Pierangeli and the tempestuous Diahann Carroll. When he got to Hollywood, Judy Garland gave him his first screen test, he got drunk for the first time with Ava Gardner at Chasens and he went golfing regularly with George Burns and Jack Benny. Oh yeah, there's also the story about how he took a nude chorus girl into the steam room of the Sands Hotel where Sinatra, Sammy Davis Jr. and Dean Martin were relaxing between shows. All that - and much more - makes "Singing Was the Easy Part" a rollicking star-studded memoir from the great Vic Damone.

Evoking the pleasures of music as well as food, the word sabor signifies a rich essence that makes our mouths water or makes our bodies want to move. American Sabor traces the substantial musical contributions of Latinas and Latinos in American popular music between World War II and the present in five vibrant centers of Latin@ musical production: New York, Los Angeles, San Antonio, San Francisco, and Miami. From Tito Puente's mambo dance rhythms to the Spanglish rap of Mellow Man Ace, American Sabor focuses on musical styles that have developed largely in the United States-including jazz, rhythm and blues, rock, punk, hip hop, country, Tejano, and salsa-but also shows the many ways in which Latin@ musicians and styles connect US culture to the culture of the broader Americas. With side-by-side Spanish and English text, authors Marisol Berrios-Miranda, Shannon Dudley, and Michelle Habell-Pallan challenge the white and black racial framework that structures most narratives of popular music in the United States. They present the regional histories of Latin@ communities-including Chicanos, Tejanos, and Puerto Ricans-in distinctive detail, and highlight the shared experiences of immigration/migration, racial boundary crossing, contesting gender roles, youth innovation, and articulating an American experience through music. In celebrating the musical contributions of Latinos and Latinas, American Sabor illuminates a cultural legacy that enriches us all.

Best known as the composer (with lyricist Hal David) of such hits as Dionne Warwick's "Walk on By", Dusty Springfield's "The Look of Love" and the Carpenters' "Close to You", Burt Bacharach wrote the music for over 700 published songs, which have been recorded by some 2000 artists - from Frank Sinatra and Elvis Presley to the Beatles and the Supremes. This book offers a cheeky song-by-song journey through Bacharach's vast recorded oeuvre, from Nat "King" Cole's little-known 1952 version of "Once in a Blue Moon" to Burt's recent collaborations with Elvis Costello, Lyle Lovett and Chicago.

In Tokyo in the early 1990s, an indie band called Flipper's Guitar was at the forefront of a new wave in Japanese popular music known as Shibuya-kei. The band's founder, Keigo Oyamada, would go on to produce, under the name Cornelius, a series of albums that are among the most innovative in Japanese popular music of the past two decades. Oyamada's third album under his Cornelius alter-ego, Fantasma (1997), played a key role in putting J-pop on the world map for Western music fans, and Oyamada himself is today one of the most respected figures in the Japanese music industry. This book tells the story of Fantasma's emergence from the Shibuya-kei scene and considers the wider impact of Oyamada's work both internationally and on Japanese popular music today. 33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.

The Bloomsbury Handbook of Popular Music Educationdraws together current thinking and practice on popular music education from empirical, ethnographic, sociological and philosophical perspectives. Through a series of unique chapters from authors working at the forefront of music education, this book explores the ways in which an international group of music educators each approach popular music education. Chapters discuss pedagogies from across the spectrum of formal to informal learning, including "outside" and "other" perspectives that provide insight into the myriad ways in which popular music education is developed and implemented. The book is organized into the following sections: - Conceptualizing Popular Music Education - Musical, Creative and Professional Development - Originating Popular Music - Popular Music Education in Schools - Identity, Meaning and Value in Popular Music Education - Formal Education, Creativities and Assessment Contributions from academics, teachers, and practitioners make this an innovative and exciting volume for students, teachers, researchers and professors in popular music studies and music education.

As charismatic and gifted as he was volatile, Jimmy Martin recorded dozens of bluegrass classics and co-invented the high lonesome sound. Barbara Martin Stephens became involved with the King of Bluegrass at age seventeen. Don't Give your Heart to a Rambler tells the story of their often tumultuous life together. Barbara bore his children and took on a crucial job as his booking agent when the agent he was using failed to obtain show dates for the group. Female booking agents were non-existent at that time but she persevered and went on to become the first female booking agent on Music Row. She also endured years of physical and emotional abuse at Martin's hands. With courage and candor, Barbara tells of the suffering and traces the hard-won personal growth she found inside motherhood and her work. Her vivid account of Martin's explosive personality and torment over his exclusion from the Grand Ole Opry fill in the missing details on a career renowned for being stormy. Barbara also shares her own journey, one of good humor and proud achievements, and filled with fond and funny recollections of the music legends and ordinary people she met, befriended, and represented along the way. Straightforward and honest, Don't Give your Heart to a Rambler is a woman's story of the world of bluegrass and one of its most colorful, conflicted artists.

Aled Jones, a choirboy with a remarkable voice, achieved more as a teenager than many adult singers do in a lifetime. His prodigious talent propelled him to international stardom; before he was 16, he had already sold more than 6 million records and had become a fixture on television and radio. He has worked alongside such musical greats as Leonard Bernstein, Andrew Lloyd Webber, Neville Marriner, Howard Blake and Mike Oldfield. Some of the high points of his early career included performances at the Hollywood Bowl and the wedding of Bob Geldof and Paula Yates, as well as singing privately for the Prince and the late Princess of Wales. Best known as a boy soprano for his hit 'Walking in the Air', Aled tells the full story of the effect it had on his life. Always refreshingly honest and self-effacing, Aled reveals how he faced up to life after his voice had broken and how he carved out a new career for himself on stage, record, television and radio. His story begins with his idyllic childhood on the Welsh island of Anglesey and his years as a chorister at Bangor Cathedral, during which his family provided wonderful support and encouragement as he rose to fame. He tells of his studies at the Royal Academy of Music and the Bristol Old Vic Theatre School. As an adult performer, Aled has released a series of best-selling albums. Today, he is most known for sitting alongside Lorraine Kelly as one half of the presenting partnership of ITV's breakfast programme Daybreak. He is a regular host of Songs of Praise and presents weekly radio programmes for Classic FM and BBC Radio Wales. Aled: My Story reveals the man behind the music in a frank, heart-warming and funny account of his life.