With just four record companies controlling nearly 80 per cent of the world market in popular music, issues of globalization are evidently significant to our understanding of how and why popular music is made and distributed. As transnational industries seek to open up increasingly larger markets, the question of how local and regional music cultures can be sustained is a pressing one. To what extent does the global music market offer opportunities for the worldwide dissemination of local music within and beyond the major industry? The essays in this volume examine the structure and strategies of the transnational music industry, with its deployment of mass communication technologies including sound carriers, satellite broadcasting and the Internet. The book also explores local and individual experience of global music and this music's dissemination through migration and communities of interest, as well as the ideological and political use of different kinds of music. In contrast to recent arguments which posit an American imperialist dominance of popular music, the contributors to this volume find that the global repertoire of the major labels no longer represents the culture of a certain country but is fed by different sources. The essays here discuss how we can characterize this vast de-centered industry, and offer perspectives on the so-called 'international repertoire' that calls for a melodic structure, ballad forms, unaccented vocalisation and an image that has global recognition.

A tell-all biography of the epic in-fighting of the Grateful Dead in the years following band leader Jerry Garcia's death in 1995 The Grateful Dead rose to greatness under the inspired leadership of guitarist Jerry Garcia, but the band very nearly died along with him. When Garcia passed away suddenly in August of 1995, the remaining band members experienced full crises of confidence and identity. So long defined by Garcia's vision for the group, the surviving "Core Four," as they came to be called, were reduced to conflicting agendas, strained relationships, and catastrophic business decisions that would leave the iconic band in shambles. Wrestling with how best to define their living legacy, the band made many attempts at restructuring, but it would take twenty years before relationships were mended enough for the Grateful Dead as fans remembered them to once again take the stage. Acclaimed music journalist and New York Timesbestselling author Joel Selvin was there for much of the turmoil following Garcia's death, and he'll offer a behind-the-scenes account of the ebbs and flows that occurred during the ensuing two decades. Plenty of books have been written about the rise of the Grateful Dead, but this final chapter of the band's history has never before been explored in detail. Culminating in the landmark tour bearing the same name, Fare Thee Wellcharts the arduous journey from Garcia's passing all the way up to the uneasy agreement between the Core Four that led to the series of shows celebrating the band's fiftieth anniversary and finally allowing for a proper, and joyous, sendoff of the group revered by so many.

Made in Italy serves as a comprehensive and rigorous introduction to the history, sociology, and musicology of contemporary Italian popular music. Each essay, written by a leading scholar of Italian music, covers the major figures, styles, and social contexts of pop music in Italy and provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Italian popular music. The book first presents a general description of the history and background of popular music, followed by essays organized into thematic sections: Themes; Singer-Songwriters; and Stories.

Music, whether performed or heard, has been seen as therapeutic in the history of many cultures. How have its therapeutic properties been conceptualized and explained? Which cultures have used music therapy? What were their aims and techniques, and how much continuity is there between ancient, medieval and modern practice? These are the questions addressed by the essays in this volume. They focus on the place of music therapy in European intellectual, medical and musical traditions, from their classical roots to the development of the music therapy profession since the Second World War. Chapters covering the Judaic, Islamic, Indian and South-East Asian traditions add global, comparative perspectives. Music as Medicine is the first book to establish the whole shape of the history of music therapy in a systematic and scholarly way. It addresses the problem of defining what music therapy has meant in different cultures and periods, and sets the agenda for future research in the subject. It will appeal to a diverse readership of historians, musicologists, anthropologists, and practitioners.

How are national identities constructed and articulated through music? Popular music has long been associated with political dissent, and the nation state has consistently demonstrated a determination to seek out and procure for itself a stake in the management of 'its' popular musics. Similarly, popular musics have been used 'from the ground up' as sites for both populist and popular critiques of nationalist sentiment, from the position of both a globalizing and a 'local' vernacular culture. The contributions in this book arrive at a critical moment in the development of the study of national cultures and musicology. The book ranges from considerations of the ideological focus of cultural nationalism through to analyses of musical hybridity and musical articulations of other kinds of identities at odds with national identity. The processes of global homogenization are thereby shown to have brought about a transitional crisis for national cultural identities: the evolution of these identities, particularly with reference to the concept of 'authenticity' in music, is situated within broader debates on power, political economy and constructions of the self. Theorizations of practice are employed after the manner of Bourdieu, Gramsci, Goffman, Gadamer, Habermas, Bhabha, Lacan and Zizek. Each contribution acts as a case study to characterize the strategies through which differing modes of musical discourse engage, critique or obscure discourses on national identity. The studies include discussions of: musical representations of Irishness; the relationship between Afropop and World Music; Norwegian club music; the revival of traditional music in Serbia; resistance to cultural homogeneity in Brazil; contemporary Uyghur song in Northwest China; rap and race in French society; technobanda from the barrios of Los Angeles, and Spanish/Moroccan raA-. In this way, the book seeks to characterize the ideological configurations that help to activate and sustain hegemonic, amb

This book, first published in 1987, was the first major survey of the links between the visual arts and pop music over the last thirty years. It brings to light the ideas, styles and people who have influenced both the look of pop and the shape of art. It examines how pop uses art movements like Dada, Futurism and Surrealism in everything from the design of album covers to the creation of a group's look, stage act and video; how art uses pop, as a subject for painting, sculpture and design; the vital role of the British art school connection; and collaborations and cross-overs - between the visual arts and groups, musicians and movements.

This is a comprehensive guide to popular music literature, first published in 1986. Its main focus is on American and British works, but it includes significant works from other countries, making it truly international in scope.

Born in 1948 into a family of ministers in Kingston, Jamaica, the statuesque and strikingly beautiful Grace Jones lived with her family in Syracuse, NY, before launching a career as a model in New York City. Gaining fame as the cover girl for such publications as Vogue and Elle, Jones's flamboyant look proved to be a hit on the New York City nightclub circuit and she became a darling of the disco scene, which led to a recording contract and a substantial following among gay men. With her sexually charged, outrageous live shows, Grace soon earned the title of 'Queen of the Gay Discos.' When she moved to Paris in 1970, the French fashion scene embraced her unusual, androgynous looks and, in addition to cover work, she dominated the runways of designers like Yves St. Laurent and befriended the likes of Giorgio Armani and Karl Lagerfeld. While there, she shared an apartment with Jerry Hall and Jessica Lange and became artist Jean-Paul Goude's muse - he also fathered her son Paulo. (Grace was married twice - to a producer and a bodyguard - and she dated Swedish actor Dolph Lundgren for four years.) But with the dawn of the '80s came a massive anti-disco movement across the U.S., leading to Grace Jones focusing on more new wave and experimental-based work, putting her 21/2 octave voice to good use. She is as known for her unique look as she is for her music and has influenced the likes of Lady Gaga, Rihanna and Annie Lennox. In the book, Grace takes us on a journey from her religious upbringing in Jamaica to her heyday in Paris and New York in the 70s and 80s, all the way to present-day London, where she is working on a new album.

A SUNDAY TIMES POP BOOK OF THE YEAR A DAILY TELEGRAPH MUSIC BOOK OF THE YEAR A DAILY MAIL MUSIC BOOK OF THE YEAR A TIMES MUSIC BOOK OF THE YEAR ('Of the many Led Zeppelin biographies marking the band's 50th anniversary, this is the most illuminating') OBSERVER BEST BOOKS OF 2018 'An enthralling and rigorously researched book' Sunday Times 'Blake has talked to everyone, and the stories are both lurid and melancholy' Mail on Sunday 'A juicy saga of excess all areas, Mark Blake's biography of Led Zeppelin's notoriously combative manager, Peter Grant, reads at times like an all-you-can-eat buffet of guilty pleasures . . . a riotous roller coaster' The Times 'A tale as expansive and complex as the man himself' Mojo 'To say Bring It On Home is a rambunctious page-turner is an understatement; but despite all the violence and weirdness, you can't help liking the "real" Peter Grant who emerges here' Planet Rock The late Peter Grant managed Led Zeppelin to global stardom. But his life story was every bit as extraordinary and dramatic as the musicians he looked after. For the first time ever, the Grant family have allowed an author access to previously unseen correspondence and photographs to help build the most complete and revealing story yet of a man who was a pioneer of rock music management, but also a son, a husband and a father. Published to coincide with Led Zeppelin's 50th anniversary, Bring It On Home charts Peter Grant's rise from wartime poverty through his time as a nightclub doorman, wrestler and bit-part actor to the birth of rock'n'roll in the 1950s. From here, it explores his pivotal role in the formation of Led Zeppelin and charts the impossible highs and lows of life on the road with rock's most outrageous band. Bring It On Home includes almost 100 new interviews with family members, friends, musicians and rival managers, and walk-on parts for Sharon Osbourne, Bob Dylan, Stanley Kubrick, Freddie Mercury, Elizabeth Taylor, the FBI, the CIA, the Mafia - and Elvis Presley. As Grant's son Warren says now: 'My dad knew everyone.' It is the first biography to reveal the truth behind Led Zeppelin's demise, Grant's subsequent fall from grace amid death threats and the shadow of organised crime, and his final days as a man who shunned the excesses of the music industry in favour of his friends and family. With access to several previously unpublished interviews - including Grant's last and most revealing yet - Bring It On Home sheds new light on the story of rock's greatest manager and one of the giants of modern music history.

To his many fans, he was known simply as "Mr. Excitement," a singer whose music and stage presence influenced generations of performers, from Elvis Presley to Michael Jackson. Jackie Wilson: Lonely Teardrops looks at the life and career of this deeply troubled artist. Published briefly in a limited edition in the United Kingdom, this Routledge edition makes available this definitive biography for Wilson's legions of fans. Also includes two 8-page photo inserts.

In this lively examination of youth and their relationship to music, first published in 1994, contributors cover issues ranging from the place of music in urban subculture and what music tells us about adolescent views on love and sex, to the political status of youth and youth culture.

This book, first published in 1987, tells the intriguing and culturally complex story of the art school influence on postwar British popular music. Following Romantic attitudes from life class to recording studio, it focuses on two key moments - the early 1960s, when art students like John Lennon and Eric Clapton begin to play their own versions of American rock and blues and inflected youth music with Bohemian dreams, and the late 1970s, when punk musicians emerged from design courses and fashion departments to disrupt what were, by then, art-rock routines. Sixties rock Bohemians and seventies pop Situationists were, in their different ways, trying to solve the art students' perennial problem - how to make a living from their art. Art Into Pop shows how this problem has been shaped by the history of British art education, from its nineteenth-century origins to current arguments about 'pure' and 'applied' training. In their simultaneous pursuit of authenticity and artifice, art school musicians exemplify the postmodern condition, the collapse of any distinction between 'high' and 'low' culture, the confusions of personal and commercial creativity. And so high pop theorists rub shoulders here with low pop practitioners, experimental musicians debate avant-garde ideas with corporate packagers, and artistic integrity becomes a matter of making oneself up.

A large format history of the band via their releases - official, re-releases and bootlegs. Over 200 pictures of rare and deleted releases, from 'Anarchy' to 'Kiss This', plus a history of the band and complete list of all their known gigs. Definitely one for the completist, and/or collector nerd.

Having designed Roxy Music as an haute couture suit hand-stitched of punk and progressive music, Bryan Ferry redesigned it. He made Roxy Music ever dreamier and mellower-reaching back to sadly beautiful chivalric romances. Dadaist (punk) noise exited; a kind of ambient soft soul entered. Ferry parted ways with Eno, electric violinist Eddie Jobson, and drummer Paul Thompson, foreswearing the broken-sounding synthesizers played by kitchen utensils, the chance-based elements, and the maquillage of previous albums. The production and engineering imposed on Avalon confiscates emotion and replaces it with an acoustic simulacrum of courtliness, polished manners, and codes of etiquette. The seducer sings seductive music about seduction, but decorum is retained, as amour courtois insists. The backbeat cannot beat back nostalgia; it remains part of the architecture of Avalon, an album that creates an allusive sheen. Be nostalgic, by all means, but embrace that feeling's falseness, because nostalgia-whether inspired by medieval Arthuriana or 1940s film noir repartee or a 1980s drug-induced high-deceives. Nostalgia defines our fantasies and our (not Ferry's) essential artifice.

*** By the Sunday Times bestselling author of BOHEMIAN RHAPSODY *** From mod folk artist to flower power pixie elfin to the king of glam rockers, Marc Bolan was the ultimate chameleon. His far-reaching musical and stylistic influence is more relevant today than ever with hits such as 'Ride A White Swan', 'Children Of The Revolution', 'Get It On' and 'Hot Love' as fresh and exhilarating as when first released. At the peak of his popularity during his lifetime Bolan was outselling Jimi Hendrix and The Who, and yet relatively little is really known about the hypnotic, enigmatic 20th century boy turned 21st century icon. At last, in the 35th anniversary year of his tragic death, Marc Bolan represents the definite biography. Here rock biographer, Lesley-Ann Jones, paints a meticulous portrait of the T-Rex front man. From his childhood growing up in Hackney to his untimely death at the age of 29, Bolan's life was one of relentless experimentation and metamorphoses. Hallucinogenic drugs, wizardry and levitation, alcoholism, tax evasion and a spectacular fall from grace were to punctuate his short life, as he continued to strive to reinvent himself and his music over and over again. Lesley-Ann has been granted access to those who knew Bolan best, including his partner and the mother of his only son, Gloria Jones and his brother, Harry Feld.

More than fifty years after their founding, the Rolling Stones still tour and create new music as the world's quintessential rock band. David Malvinni's Experiencing the Rolling Stones: A Listener's Companion looks at the Stones' music from the inside out. Along the journey, Malvinni places individual songs and entire albums within the transformative era of the '60s, focusing on how the Rolling Stones integrated African American R&B, blues, and rock and roll into a uniquely British style. Vignettes describing what it was like to hear the Stones' music at the time of its release thread their way through the book as Malvinni goes beyond the usual stories surrounding the Stone's most significant songs. Tracing the distinctive sound that runs through their catalog, from chord progressions and open guitar tuning, to polyrhythmic Afro-Caribbean beats and their innovative use of nontraditional instruments, Malvinni shows how the Stones have retained their unmistakable identity through the decades. Experiencing the Rolling Stones draws together a broad swath of postwar history as it covers the band's origins in Swinging London, their interest in the Beat generation, the powerful attraction of Morocco on their lives and music, the infamous drug busts that nearly destroyed the band, the female muses who inspired them, the disaster at Altamont, their flight from England as tax exiles, and the recording sessions outside of England. Malvinni takes an especially close look at Keith Richards' guitar work and its effect on the band's music, as well as the multiple changes in the band's members, such as the addition of guitarists Mick Taylor and Ron Wood. Experiencing the Rolling Stones delivers a musical adventure for both the lifelong fan and the first-time listener just discovering the magnitude and magnificence of the Stones' music, stardom, and legacy.

Made in Latin America serves as a comprehensive introduction to the history, sociology, and musicology of contemporary Latin American popular music. Each essay, written by a leading scholar of Latin American music, covers the major figures, styles, and social contexts of popular music in Latin America and provides adequate context so readers understand why the figure or genre under discussion is of lasting significance. The book first presents a general description of the history and background of popular music, followed by essays organized into thematic sections: Theoretical Issues; Transnational Scenes; Local and National Scenes; Class, Identity, and Politics; and Gendered Scenes.

WINNER OF THE 2016 NOBEL PRIZE FOR LITERATURE '100 Songs is a good start, for anybody lucky enough to be starting out with such a genius' The London Evening Standard A new collection of Bob Dylan's most essential lyrics - one hundred songs that represent the Nobel Laureate's incredible musical range through the entirety of his career so far. 'The Nobel acknowledges what we've long sensed to be true; that Mr. Dylan is among the most authentic voices America has produced, a maker of images as audacious and resonant as anything in Walt Whitman or Emily Dickinson.' Dwight Garner, New York Times 'The Nobel committee got this right - Dylan's ongoing achievement in American song is a literary feat to celebrate in his gaudiest of ways.' Rob Sheffield, Rolling Stone Bob Dylan is one of the most important songwriters of our time and the first musician in history to win the Nobel Prize for Literature. In 100 Songs, Dylan delivers an intimate and carefully curated collection of his most important lyrics that spans from the beginning of his career through the present day. Perfect for students and younger readers as well as long-time fans, this portable, abridged volume of Dylan's lyrics shines a light on the songs that mean the most from a music and cultural legend.

Popular Music, Gender, and Postmodernism begins by tracing the migration of cynical academic ideas about postmodernism into music journalism. The result has been a widespread fatalism over the presumed ability of the music industry to absorb any expression of defiance in hiphop and rock. Commercial "incorporation" supposedly makes a charade of musical outrage, somehow disconnecting anger in music from any meaning or significance. Author Neil Nehring documents the considerable damage done by the journalistic employment of this tenet of postmodern theory, particularly in the case of the late Kurt Cobain of Nirvana, whose emotional intensity was repeatedly belittled for its purported incoherence. As a rebuttal to academic postmodernism and its exploitation by the mass media, Popular Music, Gender, and Postmodernism emphasizes that emotion and reason are mutually interdependent. Though mistakes can occur in the conscious choice of an object at which to direct oneAEs feelings, the preverbal appraisal of social situations that generates emotions is always perfectly rational. Nehring also surveys work in literary criticism, psychology, and especially feminist philosophy that argues on the basis for the political significance of anger even prior to its full articulation. The emotional performance in popular music, he concludes, cannot be discounted on the grounds, for example, that lyrics such as CobainAEs are difficult to understand. After detailing more and less progressive approaches to emotion in music criticism, Nehring focuses on recent punk rock by women, including the Riot Grrrls.

As humanly possible, this book attempts to evaluate every track that Paul McCartney has released on a major label. Thus, the premise of this book: to sift the gems from the chaff and examine what's driven McCartney up and down for fifty years. There are plenty of tracks suitable for casual fans, adolescents, even pre-schoolers. But there are tracks for an older audience too, tracks so good they can supply grown-ups with a rewarding soundtrack for a lifetime. It's these that make for a playlist worth keeping. From 1970 and beyond, the songwriting McCartney seemed to be saddled with a rickety who-cares system that generated iffy results. Gone were 'Eleanor Rigby' and 'Penny Lane'. Instead, came the thought-free 'Mary Had a Little Lamb' and 'Bip Bop', songs The Beatles wouldn't have considered for a second. Troubles swarmed around him as he searched for his place. The Beatles had theirs - where was his? Was he overly obsessed with perfection? Maybe. Or was it insecurity? His next record couldn't be a forward-thinking experiment, with sales falling wherever they may. It had to - had to - be a chart topper adored all over the world.

Of all pop music's icons, the Beatles have attracted more attention and generated more discussion than any other performers. The group's transformation from a semi-professional skiffle group in Liverpool to one of the twentieth century's key historical and cultural events has been told and re-told in numerous forms - on the cinema screen, in print, on stage, on TV and radio. Details of their personal and private histories are familiar to audiences and fans around the world. Their songs are among the best known and most critically acclaimed of the rock'n'roll era. The ways in which they dismantled many routine assumptions about the role of 'pop stars' in the 1960s helped to substantially re-direct the structures and cultures of the popular music industry in subsequent decades. Sixty years after their formation, interest in the group and its music remains as strong as ever.Because of the unprecedented nature of their success, their perennial associations with the century's most beguiling decade, the range of their extra-musical activity, and the dramatic postscripts to a career that effectively ended in 1970, many accounts of the Beatles have adopted a tone that veers between the sensational and the reverential. In addition, such accounts often overlook the significance of the professional, geographical, historical and technological constraints within which the Beatles worked, and which shaped their live and recorded musical output. In this book, Ian Inglis provides a succinct critical appreciation of the group that is balanced, informative and objective. It concentrates above all on the music of the Beatles, the context in which it was created, performed and recorded, and its rapid and often startling evolution which, powered by the formidable writing talents of John Lennon & Paul McCartney, moved from early cover versions through the conventions of the two- or three-minute love song to the lyrical variety and musical innovations of their post-touring years.His account separates myth from reality, documents the uneasy relationship between creativity and control that acted as a catalyst for their artistic development, and supplies fresh insights into the aspirations and achievements of the world's most celebrated popular musicians.

In 1985, Mark Bryan heard Darius Rucker singing in a dorm shower at the University of South Carolina and asked him to form a band. For the next eight years, Hootie & the Blowfish-completed by bassist Dean Feldman and drummer Soni Sonefeld-played every frat house, roadhouse, and rock club in the mid-Atlantic and Southeast, becoming one of the biggest independent acts in the region.In Only Wanna Be with You, Tim Sommer, the ultimate insider who signed the band to Atlantic Records in 1993, pulls back the curtain on the band's indie days; the chart-topping success of their major-label debut, cracked rear view; the year of Hootie (1995); the lean years; Darius Rucker's history-making rise in country music; and one of the most remarkable comeback stories of the century. Featuring new and extensive interviews with the band members, some of the band's most famous fans, and stories from the recording studio, tour bus, and golf course, this book is essential reading for Hootie lovers and music buffs.

Bob Dylan's cultural production in the second half of the twentieth century, his songs, but also his changing images and self-fashionings have informed and productively re/shaped certain images of America from outside and within. Refractions of Bob Dylan collects scholarly essays which thoroughly investigate the routes of Bob Dylan's cultural appropriations. The collection looks at how Dylan has been used and interpreted by others, and how his work has been reworked into cultural expressions in culturally and regionally divergent spaces. Additionally, a number of essays look at what Dylan has appropriated and incorporated in his own work, focusing on questions of plagiarism, tribute, allusion, love and theft. Some of the essays originate from the Refractions of Bob Dylan conference in Vienna (www.dylanvienna.at) which took place around the 70th birthday of Bob Dylan, and included Dylan experts such as Clinton Heylin, Stephen Scobie and Michael Gray. -- .

Combining the International Who's Who in Classical Music and the International Who's Who in Popular Music, this two-volume set provides a complete view of the whole of the music world. Within the International Who's Who in Classical Music, each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards. The International Who's Who in Popular Music boasts detailed entries, including full biographical information, such as principal career details, recordings and compositions, honours and contact information.