Media, Materiality and Memory: Grounding the Groove examines the entwinement of material music objects, technology and memory in relation to a range of independent record labels, including Sarah Records, Ghost Box and Finders Keepers. Moving from Edison's phonograph to digital music files, from record collections to online archives, Roy argues that materiality plays a crucial role in constructing and understanding the territory of recorded sound. How do musical objects 'write' cultural narratives? How can we unearth and reactivate past histories by looking at yesterday's media formats? What is the nature, and fate, of the physical archive in an increasingly dematerialized world? In what ways do physical and digital musical objects coexist and intersect? With its innovative theoretical approach, the book explores the implications of materialization in the fashioning of a musical world and its cultural transmission. A substantial contribution to the field of music and material culture studies, Media, Materiality and Memory also provides a nuanced and timely reflection on nostalgia and forgetting in the digital age.

PJ Harvey's performances are premised on the core contention that she is somehow causing 'trouble'. Just how this trouble can be theorised within the context of the music video and what it means for a development of the ways we might conceptualise 'disruption' and think about music video lies at the heart of this book. Abigail Gardner mixes feminist theory and critical models from film and video scholarship as a rich means of interrogating Harvey's work and redefining her disruptive strategies. The book presents a rethinking of the masquerade that allies it to cultural memory, precipitated by Gardner's claim that Harvey's performances are conversations with the past, specifically with visualised memories of archetypes of femininity. Harvey's masquerades emerge from her conversations and renegotiations with both national and transatlantic musical, visual and lyrical heritages. It is the first academic book to present analysis of Harvey's music videos and opens up fresh avenues into exploring what is at stake in the video work of one of Britain's premier singer-songwriters. It extends the discussion on music video to consider how to make sense of the rapidly developing digital environment in which it now sits. The interdisciplinary nature of the book should attract readers from a range of subject areas including popular music studies, cultural studies, media and communication studies, and gender studies.

From humble beginnings Adele has come to be a globally recognised icon. Her first album shot her to fame and the second consolidated her position as a singing/songwriting superstar with lasting, global appeal. She has already won more than 40 industry awards, including 11 Billboard Music Awards, a BRIT award, and eight Grammy awards. She has broken record after record: first artist to sell more than 3m albums in a year in the UK, first living artist to have two top five hits in both the UK singles and albums charts simultaneously since the Beatles, the first artist in history to lead the Billboard chart concurrently with three number ones, 21 is the longest running number one album by a female solo artist on the UK chart and in the US it held the top position for longer than any other album since 1993.

Simon Frith has been one of the most important figures in the emergence and subsequent development of popular music studies. From his earliest academic publication, The Sociology of Rock (1978), through to his recent work on the live music industry in the UK, in his desire to 'take popular music seriously' he has probably been cited more than any other author in the field. Uniquely, he has combined this work with a lengthy career as a music critic for leading publications on both sides of the Atlantic. The contributions to this volume of essays and memoirs seek to honour Frith's achievements, but they are not merely 'about Frith'. Rather, they are important interventions by leading scholars in the field, including Robert Christgau, Antoine Hennion, Peter J. Martin and Philip Tagg. The focus on 'sociology and industry' and 'aesthetics and values' reflect major themes in Frith's own work, which can also be found within popular music studies more generally. As such the volume will become an essential resource for those working in popular music studies, as well as in musicology, sociology and cultural and media studies.

'...probably the best book written about grunge' Paul Brannigan, Classic Rock 'Mudhoney are the jewel of Seattle.' Thurston Moore, Sonic Youth If rock fans associate Seattle primarily with Nirvana and Pearl Jam, time has shown that the city's most influential grunge band may well have been Mudhoney. They're still going strong and this is their story. Formed in early 1988 Mudhoney originally comprised Mark Arm, Matt Lukin, Dan Peters and Steve Turner and their debut single, 'Touch Me I'm Sick', was the catalytic force behind Nirvana and Pearl Jam who took grunge global. Mudhoney's would have been another story of half-forgotten pioneers paving the way for others who grabbed the prize... except they not only survived all the classic rock band excesses, but they also kept on producing great music. Bolstered by new member Guy Maddison, they celebrated their quarter-century with a superb 2013 album, Vanishing Point, and showed no signs of slowing down with the release of Digital Garbage in 2018 and Morning In America in 2019. Updated with a new chapter drawing on fresh interviews with the group, this book tells an unconventional tale of rock heroism about a band that missed out on superstardom but kept control of the music and triumphantly outlived their more famous disciples.

'An attempt to retell an oft-told tale, this time informed by a desire to suck the hot air out of the more inflated earlier versions . . . this late-arriving history is perhaps the most reliable, and certainly the most entertaining, of all' Guardian Few bands are as shrouded in the murky haze of rock mythology as The Doors, and parsing fact from fiction has been a virtually impossible task. But now, after fifty years, The Doors' notoriously quiet guitarist is finally breaking his silence to set the record straight. Through a series of vignettes, Robby takes readers back to where it all happened: the pawn shop where he bought his first guitar; the jail cell he was tossed into after a teenage drug bust; his parents' living room where his first songwriting sessions with Jim Morrison took place; and the many concert venues that erupted into historic riots. Both a time capsule of the 1960s counterculture and a moving reflection on what it means to find oneself as a musician, Set the Night on Fire is a must-read for Doors fans and an essential volume of American pop. 'The very best . . . A well-told classic tale' Mojo 'Eschewing mythologising for unvarnished, often amusing memories, this is a book that Doors fans will love madly' Classic Rock Magazine

'Counterculture' emerged as a term in the late 1960s and has been re-deployed in more recent decades in relation to other forms of cultural and socio-political phenomena. This volume provides an essential new academic scrutiny of the concept of 'counterculture' and a critical examination of the period and its heritage. Recent developments in sociological theory complicate and problematise theories developed in the 1960s, with digital technology, for example, providing an impetus for new understandings of counterculture. Music played a significant part in the way that the counterculture authored space in relation to articulations of community by providing a shared sense of collective identity. Not least, the heady mixture of genres provided a socio-cultural-political backdrop for distinctive musical practices and innovations which, in relation to counterculture ideology, provided a rich experiential setting in which different groups defined their relationship both to the local and international dimensions of the movement, so providing a sense of locality, community and collective identity.

THE SUNDAY TIMES BESTSELLER 'As the Brits say: I'm gobsmacked. I devoured this book... one of the most potent examples of living the dream' DEBBIE HARRY 'A great drummer who has written a great book' BILL MURRAY 'A revealing inside account of the highs and lows of a band who looked and sounded like nobody else' OLIVIA LAING, Guardian Chris Frantz's memoir tells the story of his life with Talking Heads, Tom Tom Club and his life-long love affair with Tina Weymouth. He remembers the early performances at CBGB alongside the Ramones, Patti Smith, Television and Blondie and recording the game changing albums, Talking Heads '77, More Songs About Buildings And Food, Fear Of Music, and Remain In Light. During a break from Talking Heads, Chris and Tina formed Tom Tom Club; in the process creating a hybrid of funk, disco, pop and electro that would have a huge impact on the club scene around the world. Warm and candid, funny and heartfelt, Remain in Love charts the rise of a band that began as a dream and culminated with their induction into the Rock and Roll Hall of Fame, and reveals the once-in-a-lifetime love story and creative partnership between Chris and Tina, one of the greatest rhythm sections of all time.

Whilst these records were being conceived, rehearsed, recorded and produced, Thom Yorke and Stanley Donwood made hundreds of images. These ranged from obsessive, insomniac scrawls in biro to six-foot-square painted canvases, from scissors-and-glue collages to immense digital landscapes. They utilised every medium they could find, from sticks and knives to the emerging digital technologies. The work chronicles their obsessions at the time: minotaurs, genocide, maps, globalisation, monsters, pylons, dams, volcanoes, locusts, lightning, helicopters, Hiroshima, show homes and ring roads. What emerges is a deeply strange portrait of the years at the commencement of this century. A time that seems an age ago - but so much remains the same.

We arrived in a fleet of white stretch limos at a clearing in a wood near Woking. Here the K Foundation was exhibiting a million pounds in cash, while Bill Drummond and Jimmy Cauty circled the perimeter in two orange Saracen armoured vehicles, blasting out Abba's 'Money Money Money' . . .

Mick Houghton worked with some of the greatest, most influential and downright dysfunctional cult groups of the post-punk era and beyond - Ramones, Talking Heads, The Jesus and Mary Chain, The Undertones, Felt and Sonic Youth among them.

But the three acts Mick is most closely identified with are Echo & the Bunnymen, Julian Cope, and the KLF. As confidant and co-conspirator, he navigated the minefield of rivalries and contrasting fortunes which make Fried & Justified such a candid, amusing and insightful picture of an exciting and inspirational period for music.

This book examines do-it-yourself (DIY) approaches to the collection, preservation, and display of popular music heritage being undertaken by volunteers in community archives, museums and halls of fame globally. DIY institutions of popular music heritage are much more than 'unofficial' versions of 'official' institutions; rather, they invoke a complex network of affect and sociality, and are sites where interested people - often enthusiasts - are able to assemble around shared goals related to the preservation of and ownership over the material histories of popular music culture. Drawing on interviews and observations with founders, volunteers and heritage workers in 23 DIY institutions in Australasia, Europe and North America, the book highlights the potentialities of bottom-up, community-based interventions into the archiving and preservation of popular music's material history. It reveals the kinds of collections being housed in these archives, how they are managed and maintained, and explores their relationship to mainstream heritage institutions. The study also considers the cultural labor of volunteers in the DIY institution, arguing that while these are places concerned with heritage management and the preservation of artefacts, they are also extensions of musical communities in the present in which activities around popular music preservation have personal, cultural, community and heritage benefits. By looking at volunteers' everyday interventions in the archiving and curating of popular music's material past, the book highlights how DIY institutions build upon national heritage strategies at the community level and have the capacity to contribute to the democratization of popular music heritage. This book will have a broad appeal to a range of scholars in the fields of popular music studies, musicology, ethnomusicology, archive studies and archival science, museum studies, critical heritage studies, cultural studies, cultural sociology and media studies.

This book is the first to explore style and spectacle in glam popular music performance from the 1970s to the present day, and from an international perspective. Focus is given to a number of representative artists, bands, and movements, as well as national, regional, and cultural contexts from around the globe. Approaching glam music performance and style broadly, and using the glam/glitter rock genre of the early 1970s as a foundation for case studies and comparisons, the volume engages with subjects that help in defining the glam phenomenon in its many manifestations and contexts. Glam rock, in its original, term-defining inception, had its birth in the UK in 1970/71, and featured at its forefront acts such as David Bowie, T. Rex, Slade, and Roxy Music. Termed "glitter rock" in the US, stateside artists included Alice Cooper, Suzi Quatro, The New York Dolls, and Kiss. In a global context, glam is represented in many other cultures, where the influences of early glam rock can be seen clearly. In this book, glam exists at the intersections of glam rock and other styles (e.g., punk, metal, disco, goth). Its performers are characterized by their flamboyant and theatrical appearance (clothes, costumes, makeup, hairstyles), they often challenge gender stereotypes and sexuality (androgyny), and they create spectacle in popular music performance, fandom, and fashion. The essays in this collection comprise theoretically-informed contributions that address the diversity of the world's popular music via artists, bands, and movements, with special attention given to the ways glam has been influential not only as a music genre, but also in fashion, design, and other visual culture.

Popular Music Theory and Analysis: A Research and Information Guide uncovers the wealth of scholarly works dealing with the theory and analysis of popular music. This annotated bibliography is an exhaustive catalog of music-theoretical and musicological works that is searchable by subject, genre, and song title. It will support emerging scholarship and inquiry for future research on popular music.

This book explores the trend of retro and nostalgia within contemporary popular music culture. Using empirical evidence obtained from a case study of fans' engagement with older music, the book argues that retro culture is the result of an inseparable mix of cultural and technological changes, namely, the rise of a new generation and cultural mood along with the encouragement of new technologies. Retro culture has become a hot topic in recent years but this is the first time the subject has been explored from an academic perspective and from the fans' perspective. As such, this book promises to provide concrete answers about why retro culture dominates in contemporary society. For the first time ever, this book provides an empirically grounded theory of popular music, retro culture and its intergenerational audience in the twenty-first century. It will appeal to advanced students of popular music studies, cultural studies, media studies, sociology and music.

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

Listening according to mood is likely to be what most people do when they listen to music. We want to take part in, or even be part of, the emerging world of the musical work. Using the sources of musical history and philosophy, Erik Wallrup explores this extremely vague and elusive phenomenon, which is held to be fundamental to musical hearing. Wallrup unfolds the untold musical history of the German word for 'mood', Stimmung, which in the 19th century was abundant in the musical aesthetics of the German-Austrian sphere. Martin Heidegger's much-discussed philosophy of Stimmung is introduced into the field of music, allowing Wallrup to realise fully the potential of the concept. Mood in music, or, to be more precise, musical attunement, should not be seen as a peculiar kind of emotionality, but that which constitutes fundamentally the relationship between listener and music. Exploring mood, or attunement, is indispensable for a thorough understanding of the act of listening to music.

The double bass - the preferred bass instrument in popular music during the 1960s - was challenged and subsequently superseded by the advent of a new electric bass instrument. From the mid-1960s and throughout the 1970s, a melismatic and inconsistent approach towards the bass role ensued, which contributed to a major change in how the electric bass was used in performance and perceived in the sonic landscape of mainstream popular music. Investigating the performance practice of the new, melodic role of the electric bass as it appeared (and disappeared) in the 1960s and 1970s, the book turns to the number one songs of the American Billboard Hot 100 charts between 1951 and 1982 as a prime source. Through interviews with players from this era, numerous transcriptions - elaborations of twenty bass related features - are presented. These are juxtaposed with a critical study of four key players, who provide the case-studies for examining the performance practice of the melodic electric bass. This highly original book will be of interest not only to bass players, but also to popular musicologists looking for a way to instigate methodological and theoretical discussions on how to develop popular music analysis.

It is undeniable that technology has made a tangible impact on the nature of musical listening. The new media have changed our relationship with music in a myriad of ways, not least because the experience of listening can now be prolonged at will and repeated at any time and in any space. Moreover, among the more striking social phenomena ushered in by the technological revolution, one cannot fail to mention music's current status as a commodity and popular music's unprecedented global reach. In response to these new social and perceptual conditions, the act of listening has diversified into a wide range of patterns of behaviour which seem to resist any attempt at unification. Concentrated listening, the form of musical reception fostered by Western art music, now appears to be but one of the many ways in which audiences respond to organized sound. Cinema, for example, has developed specific ways of combining images and sounds; and, more recently, digital technology has redefined the standard forms of mass communication. Information is aestheticized, and music in turn is incorporated into pre-existing symbolic fields. This volume - the first in the series Musical Cultures of the Twentieth Century - offers a wide-ranging exploration of the relations between sound, technology and listening practices, considered from the complementary perspectives of art music and popular music, music theatre and multimedia, composition and performance, ethnographic and anthropological research.

Voices Found: Free Jazz and Singing contributes to a wave of voice studies scholarship with the first book-length study of free jazz voice. It pieces together a history of free jazz voice that spans from sound poetry and scat in the 1950s to the more recent wave of free jazz choirs. The author traces the developments and offers a theory, derived from interviews with many of the most important singers in the history of free jazz voice, of how listeners have experienced and evaluated the often unconventional vocal sounds these vocalists employed. This theory explains that even audiences willing to enjoy harsh sounds from saxophones or guitars often resist when voices make sounds that audiences understand as not-human. Experimental poetry and scat were combined and transformed in free jazz spaces in the 1960s and 1970s by vocalists like Yoko Ono (in solo work and her work with Ornette Coleman and John Stevens), Jeanne Lee (in her solo work and her work with Archie Shepp and Gunter Hampel), Leon Thomas (in his solo work as well as his work with Pharoah Sanders and Carlos Santana), and Phil Minton and Maggie Nicols (who devoted much of their energy to creating unaccompanied free jazz vocal music). By studying free jazz voice we can learn important lessons about what we expect from the voice and what happens when those expectations are violated. This book doesn't only trace histories of free jazz voice, it makes an attempt to understand why this story hasn't been told before, with an impressive breadth of scope in terms of the artists covered, drawing on research from the US, Canada, Wales, Scotland, France, The Netherlands, and Japan.

HONK! A Street Band Renaissance of Music and Activism explores a fast-growing and transnational movement of street bands-particularly brass and percussion ensembles-and examines how this exciting phenomenon mobilizes communities to reimagine public spaces, protest injustice, and assert their activism. Through the joy of participatory music making, HONK! bands foster active musical engagement in street protests while encouraging grassroots organization, representing a manifestation of cultural activity that exists at the intersections of community, activism, and music. This collection of twenty essays considers the parallels between the diversity of these movements and the diversity of the musical repertoire these bands play and share. In five parts, musicians, activists, and scholars voiced in various local contexts cover a range of themes and topics: History and Scope Repertoire, Pedagogy, and Performance Inclusion and Organization Festival Organization and Politics On the Front Lines of Protest The HONK! Festival of Activist Street Bands began in Somerville, Massachusetts in 2006 as an independent, non-commercial, street festival. It has since spread to four continents. HONK! A Street Band Renaissance of Music and Activism explores the phenomenon that inspires street bands and musicians to change the world and provide musical, social, and political alternatives in contemporary times. Visit the companion webiste: http://www.honkrenaissance.net/

This volume brings together the work of social scientists and music scholars examining the role of migrant and migrant descended communities in the production and consumption of popular music in Europe and North America. The contributions to the collection include studies of language and local identity in hip hop in Liege and Montreal; the politics of Mexican folk music in Los Angeles; the remaking of ethnic boundaries in Naples; the changing meanings of Tango in the Argentine diaspora and of Alevi music among Turks in Germany; the history of Soca in Brooklyn; and the recreation of 'American' culture by the children of immigrants on the Broadway stage. Taken together, these works demonstrate how music affords us a window onto local culture, social relations and community politics in the diverse cities of immigrant receiving societies. Music is often one of the first arenas in which populations encounter newcomers, a place where ideas about identity can be reformulated and reimagined, and a field in which innovation and hybridity are often highly valued. This book highlights why it is a subject worthy of more attention from students of racial and ethnic relations in diverse societies. It was originally published as a special issue of Ethnic and Racial Studies.

A chance encounter at a summer party on Martha's Vineyard blossomed into an improbable but enduring friendship. Carly Simon and Jacqueline Kennedy Onassis made an unlikely pair - Carly, a free and artistic spirit still reeling from her recent divorce, searching for meaning, new love, and an anchor; and Jackie, one of the most celebrated, meticulous, unknowable women in American history. Nonetheless, over the next decade their lives merged in inextricable and complex ways, and they forged a connection deeper than either could ever have foreseen. The time they spent together - lingering lunches and creative collaborations, nights out on the town and mundane movie dates - brought a welcome lightness and comfort to their days, but their conversations often veered into more profound territory as they helped each other navigate the shifting waters of life lived, publicly, in the wake of great love and great loss. An intimate, vulnerable, and insightful portrait of the bond that grew between two iconic and starkly different American women, Carly Simon's Touched by the Sun is a chronicle, in loving detail, of the late friendship she and Jackie shared. It is a meditation on the ways someone can unexpectedly enter our lives and change its course, as well as a celebration of kinship in all its many forms.

In her intimate memoir, More Myself, Alicia Keys shares her quest for truth: about herself, her past, and her shift from sacrificing her spirit to celebrating her worth. One of the most celebrated musicians of our time, Alicia Keys has enraptured the nation with her heartfelt lyrics, extraordinary vocal range, and soul-stirring piano compositions. Yet away from the spotlight, Alicia has grappled with private heartache over the challenging and complex relationship with her father, the people-pleasing nature that characterized her early career, the loss of privacy surrounding her romantic relationships, and the oppressive expectations of female perfection. Since her rise to fame, Alicia's public persona has belied a deep personal truth: she has spent years not fully recognizing or honoring her own worth. After withholding parts of herself for so long, she is at last exploring the questions that live at the heart of her story: Who am I, really? And once I discover that truth, how can I become brave enough to embrace it? More Myself is part autobiography, part narrative documentary. Alicia's journey is revealed not only through her own candid recounting, but also through vivid recollections from those who have walked alongside her. The result is a 360-degree perspective on Alicia's path: from her girlhood in Hell's Kitchen and Harlem, to the process of self-discovery she's still navigating. With the raw honesty that epitomizes Alicia's artistry, More Myself is at once a riveting account and a clarion call to readers: to define themselves in a world that rarely encourages a true and unique identity.