From the late-1970s to the late-1980s rock music in Yugoslavia had an important social and political purpose of providing a popular cultural outlet for the unique forms of socio-cultural critique that engaged with the realities and problems of life in Yugoslav society. The three music movements that emerged in this period - New Wave, New Primitives, and New Partisans - employed the understanding of rock music as the 'music of commitment' (i.e. as socio-cultural praxis premised on committed social engagement) to articulate the critiques of the country's 'new socialist culture', with the purpose of helping to eliminate the disconnect between the ideal and the reality of socialist Yugoslavia. This book offers an analysis of the three music movements and their particular brand of 'poetics of the present' in order to explore the movements' specific forms of socio-cultural engagement with Yugoslavia's 'new socialist culture' and demonstrate that their cultural praxis was oriented towards the goal of realizing the genuine Yugoslav socialist-humanist community 'in the true measure of man'. Thus, the book's principal argument is that the driving force behind the music of commitment was, although critical, a fundamentally constructive disposition towards the progressive ideal of socialist Yugoslavia.

The Presley Family & Friends Cookbook is a special blend of recipes, memories and photographs compiled by the people who knew Elvis best: his personal cook, family, friends and fellow performers. Simmering with nearly 300 recipes, it contains an amazing variety of foods, from Elvis's All Shook Up Milkshake to his You Ain't Nothin' but a Hot Dog to the family's King Creole Lobster and Clam Bake, plus his favourite banana pudding and hamburger recipes. Also included are recipes from his favourite restaurants and Memphis juke joints. The Presley Family & Friends Cookbook contains more than 100 personal family photos - many of which have not been published - and provides personal reminiscences from Elvis's family and friends. Also included are dozens of fan-friendly sidebars and useful information about Elvis movies available on video, plus lists of his many hits and albums and when they appeared on the pop charts. Come and enjoy platter after platter of some the King's favourite foods, straight from the kitchens of some of his most beloved cooks.

WHAT A STORY! WHAT A LIFE! A FASCINATING MEMOIR FROM A LEGENDARY MUSIC BUSINESS EXECUTIVE WHO…

Signed the little-known David Bowie…

Owned the Hunky Dory and Ziggy Stardust albums…

Looked after the The Rolling Stones…

Helped reorganise The Beatles' Apple Corp…

Worked with Mickie Most on The Animals, Herman's Hermits, Donovan, Jeff Beck, and Lulu…

Managed The Tremeloes, The New Seekers, and The Sweet…

Masterminded a landmark court case that disrupted music publishers exploiting songwriters including Elton John…

Started GTO Records, the company that signed Donna Summer, Billy Ocean, The Walker Brothers and Heatwave…

AND WHO…

Had dinner with John Lennon…

Tea with Colonel Parker…

Left Led Zeppelin's cash in a safe and lost the key…

Threw Rod Stewart out of his office…

Turned down chances to manage Queen and Andrea Bocelli…

Almost tempted Stevie Wonder away from Motown…

And foolishly allowed Iggy Pop to stay in his house!

WHO KNEW?

Despite their central role in many forms of music-making, drummers have been largely neglected in the scholarly literature on music and education. But kit drummers are increasingly difficult to ignore. While exponents of the drum kit are frequently mocked in popular culture, they are also widely acknowledged to be central to the musical success and aesthetic appeal of any musical ensemble in which they are found. Drummers are also making their presence felt in music education, with increasing opportunities to learn their craft in formal contexts. Drawing on data collected from in-depth interviews and questionnaires, Gareth Dylan Smith explores the identities, practices and learning of teenage and adult kit drummers in and around London. As a London-based drummer and teacher of drummers, Smith uses his own identity as participant-researcher to inform and interpret other drummers' accounts of their experiences. Drummers learn in multi-modal ways, usually with a keen awareness of exemplars of their art and craft. The world of kit drumming is highly masculine, which presents opportunities and challenges to drummers of both sexes. Smith proposes a new model of the 'Snowball Self', which incorporates the constructs of identity realization, learning realization, meta-identities and contextual identities. Kit drummers' identities, practices and learning are found to be intertwined, as drummers exist in a web of interdependence. Drummers drum; therefore they are, they do, and they learn - in a rich tapestry of means and contexts.

One of the earliest documented Scottish song collectors actually to go 'into the field' to gather his specimens, was the Highlander Joseph Macdonald. Macdonald emigrated in 1760 - contemporaneously with the start of James Macpherson's famous but much disputed Ossian project - and it fell to the Revd. Patrick Macdonald to finish and subsequently publish his younger brother's collection. Karen McAulay traces the complex history of Scottish song collecting, and the publication of major Highland and Lowland collections, over the ensuing 130 years. Looking at sources, authenticity, collecting methodology and format, McAulay places these collections in their cultural context and traces links with contemporary attitudes towards such wide-ranging topics as the embryonic tourism and travel industry; cultural nationalism; fakery and forgery; literary and musical creativity; and the move from antiquarianism and dilettantism towards an increasingly scholarly and didactic tone in the mid-to-late Victorian collections. Attention is given to some of the performance issues raised, either in correspondence or in the paratexts of published collections; and the narrative is interlaced with references to contemporary literary, social and even political history as it affected the collectors themselves. Most significantly, this study demonstrates a resurgence of cultural nationalism in the late nineteenth century.

Rock bands have been an important part of Liverpool's culture and identity since the 1950s, and a 1980 survey discovered the existence of over 1,000 bands in the city. This book delineates and discusses rock culture in Liverpool as a way or style of life, highlighting its associated conventions, rituals, norms, and beliefs at a particular point in time, within the city's own unique social, economic, cultural, and political environment. It deals with the hitherto little explored music-making by local, amateur rock bands, that are precariously poised between success and failure, caught between the urge for original creativity and the pressures of the record industry. Their struggle is discussed in detail within the context of their social and cultural lifestyle and the commercial environment within which they operate. Broad artistic and social issues are examined in great detail, through the biographies of a few specific bands, notably The Jactars and Crikey it's the Cromptons!

Originally published in 1966, this was the first book on this subject to be published for over a hundred years. It covers all facets including little-known types of Gaelic song, the bagpipes and their music, including the esoteric subject of pibroch, the Ceol Mor or 'Great Music' of the pipes. It gives a comprehensive review of the fiddle composers and their music, and of the Clarsach and its revival, with an example of all-but-extinct Scottish harp music. A chapter is devoted to the music of Orkney and Shetland and the book contains over 100 examples of music many of which were from the author's own collection and published here for the first time.

Redefining Mainstream Popular Music is a collection of seventeen essays that critically examines the idea of the "mainstream" in and across a variety of popular music styles and contexts. Notions of what is popular vary across generations and cultures - what may have been considered alternative to one group may be perceived as mainstream to another. Incorporating a wide range of popular music texts, genres, scenes, practices and technologies from the United Kingdom, North America, Australia and New Zealand, the authors theoretically challenge and augment our understanding of how the mainstream is understood and functions in the overlapping worlds of popular music production, consumption and scholarship. Spanning the local and the global, the historic and contemporary, the iconic and the everyday, the book covers a broad range of genres, from punk to grunge to hip-hop, while also considering popular music through other mediums, including mash-ups and the music of everyday work life. Redefining Mainstream Popular Music provides readers with an innovative and nuanced perspective of what it means to be mainstream.

(Play It Like It Is). This matching folio showcases Satriani's chilling guitar technique. Ten songs in all, including: Always With Me, Always With You * Satch Boogie * and more.

* Dismisses traditional, chronological format designed around European western canon to meets needs of today's ethnically diverse students, who identify their heritage as Asian, African, or Central American rather than European * Builds on a series of chapter-long theme-oriented narratives such as ethnicity, gender, spirituality, love, technology, that interweave the musical "here and now" * Focuses on how music creates and reflects social meaning in a variety of cultures and time periods. * Leads the student from music or ideas with which they are familiar to music that is unfamiliar, always through the connecting thread of the original social concept.

Since his arrival in New York in 1961, Bob Dylan has always been something of a mystery. He has worn a variety of masks that have delighted, puzzled, amused, and angered his many audiences. He has been poet, rocker, preacher, trickster, and prophet, and he has filled all these personas with songs and different voices. Nonetheless, Dylan has always been perceived as an authentic artist. Andrea Cossu brings the making of Bob Dylan to center stage in this new book, which offers a strikingly fresh explanation of Dylan and the changes he made throughout his career. Cossu s enjoyable descriptions of key Dylan performances show us how Dylan created his authenticity through performance, and how the many attempts to make Bob Dylan have often involved the interaction between the artist, his public image, and his many audiences.Touching on four different periods and tours from his first days in Greenwich Village to his electric turn at Newport, from the Rolling Thunder Revue and Dylan s born-again years to his late career the book offers a striking vision of how Dylan built his image and learned to live with its burden, painting a unique and coherent new portrait of the artist. A select number of books were printed with the incorrect index. We apologize for this mistake and have posted the final index for your convenience."

Queer Tracks describes motifs in popular music that deviate from heterosexual orientation, the binary gender system and fixed identities. This exciting cutting-edge work deals with the key concepts of current gender politics and queer theory in rock and pop music, including irony, parody, camp, mask/masquerade, mimesis/mimicry, cyborg, transsexuality, and dildo. Based on a constructivist concept of gender, Leibetseder asks: 'Which queer-feminist strategies are used in rock and pop music?' 'How do they function?' 'Where do they occur?' Leibetseder's methodological process is to discover subversive strategies in queer theory, which are also used in rock and pop music, without assuming that these tactics were first invented in theory. Furthermore, this book explains where exactly the subversiveness is situated in those strategies and in popular music. With the help of a new kind of knowledge transfer the author combines sociological and cultural theories with practical examples of rock and pop music. The subversive character of these queer motifs is shown in the work of contemporary popular musicians and is at the same time related to classical discourses of the humanities. Queer Tracks is a revised translation of Queere Tracks. Subversive Strategien in Rock- und Popmusik, originally published in German.

For female pop stars, whose star bodies and star performances are undisputedly the objects of a sexualized external gaze, the process of ageing in public poses particular challenges. Taking a broadly feminist perspective, 'Rock On': women, ageing and popular music shifts popular music studies in a new direction. Focussing on British, American and Latina women performers and ageing, the collection investigates the cultural work performed by artists such as Shirley Bassey, Petula Clark, Madonna, Celia Cruz, Grace Jones and Courtney Love. The study crosses generations of performers and audiences enabling an examination of changing socio-historical contexts and an exploration of the relationships at play between performance strategies, star persona and the popular music press. For instance, the strategies employed by Madonna and Grace Jones to engage with the processes and issues related to public ageing are not the same as those employed by Courtney Love or Celia Cruz. The essays in this insightful collection reflect on the ways that artists and fans destabilise both the linear trajectories and the compelling weight of expectations regarding ageing by employing different modalities of resistance through persona re-invention, nostalgia, postmodern intertextuality and even early death as the ultimate denial of age.

Popular music has long understood that human rights, if attainable at all, involve a struggle without end. The right to imagine an individual will, the right to some form of self-determination and the right to self-legislation have long been at the forefront of popular music's approach to human rights. At a time of such uncertainty and confusion, with human rights currently being violated all over the world, a new and sustained examination of cultural responses to such issues is warranted. In this respect music, which is always produced in a social context, is an extremely useful medium; in its immediacy music has a potency of expression whose reach is long and wide. Contributors to this significant volume cover artists and topics such as Billy Bragg, punk, Fun-da-Mental, Willie King and the Liberators, Hedwig and the Angry Inch, the Anti-Death Penalty movement, benefit concerts, benefit albums, Gil Scott-Heron, Bruce Springsteen, Wounded Knee and Native American political resistance, Tori Amos, Joni Mitchell, as well as human rights in relation to feminism. A second volume covers World Music.

Pairing history's 100 greatest rock stars with recipes for their iconic drink of choice, How to Drink Like a Rock Star is the perfect guide to summoning the muse for music fans, rock and roll bartenders, and cocktail enthusiasts. Have you longed for a taste of the rock and roll lifestyle without the trashed hotel rooms, constrictive leather pants, and weeks lost on a cramped tour bus? Whether you want to know what fueled Ozzy Osbourne's bat-biting Prince of Darkness persona, quaff a Jack and Coke like Motoerhead's Lemmy, or learn Madonna's recipe for a perfect dirty martini, How to Drink Like a Rock Star will delight fans of all genres of rock and roll and anyone searching for the perfect cocktail. From AC/DC to ZZ Top, this lavish illustrated follow-up to How to Drink Like a Writer offers 100 spirited drink recipes, fascinating rock star profiles, a special sections dedicated to epic rock clubs to drink, dance, and perform in, and even unusual hangover cures and favorite food pairings, all accompanied by original illustrations of ingredients and finished cocktails, and a wealth of photographs. This remarkable book, the result of a deep dive into interviews, backstage tour riders, and much more, is sure to inspire, impress, and inebriate. Sure, becoming a rock legend takes dedication, connections, and talent, but it also takes vodka, gin, tequila, and whiskey.

Music, Sexuality and the Enlightenment explains how Mozart's music for Le nozze di Figaro, Don Giovanni and CosA fan tutte 'sounds' the intentions of Da Ponte's characters and their relationships with one another. Mozart, by way of the infinitely generative and beautiful logic of the sonata principle, did not merely interpret Da Ponte's characterizations but lent them temporal, musical forms. Charles Ford's analytic interpretation of these musical forms concerns processes and structures in detail and at medium- to long-term levels. He addresses the music of a wide range of arias and ensembles, and develops original ways to interpret the two largely overlooked operatic genres of secco recitative and finales. Moreover, Ford presents a new method by which to relate musical details directly to philosophical concepts, and thereby, the music of the operas to the inwardly contradictory thinking of the European Enlightenment. This involves close readings of late eighteenth-century understandings of 'man' and nature, self and other, morality and transgression, and gendered identities and sexuality, with particular reference to contemporary writers, especially Goethe, Kant, Laclos, Rousseau, Sade, Schiller, Sterne and Wollstonecraft. The concluding discussion of the implied futures of the operas argues that their divided sexualities, which are those of the Enlightenment as a whole, have come to form our own unquestioned assumptions about gender differences and sexuality. This, along with the elegant and eloquent precision of Mozart's music, is why Figaro, Giovanni and CosA still maintain their vital immediacy for audiences today.

Elvis Presley wears another crown besides the King of Rock 'N' Roll--he also is the King of Collectibility. Nearly a quarter century after his death, items bearing Elvis's name and likeness are in hot demand. In this comprehensive book, renowned Elvis expert Sean O'Neal chronicles the Elvis phenomenon in more than 600 color photographs. Commercially produced memorabilia, novelties, magazines, promotional pieces, and movie paraphernalia recount Elvis's life and career. Items range from concert posters, to paint by number sets, to the Presley family bible. Every item is presented with its current market price. A special section provides tips on how to avoid counterfeit memorabilia and forged autographs. Also included is a history of Elvis Presley Enterprises, the original creator of Elvis merchandise. This fascinating reference book is the definitive guide to collecting Elvis.

Since his arrival in New York in 1961, Bob Dylan has always been something of a mystery. He has worn a variety of masks that have delighted, puzzled, amused, and angered his many audiences. He has been poet, rocker, preacher, trickster, and prophet, and he has filled all these personas with songs and different voices. Nonetheless, Dylan has always been perceived as an authentic artist. Andrea Cossu brings the making of Bob Dylan to center stage in this new book, which offers a strikingly fresh explanation of Dylan and the changes he made throughout his career. Cossu s enjoyable descriptions of key Dylan performances show us how Dylan created his authenticity through performance, and how the many attempts to make Bob Dylan have often involved the interaction between the artist, his public image, and his many audiences.Touching on four different periods and tours from his first days in Greenwich Village to his electric turn at Newport, from the Rolling Thunder Revue and Dylan s born-again years to his late career the book offers a striking vision of how Dylan built his image and learned to live with its burden, painting a unique and coherent new portrait of the artist. A select number of books were printed with the incorrect index. We apologize for this mistake and have posted the final index for your convenience."

An electrifying collection of the finest, most entertaining, and illuminating writing on and from the rock and roll scene--from its earliest days to the present, from the brightest moments of the biggest stars to obscure but compellingly significant treasures. The crazy, exhilarating, endlessly creative world of rock and roll has fascinated us--and some of our best writers--since the earliest days of the genre. William McKeen has assembled in this book the writing of those who played the music and pushed it to new limits, as well as those who were on the scene to witness and celebrate its magic. The story of rock and roll music and the rock and roll life lifts from these pages with marvelous immediacy, in selections ranging from Bruce Springsteen on his experience of backing up Chuck Berry, to Joan Didion sitting in on a Doors recording session, to Henry Rollins on Madonna, to Roddy Doyle's The Commitments. Tom Wolfe, Patti Smith, Don DeLillo, John Lennon, Frank Zappa, Nick Hornby, and many others contribute to this portrait of the music and its culture from its ancestors in the blues to its latest variants beyond grunge and rap. The book is organized into sections that create provocative and eye-opening juxtapositions, from "Superstardom" to "Weirdness," from "Present at the Creation" to "Soul." A section on rock critics shows how these writers matched the music with their own sharp rhythm, while "Tributes" rounds off the volume by remembering in their glory some of the greats who are making noise in the hereafter.

Throughout the world, the number of festivals has grown exponentially in the last two decades, as people celebrate local and regional cultures, but perhaps more importantly as local councils and other groups seek to use festivals both to promote tourism and to stimulate rural development. However, most studies of festivals have tended to focus almost exclusively on the cultural and symbolic aspects, or on narrow modelling of economic multiplier impacts, rather than examining their long-term implications for rural change. This book therefore has an original focus. It is structured in two parts: the first discusses broad issues affecting music festivals globally, especially in the context of rural revitalisation. The second part looks in more detail at a range of types of festivals commonly found throughout North America, Europe and Australasia, such as country music, jazz, opera and alternative music festivals. The authors draw on in-depth research undertaken over the past five years in a range of Australian places, which traces the overall growth of festivals of various kinds, examines four of the more important and distinctive music festivals, and makes clear conclusions on their significance for rural and regional change.

Turkish Metal journeys deep into the heart of the Turkish heavy metal scene, uncovering the emergence, evolution, and especially the social implications of this controversial musical genre in a Muslim society. The book applies an ethnographic approach in order to study social and cultural change in a Muslim society that is stricken with conflict over the, by turns, religious or secular nature of the state. Turkish Metal explores how Turkish metalheads, against all odds, manage to successfully claim public spaces of their own, thereby transforming the public face of the city. The book raises the question of how and why the young dare to rebel against the prevalent social and moral restrictions in Turkish society; and it examines whether they succeed in asserting their individual freedom in a society that is still well-known for sanctioning any kind of behaviour deviating from the norm. Above all, the book investigates the Turkish metal scene's potential for contesting Islamic concepts of morality, its relevance within the field of female emancipation, and its capacity to foster social relations that cut across national, religious and ethnic boundaries.

Music has been used as a cure for disease since as far back as King David's lyre, but the notion that it might be a serious cause of mental and physical illness was rare until the late eighteenth century. At that time, physicians started to argue that excessive music, or the wrong kind of music, could over-stimulate a vulnerable nervous system, leading to illness, immorality and even death. Since then there have been successive waves of moral panics about supposed epidemics of musical nervousness, caused by everything from Wagner to jazz and rock 'n' roll. It was this medical and critical debate that provided the psychiatric rhetoric of "degenerate music" that was the rationale for the persecution of musicians in Nazi Germany and the Soviet Union. By the 1950s, the focus of medical anxiety about music shifted to the idea that "musical brainwashing" and "subliminal messages" could strain the nerves and lead to mind control, mental illness and suicide. More recently, the prevalence of sonic weapons and the use of music in torture in the so-called War on Terror have both made the subject of music that is bad for the health worryingly topical. This book outlines and explains the development of this idea of pathological music from the Enlightenment until the present day, providing an original contribution to the history of medicine, music and the body.

Julian Cope's highly acclaimed autobiography and its long-awaited sequel in one extraordinary volume. Contents: * Julian Cope shot to fame with eighties band 'Teardrop Explodes' during the Punk era. Hailed as a visionary by those people who recognise his genius and a madman by those who find him perplexing, he has become a cult figure in the music world. * Head-On has previously only been available via 'Head Heritage' Julian's own company. Repossesed picks up in 1983 where Head On ends and continues up until 1989. Written in Cope's inimitable style it is set to provoke the same kind of media excitement. * When Julian Cope published 'Head On' in 1994 he received astounding reviews: Visceral, ballsy, bitchy, brutal, beautifully written. Book of the year. Made my heart burst. -- The Observer ...an enthralling saga of bitchiness, betrayal and unrepentent debauchery. -- The Sunday Times (Books of the Year) As a glimpse of the essentially pathetic but amusing whims and eccentricities that lie behind the screwed down hairdos of rock musicians, it's equally essential reading. And as a genital -warts-and -all diary of madmen, it is simply supreme entertainment. -- N.M.E Cope never portrays himself as anything less than a self-serving, childish, whinging half-assed failure. He's wrong, of course, but it makes for insanely funny reading. -- Select

Susan Burney (1755-1800) was the third daughter of the music historian Charles Burney and the younger sister of the novelist Frances (Fanny) Burney. She grew up in London, where she was able to observe at close quarters the musical life of the capital and to meet the many musicians, men of letters, and artists who visited the family home. After her marriage in 1782 to Molesworth Phillips, a Royal Marines officer who served with Captain Cook on his last voyage, she lived in Surrey and later in rural Ireland. Burney was a knowledgeable enthusiast for music, and particularly for opera, with discriminating tastes and the ability to capture vividly musical life and the personalities involved in it. Her extensive journals and letters, a selection from which is presented here, provide a striking portrait of social, domestic and cultural life in London, the Home Counties and in Ireland in the late eighteenth century. They are of the greatest importance and interest to music and theatre historians, and also contain much that will be of significance and interest for Burney scholars, social historians of England and Ireland, women's historians and historians of the family.