Stephen C. Ferguson II provides a philosophical examination of Black popular culture for the first time. From extensive discussion of the philosophy and political economy of Hip-Hop music through to a developed exploration of the influence of the postmodernism-poststructuralist ideology on African American studies, he argues how postmodernism ideology plays a seminal role in justifying the relationship between corporate capitalism and Black popular culture. Chapters cover topics such as cultural populism, capitalism and Black liberation, the philosophy of Hip-Hop music, and Harold Cruse’s influence on the “cultural turn� in African American studies. Ferguson combines case studies of past and contemporary Black cultural and intellectual productions with a Marxist ideological critique to provide a cutting edge reflection on the economic structure in which Black popular culture emerged. He highlights the contradictions that are central to the juxtaposition of Black cultural artists as political participants in socioeconomic struggle and the political participants who perform the rigorous task of social criticism. Adopting capitalism as an explanatory framework, Ferguson investigates the relationship between postmodernism as social theory, current manifestations of Black popular culture, and the theoretical work of Black thinkers and scholars to demonstrate how African American studies have been shaped.

In The Music Goes Round and Around Basil Tschaikov (known to his friends and colleagues as Nick) chronicles from many different perspective how during his lifetime the many technological developments and changes in society have affected the music profession, music industry, music loving audiences and music itself. During his unusually wide-ranging career of more than 60 years as a performer, teacher, administrator and for many years a negotiator on behalf of musicians in most branches of the profession, he describes these changes as seen from the inside by a musician who has recorder his observations in the way that a location photographer would aim to capture the diverse elements of life around him or her.

Son Jarocho was born as the regional sound of Veracruz but over time became a Mexican national genre, even transnational, genre-a touchstone of Chicano identity in the United States. Mario Barradas and Son Jarocho traces a musical journey from the Gulf Coast to interior Mexico and across the border, describing the transformations of Son Jarocho along the way. This comprehensive cultural study pairs ethnographic and musicological insights with an oral history of the late Mario Barradas, one of Son Jarocho's preeminent modern musicians. Chicano musician Francisco Gonzalez offers an insider's account of Barradas's influence and Son Jarocho's musical qualities, while Rafael Figueroa Hernandez delves into Barradas's recordings and films. Yolanda Broyles-Gonzalez examines the interplay between Son Jarocho's indigenous roots and contemporary role in Mexican and US society. The result is a nuanced portrait of a vital and evolving musical tradition.

In 1943, German SS officers in charge of Auschwitz-Birkenau ordered that an orchestra should be formed among the female prisoners. Almost fifty women and girls from eleven nations were drafted into a hurriedly assembled band that would play marching music to other inmates, forced labourers who left each morning and returned, exhausted and often broken, at the end of the day. While still living amid the most brutal and dehumanising of circumstances, they were also made to give weekly concerts for Nazi officers, and individual members were sometimes summoned to give solo performances of an officer's favourite piece of music. It was the only entirely female orchestra in any of the Nazi prison camps and, for almost all of the musicians chosen to take part, being in the orchestra was to save their lives.

What role could music play in a death camp? What was the effect on those women who owed their survival to their participation in a Nazi propaganda project? And how did it feel to be forced to provide solace to the perpetrators of a genocide that claimed the lives of their family and friends? In The Women's Orchestra of Auschwitz, award-winning historian Anne Sebba traces these tangled questions of deep moral complexity with sensitivity and care.

From Alma Rosé, the orchestra's main conductor, niece of Gustav Mahler and a formidable pre-war celebrity violinist, to Anita Lasker-Wallfisch, its teenage cellist and last surviving member, Sebba draws on meticulous archival research and exclusive first-hand accounts to tell the full and astonishing story of the orchestra, its members and the response of other prisoners for the very first time.

The brand new heartwarming festive read from bestseller Sarah Bennett!Music sensation Aurora Storm finally has her career back on track, but then she's caught up in a media storm. Desperate to distract from the story, she enlists the one man she trusts to pretend to be her boyfriend. Meanwhile, in the small seaside village of Mermaids Point, Nick Morgan never expected to see Aurora again. When she calls out of the blue needing his help, he agrees at once. It feels like she's back in his life for a reason, and he's determined to make the most of it. Aurora joins Nick and the rest of his family for their festive celebrations and, as the snow falls, Aurora finds herself caught up in the romance of Christmas. But having tasted worldwide fame, can she ever be content with village life? Two weeks is all Nick has to prove to Aurora that there's a happy ending for them both in Mermaids Point. There's always a second chance for love in a Sarah Bennett story, so escape to the seaside village of Mermaids Point for a festive, feel-good treat. Perfect for all fans of Trisha Ashley, Holly Martin and Milly Johnson. Praise for Sarah Bennett: 'A gorgeous story packed with love, romance and heartfelt emotion. Will bring sunshine into your day!' Phillipa Ashley 'Cosy, heartwarming and moving, this story is as beautiful as its cover.' Samantha Tonge 'Happy Endings at Mermaids Point has passion in spades, romance to make you blush and a community that cares. I hoped this story would just keep on going.' Celia Anderson 'What a finale to a fabulous season! I absolutely loved the story and it was wonderful to see all the characters get their much deserved happily ever after! An absolutely gorgeous Christmas read!' Katie Ginger 'This is a real page turner, with a brisk plot and a really emotional core. The community we've grown to love at Mermaid's Point is alive with love, laughter and vibrancy!' Fay Keenan 'I loved Nick and Aurora's story, and want the Morgan family to adopt me. Sarah Bennett has surpassed herself.' Jules Wake 'This is the perfect escapist read and I can't wait to follow the characters in what promises to be a wonderful series. Five sparkling stars!' Rachel Griffiths'What a Mer-mazing book! I'm so glad this is a series and I'll get to meet the characters again because you won't want to leave them after the final page.' Catherine Miller 'I inhaled this book in two days. Absolutely gorgeous. Sarah Bennett is back, and better than ever!' Rachel Burton 'A perfect heartwarming read full of family, romance and intrigue, set in a stunning location - what's not to love?' Bella Osborne

The British musical in its formative years has appeared in strikingly different guises: from the lasting hits of Oliver!, and Me and My Girl, to the successes of The Dancing Years, Bless the Bride and Expresso Bongo. This authoritative study traces what made these shows successes in the West End and how their qualities define a uniquely British interpretation of the genre. Cultural, sociological and political influences entwine with close reading of the dramatic and musical elements of this repertory to reveal a fascinating web of connections and contrasts between the times, the shows and the people who made them. Through detailed case studies, such as of The Boy Friend and Bitter Sweet, the rich individuality of each West End work is spotlighted, posing vital questions and intriguing answers as to what a British musical can be. Interdisciplinary in nature, this study brings together all the core materials to discover this period in the story of the British musical. Reviewing the Situation is insightful and lively, an invaluable resource for students and scholars of musical theatre and all those theatregoers drawn to the power of these classic British shows.

Making Hip Hop Theatre is the essential, practical guide to making hip-hop theatre. It features detailed techniques and exercises that can guide creatives from workshops through to staging a performance. If you were inspired by Hamilton, Barber Shop Chronicles, Misty, Black Men Walking or Frankenstein: How to Make a Monster, this is the book for you. Covering vocal technique, use of equipment, mixing, looping, sampling, working with venues and dealing with creative challenges, this book is a bible for both new and experienced artists alike. Additionally, with links to online video material demonstrating and elaborating on the exercises included, it offers countless useful tools for teachers and facilitators of drama, music and other creative arts. Alongside this practical guidance is an overview of hip hop history, giving theoretical and historical context for the practice. From documentation of Conrad Murray’s major productions, to commentary from leading practitioners including Lakeisha Lynch-Stevens, David Jubb, Emma Rice, Tobi Kyeremateng and Paula Varjack, readers are treated to a detailed insight into the background of hip hop theatre. Edited by scholar Katie Beswick and genre pioneer Conrad Murray, Making Hip Hop Theatre is a vital teaching tool and provides a much-needed account of a burgeoning aspect of contemporary theatre culture.