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Books > Music > Contemporary popular music > Rock & pop > Indie
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Stranded
(Paperback)
Clinton Walker
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R620
R569
Discovery Miles 5 690
Save R51 (8%)
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Damaged: Musicality and Race in Early American Punk is the first
book-length portrait of punk as a musical style with an emphasis on
how punk developed in relation to changing ideas of race in
American society from the late 1960s to the early 1980s. Drawing on
musical analysis, archival research, and new interviews, Damaged
provides fresh interpretations of race and American society during
this period and illuminates the contemporary importance of that
era. Evan Rapport outlines the ways in which punk developed out of
dramatic changes to America's cities and suburbs in the postwar
era, especially with respect to race. The musical styles that led
to punk included transformations to blues resources, experimental
visions of the American musical past, and bold reworkings of the
rock-and-roll and rhythm-and-blues sounds of the late 1950s and
early 1960s, revealing a historically oriented approach to rock
that is strikingly different from the common myths and conceptions
about punk. Following these approaches, punk itself reflected new
versions of older exchanges between the US and the UK, the changing
environments of American suburbs and cities, and a shift from the
expressions of older baby boomers to that of younger musicians
belonging to Generation X. Throughout the book, Rapport also
explores the discourses and contradictory narratives of punk
history, which are often in direct conflict with the world that is
captured in historical documents and revealed through musical
analysis.
The Tallowmere Annual is a unique collection of words, sound, and
ink paintings by musician and artist Keaton Henson. This hardback,
special limited edition, mixed-media book tells the fragmented
story of a town that never existed, Tallowmere, seemingly empty,
showing only outlines of living things, words once spoken, and the
sounds of distant mourning. The first of its kind, the book's front
cover holds an MP3 pack embedded with an audio jack for headphones
and sound controls. Readers can plug in and listen to a recorded
score created specially by Keaton as an accompaniment to reading
the book and viewing the artwork. Visit www.welcometotallowmere.com
for more information. Detailed Specification: Cover: Cased edition
with scuff proof matt lamination, 4-colour with spot UV front and
back Insides: End papers: black, 140gsm uncoated wood-free paper,
128 pages, 157 gsm matt art paper in sewn sections Original
artworks created by Keaton: India ink on paper. Black and white
striped head and tail bands Battery pack features: Embedded in
cardboard panel on front inside cover, 3x AAA batteries supplied
with each pack, removable batteries, On/off switch Audio playback
features: Audio chip has play/stop button and volume controls,
audio lasts for approx. 20 mins, audio jack to be inserted
centrally into the bottom of the cased cover. The Tallowmere Annual
was shortlisted for 'The Futurebook of the Year' at The Booksellers
Futurebook Live Awards 2018.
As the satanic President Razour attempts to bring forward
Armageddon to prevent humanity repenting, the fate of us all rests
in the hands of Cleric20, a hedonistic loner with a chequered past,
and his robot sidekick, GiX. An action-packed literary shock to the
senses that mixes flights of comic fantasy with bouts of brutal
violence. Mankind's only hope seems to be having a very bad day.
Can Cleric20 halt Razour's devilish plans after an experimental
bioweapon deployed to kill him accidentally gives him superpowers?
Has the Devil inadvertently created a hero who could actually stop
him? Little can prepare you for this spiritually-charged,
cyber-noir thrill ride.
On their debut, The Clash famously claimed to be "bored with the
USA," but The Clash wasn't a parochial record. Mick Jones' licks on
songs such as "Hate and War" were heavily influenced by classic
American rock and roll, and the cover of Junior Murvin's reggae hit
"Police and Thieves" showed that the band's musical influences were
already wide-ranging. Later albums such as Sandinista! and Combat
Rock saw them experimenting with a huge range of musical genres,
lyrical themes and visual aesthetics. The Clash Takes on the World
explores the transnational aspects of The Clash's music, lyrics and
politics, and it does so from a truly transnational perspective. It
brings together literary scholars, historians, media theorists,
musicologists, social activists and geographers from Europe and the
US, and applies a range of critical approaches to The Clash's work
in order to tackle a number of key questions: How should we
interpret their negotiations with reggae music and culture? How did
The Clash respond to the specific socio-political issues of their
time, such as the economic recession, the Reagan-Thatcher era and
burgeoning neoliberalism, and international conflicts in Nicaragua
and the Falkland Islands? How did they reconcile their
anti-capitalist stance with their own success and status as a
global commodity? And how did their avowedly inclusive,
multicultural stance, reflected in their musical diversity, square
with the experience of watching the band in performance? The Clash
Takes on the World is essential reading for scholars, students and
general readers interested in a band whose popularity endures.
During the late 1960s, throughout the 1970s, and into the 1980s,
New York City poets and musicians played together, published each
other, and inspired one another to create groundbreaking art. In
"Do You Have a Band?", Daniel Kane reads deeply across poetry and
punk music to capture this compelling exchange and its challenge to
the status of the visionary artist, the cultural capital of poetry,
and the lines dividing sung lyric from page-bound poem. Kane
reveals how the new sounds of proto-punk and punk music found their
way into the poetry of the 1960s and 1970s downtown scene, enabling
writers to develop fresh ideas for their own poetics and
performance styles. Likewise, groups like The Fugs and the Velvet
Underground drew on writers as varied as William Blake and Delmore
Schwartz for their lyrics. Drawing on a range of archival materials
and oral interviews, Kane also shows how and why punk musicians
drew on and resisted French Symbolist writing, the vatic resonance
of the Beat chant, and, most surprisingly and complexly, the New
York Schools of poetry. In bringing together the music and writing
of Richard Hell, Patti Smith, and Jim Carroll with readings of
poetry by Anne Waldman, Eileen Myles, Ted Berrigan, John Giorno,
and Dennis Cooper, Kane provides a fascinating history of this
crucial period in postwar American culture and the cultural life of
New York City.
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