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Books > Music
This is the first book to examine the partially hidden history of
metal music scenes within the city of Liverpool and the surrounding
region of Merseyside in the North-West of England. It reveals that
while Liverpool has historically been portrayed as a certain kind
of 'music city,' metal has been marginalized within its music
heritage narratives. This marginality was not inevitable. The book
illustrates how it is not merely the product of historical
representation but the result of forces of urban change and
regional shifts in the economy of live music. Nor is this
marginality inconsequential. Drawing on ethnographic research,
Nedim Hassan demonstrates that it has influenced how the region's
metal scenes are perceived and how people feel towards them. Metal
on Merseyside reveals how various people involved with such scenes
work within often challenging circumstances to sustain the
production of metal music and events. It also reveals the tensions
that arise as scene members' desires for an ideal metal community
collide with forces of change. Metal on Merseyside is, therefore, a
fascinating barometer for the contradictions apparent when people
engage in creative labour to produce music that they love.
The devil is the most charismatic and important figure in the blues
tradition. He's not just the music's namesake (""the devil's
music""), but a shadowy presence who haunts an imagined Mississippi
crossroads where, it is claimed, Delta bluesman Robert Johnson
traded away his soul in exchange for extraordinary prowess on the
guitar. Yet, as scholar and musician Adam Gussow argues, there is
much more to the story of the devil and the blues than these
cliched understandings. In this groundbreaking study, Gussow takes
the full measure of the devil's presence. Working from original
transcriptions of more than 125 recordings released during the past
ninety years, Gussow explores the varied uses to which black
southern blues people have put this trouble-sowing, love-wrecking,
but also empowering figure. The book culminates with a bold
reinterpretation of Johnson's music and a provocative investigation
of the way in which the citizens of Clarksdale, Mississippi,
managed to rebrand a commercial hub as ""the crossroads"" in 1999,
claiming Johnson and the devil as their own.
"So, I've written a book.
Having entertained the idea for years, and even offered a few questionable opportunities (‘It’s a piece of cake! Just do four hours of interviews, find someone else to write it, put your face on the cover, and voila!’), I have decided to write these stories just as I have always done, in my own hand. The joy that I have felt from chronicling these tales is not unlike listening back to a song that I’ve recorded and can’t wait to share with the world, or reading a primitive journal entry from a stained notebook, or even hearing my voice bounce between the Kiss posters on my wall as a child.
This certainly doesn’t mean that I’m quitting my day job, but it does give me a place to shed a little light on what it’s like to be a kid from Springfield, Virginia, walking through life while living out the crazy dreams I had as young musician.
From hitting the road with Scream at 18 years old, to my time in Nirvana and the Foo Fighters, jamming with Iggy Pop or playing at the Academy Awards or dancing with AC/DC and the Preservation Hall Jazz Band, drumming for Tom Petty or meeting Sir Paul McCartney at Royal Albert Hall, bedtime stories with Joan Jett or a chance meeting with Little Richard, to flying halfway around the world for one epic night with my daughters… the list goes on.
I look forward to focusing the lens through which I see these memories a little sharper for you with much excitement." - Dave Grohl
Should we talk of European jazz or jazz in Europe? What kinds of
networks link those who make it happen 'on the ground'? What
challenges do they have to face? Jazz is a part of the cultural
fabric of many of the European countries. Jazz in Europe:
Networking and Negotiating Identities presents jazz in Europe as a
complex arena, where the very notions of cultural identity, jazz
practices and Europe are continually being negotiated against an
ever changing social, cultural, political and economic environment.
The book gives voice to musicians, promoters, festival directors,
educators and researchers regarding the challenges they are faced
with in their everyday practices. Jazz identities in Europe result
from the negotiation between discourse and practice and in the
interstices between the formal and informal networks that support
them, as if 'Jazz' and 'Europe' were blank canvases where
diversified notions of what jazz and Europe should or could be are
projected.
This multidisciplinary collection of readings offers new
interpretations of Richard Wagner's ideological position in German
history. The issues discussed range from the biographical - the
reasons for Wagner's travels, his political life - to the aesthetic
and ideological, regarding his re-creation of medieval Nuremberg,
his representations of gender and nationality, his vocal
iconography, his anti-Semitism, his vegetarian and Christian
arguments, and, finally, his musical heirs. The essays avoid
journalistic or iconoclastic approaches to Wagner, and depart from
the usual uncritical admiration of earlier scholars in an attempt
to develop a stimulating and ultimately cohesive collection of new
perspectives.
Fantasy has had a modern resurgence in cinema due largely to the
success of superhero narratives and the two major fantasy series,
the Lord of the Rings and Harry Potter. Often regarded as mere
escapism, this genre has been neglected as the subject of serious
academic work. This volume explores the way in which music and
sound articulate the fantastic in cinema and contribute to the
creation of fantasy narratives. Fantasy invokes the magical within
its narratives as the means by which to achieve what would be
impossible in our own reality, as compared to sci-fi's as-yet
unknown technologies and horror's dark and deadly supernatural
forces. Fantasy remains problematic, however, because it defies
many of the conventional mechanisms by which genre is defined such
as setting, mood and audience. In a way quite unlike its co-genres,
fantasy moves with infinite flexibility between locations - the
world (almost) as we know it, historical, futuristic or mythic
locations; between moods - heroic, epic, magical; and between
audiences - children, teens, adults. In English-language cinema, it
encompasses the grand mythic narratives of Lord of the Rings,
Legend and The Seventh Voyage of Sinbad, the heroic narratives of
Superman, Flash Gordon and Indiana Jones and the magical narratives
of Labyrinth, Edward Scissorhands and the Harry Potter series, to
name just some of films that typify the variety that the genre
offers. What these films all have in common is a requirement that
the audience accepts the a fundamental break with reality within
the diegesis of the filmic narrative, and embraces magic in its
many and various forms, sometimes benign, sometimes not. This
volume examines music in fantasy cinema across a broad historical
perspective, from Bernard Herrmann's scores for Ray Harryhausen,
through the popular music scores of the 1980s to contemporary
scores for films such as The Mummy and the Harry Potter series,
allowing the reader to see not only the way that the musical
strategies of fantasy scoring have changed over time but also to
appreciate the inventiveness of composers such as Bernard Herrmann,
John Williams, Jerry Goldsmith, Danny Elfman and Elliot Goldenthal,
and popular musicians such as Queen and David Bowie in evoking the
mythic, the magical and the monstrous in their music for fantasy
film.
Bobby Darin fit a lot into his 37 years. By the age of 22, Darin
topped the charts, but soon reinvented himself as a Sinatra-style
crooner, winning a Grammy Award, the adulation of millions, a
Hollywood contract, and a starlet wife. Bobby Darin examines the
entertainer's entire life, from his boyhood in the Bronx to his
rise as a musical sensation, his rocky marriage to Sandra Dee, the
evolution of his career, and the shocking secret Darin learned
later in life.
Iannis Xenakis' Persepolis stood as witness to one of the most
important events in modern human history, the Iranian Revolution in
1979. Its existence is owed to an invitation to participate in the
1971 Shiraz Arts Festival, which was overseen by Empress Farah
Pahlavi. Like the Festival, and the extravagant celebratory party
held the same year, Xenakis' symbolic paean to Persian history was
polarizing. Many loved it, others detested it. Overwhelming but
also subtle and precise in its non-harmonic shifts in texture and
density, listeners and critics simply did not know what to make of
it. This book tells the story of Xenakis' early history and
involvement in the Resistance against the Axis occupation of Greece
during the Second World War, escape and re-settlement in Paris,
work as an architect with Le Corbusier, and distinct views on world
history and politics that all led to his 1972 electro-acoustic
album Persepolis.
Bach representa el genio cumbre de la armon a musical, el hombre de
bien que sufre las ingratitudes de su tiempo, el creyente de un Ser
Supremo y el forjador de un himno de paz para toda la humanidad y
la historia. Vivir es triunfar. Y triunfar es resolver dos fuerzas
antag nicas. En todo instante estamos viviendo y muriendo. En todo
momento somos y no somos. Ser y no ser frase mas profunda que la de
la tragedia shakesperiana. Todo es y deja de ser. Todo cambia y es.
Inmanente a la vida est el perpetuo fl uir de lo existente. Bach es
el nico artista que ha llegado a esas insondables profundidades del
oc ano, en donde se funden y se identifi can la luz y la
obscuridad. Adalberto Garc a de Mendoza
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Growing Up Rocking
(Hardcover)
Henry Niedzwiecki (the Ol' Doowopper)
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R1,392
R1,229
Discovery Miles 12 290
Save R163 (12%)
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In the 1950s, Cleveland, Ohio was the number one music city in the
world. It was in Cleveland that DJ Alan Freed first coined the term
"rock and roll" and it was in Cleveland that the teenage Henry
Niedzwiecki, aka The Ol'Doowopper, grew up with a ringside seat to
the birth of rock and roll or doo-wop music. Growing Up Rocking is
more than just a collection of photographs and artifacts that
Niedzwiecki has taken and amassed over the decades; it is his life
story told through rock and roll music. The author invites the
reader to relive with him many of the pivotal rock and roll radio
and television performances from the Fifties and Sixties; timeless
moments that continue to define what we think of as rock music even
today. Over the years the author has also interviewed and
photographed many of the pivotal stars from the doo-wop and early
rock and roll era. Those interviews and photographs are another
aspect of what makes Growing Up Rocking such a compelling document
of what it was like to be in the exact time and place that rock and
roll music first set the world on fire. Now retired, Henry M.
Niedzwiecki worked as a millwright for the Ford Motor Company. In
addition to writing and photography, his other hobbies include
collecting records, dancing, and writing letters to editors and
congress. Publisher's website: http: //sbpra.com/HenryMNiedzwiecki
Music pervades Shakespeare's work. In addition to vocal songs and
numerous instrumental cues there are thousands of references to
music throughout the plays and many of the poems. This book
discusses Shakespeare's musical imagery according to categories
defined by occurrence in the plays and poems. In turn, these
categories depend on their early modern usage and significance.
Thus, instruments such as lute and viol deserve special attention
just as Renaissance ideas relating to musical philosophy and
pedagogical theory need contextual explanation. The objective is to
locate Shakespeare's musical imagery, reference and metaphor in its
immediate context in a play or poem and explain its meaning.
Discussion and explanation of the musical imagery suggests a range
of possible dramatic and poetic purposes these musical references
serve.
THE #1 MOST COMPREHENSIVE AND HONEST BOOK FOR ANYONE WHO'S EVER
WANTED TO SING ON MAJOR TV COMMERCIALS You have a great voice, but
record deals are getting harder and harder to come by. Paid gigs
don't pay enough and solo albums aren't selling even with
promotion. There is an answer for you VOLUME 4 OF THE 30-30 CAREER:
MAKING 30 GRAND IN 30 SECONDS SINGING ON MAJOR TV COMMERCIALS walks
you through the lucrative world of commercial jingles. What once
was stereotyped as a career for campy, cliche vocalists and
songwriters has now become a pathway to generating a hit song and
promoting bands and brands at the same time. JINGLES today are
sounding more and more like SINGLES. Hundreds of thousands of
dollars have been made by singers on commercials over the years and
the competition is growing tougher and tougher all the time.
Whether you are a new comer or veteran in the game, VOLUME 4 of THE
30-30 shows you how to break deeper into this money-making industry
right now and have your voice heard locally, nationally and
internationally. We break down the SKILL, the NETWORK, and the
PSYCHOLOGY of singing on commercials. With the record industry
changing day to day, every singer and songwriter should be making
extra money in the advertising industry. It's true. You're either
NETworking or NOTworking Ever wonder why the politics are never on
your side? This book unveils the politics and secrets to working
your way onto vocal contracts that get you paid. Start networking
today and make "NEW" money by SINGING ON MAJOR TV COMMERCIALS.
As we withdraw farther from American canonical literature and
poetry and move closer to a re-appraisal of literature's impact
upon the arts through media, we may easily find a match for greater
humanism and popular interaction in American rock culture through
Paul Bowles. In this work, Bowles is re-invented within the
postmodern, the postcolonial, and the renegade future underscored
by liberal elites that had breathed new life into the American
counterculture. Re-Creating Paul Bowles attests to the moments of
relentless humanism and imaginative transformation that are most
dreamlike, engaging the antagonism of psychology with imperialism
at last. In his youth a classical composer and critic, Bowles
deserves credit for spawning new generations of rock and pop music
through his use of sound and tapping of non-Western or non-European
folk music, bringing classic ethnography to the rock generation
with Music of Morocco. Re-Creating Paul Bowles examines the Latin
American, American, African, and Arab moments of his scholastic
effort, a primary beginning for understanding modern popular
music's free transcription of tradition. Re-Creating Paul Bowles
includes several examples of films that adapt the author's personal
life and times, the production of surrealist technique in film and
literature, and the re-invention of classic works such as The
Sheltering Sky and Collected Stories. It assumes the technique for
re-production allows the elder Bowles greater freedom in crossing
cultural boundaries and overruling the colonialist separateness
that guarded cultural content for centuries. Bowles has always
deserved re-appraisal in the American academy-and liberation from
his stereotypical cult figure identity, a positive force in the
ethnic comprehension of Self and society.
Silent Films/Loud Music discusses contemporary scores for silent
film as a rich vehicle for experimentation in the relationship
between music, image, and narrative. Johnston offers an overview of
the early history of music for silent film paired with his own
first-hand view of the craft of creating new original scores for
historical silent films: a unique form crossing musical boundaries
of classical, jazz, rock, electronic, and folk. As the first book
completely devoted to the study of contemporary scores for silent
film, it tells the story of the historical and creative evolution
of this art form and features an extended discussion and analysis
of some of the most creative works of contemporary silent film
scoring. Johnston draws upon his own career in both contemporary
film music (working with directors Paul Mazursky, Henry Bean,
Philip Haas and Doris Doerrie, among others) and in creating new
scores for silent films by Browning, Melies, Kinugasa, Murnau &
Reiniger. Through this book, Johnston presents a discussion of
music for silent films that contradicts long-held assumptions about
what silent film music is and must be, with thought-provoking
implications for both historical and contemporary film music.
(Guitar Method). The Hal Leonard Guitar Method is designed for
anyone just learning to play acoustic or electric guitar. It is
based on years of teaching guitar students of all ages, and it also
reflects some of the best guitar teaching ideas from around the
world. Book 1 includes tuning; playing position; musical symbols;
notes in first position; C, G, G7, D, D7, A7, and Em chords;
rhythms through eighth notes; strumming and picking; over 80 great
songs, riffs, and examples.
In the 21st Century, the guitar, as both a material object and tool
for artistic expression, continues to be reimagined and reinvented.
From simple adaptations or modifications made by performers
themselves, to custom-made instruments commissioned to fulfil
specific functions, to the mass production of new lines of
commercially available instruments, the extant and emergent forms
of this much-loved musical instrument vary perhaps more than ever
before. As guitars sporting multiple necks, a greater number of
strings, and additional frets become increasingly common, so too do
those with reduced registers, fewer strings, and fretless
fingerboards. Furthermore, as we approach the mark of the first
quarter-century, the role of technology in relation to the guitar's
protean nature is proving key, from the use of external effects
units to synergies with computers and AR headsets. Such
wide-ranging evolutions and augmentations of the guitar reflect the
advancing creative and expressive needs of the modern guitarist and
offer myriad new affordances. 21st Century Guitar examines the
diverse physical manifestations of the guitar across the modern
performative landscape through a series of essays and interviews.
Academics, performers and dual-practitioners provide significant
insights into the rich array of guitar-based performance practices
emerging and thriving in this century, inviting a reassessment of
the guitar's identity, physicality and sound-creating
possibilities.
This book discusses the relationship between Greek Orthodox
ecclesiastical music and laiko (popular) song in Greece. Laiko
music was long considered a lesser form of music in Greece, with
rural folk music considered serious enough to carry the weight of
the ideologies founded within the establishment of the contemporary
Greek state. During the 1940s and 1950s, a selective exoneration of
urban popular music took place, one of its most popular cases being
the originating relationships between two extremely popular musical
pieces: Vasilis Tsitsanis’s “Synnefiasmeni Kyriaki” (Cloudy
Sunday) and its descent from the hymn “Ti Ypermacho” (The
Akathist Hymn). During this period the connection of these two
pieces was forged in the Modern Greek conscience, led by certain
key figures in the authority system of the scholarly world. Through
analysis of these pieces and the surrounding contexts, Ordoulidis
explores the changing role and perception of popular music in
Greece.
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