This book explores an album of popular music with a remarkable significance to a violent wave of postcolonial tensions in the Netherlands in the 1970s. Several "actions" were claimed by a small number of first-generation descendants of ca. 12,500 reluctant migrants from the young independent state of Indonesia (former Dutch East Indies). Transferred in 1951, this culturally coherent group consisted of ex-Royal Dutch Colonial Army personnel and their families. Their ancient roots in the Moluccan archipelago and their protestant-christian faith defined their minority image. Their sojourn should have been temporary, but frustratingly turned out to be permanent. At the height of strained relations, Massada rose to the occasion. Astaganaga (1978) is a telling example of the will to negotiate a different diasporic Moluccan identity through uplifting contemporary sounds.

Rock Atlas has hundreds of stories which deliver a fresh, new insight into the lives of the UK and Ireland's rock and pop stars. This fact-packed look at rock and pop, from an entirely different perspective, throws up many new revelations about our favourite musicians. When you ve finished reading the stories, you can visit the places. Every one of the book's 800 entries is followed by directions for how to find the iconic venues, record shops, statues, album cover shoots, childhood homes and festival sites.

Most die-hard Brazilian music fans would argue that Getz/Gilberto, the iconic 1964 album featuring "The Girl from Ipanema," is not the best bossa nova record. Yet we've all heard "The Girl from Ipanema" as background music in a thousand anodyne settings, from cocktail parties to telephone hold music. So how did Getz/Gilberto become the Brazilian album known around the world, crossing generational and demographic divides? Bryan McCann traces the history and making of Getz/Gilberto as a musical collaboration between leading figure of bossa nova Joao Gilberto and Philadelphia-born and New York-raised cool jazz artist Stan Getz. McCann also reveals the contributions of the less-understood participants (Astrud Gilberto's unrehearsed, English-language vocals; Creed Taylor's immaculate production; Olga Albizu's arresting, abstract-expressionist cover art) to show how a perfect balance of talents led to not just a great album, but a global pop sensation. And he explains how Getz/Gilberto emerged from the context of Bossa Nova Rio de Janeiro, the brief period when the subtle harmonies and aching melodies of bossa nova seemed to distill the spirit of a modernizing, sensuous city. 33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.

When Jeff Buckley drowned at the age of thirty in 1997, he not only left behind a legacy of brilliant music -- he brought back haunting memories of his father, '60s troubadour Tim Buckley, a gifted musician who barely knew his son and who himself died at twenty-eight. Both father and son made transcendent music that mixed rock, jazz, and folk; both amassed a cadre of obsessive, adoring fans.

This absorbing dual biography -- based on interviews with more than one hundred friends, family members, and business associates as well as access to journals and unreleased recordings -- tells for the first time the intriguing, often heartbreaking story of these two musicians. It offers a new understanding of the Buckleys' parallel lives -- and tragedies -- while exploring the changing music business between the '60s and the '90s. Finally, it tells the story of a father and son, two complex, enigmatic men who died searching for themselves and each other.

This collection of three hip hop plays by Conrad Murray and his Beats & Elements collaborators Paul Cree, David Bonnick Junior and Lakeisha Lynch-Stevens, is the first publication of the critically acclaimed theatre-maker's work. The three plays use hip hop to highlight the inequalities produced by the UK's class system, and weave lyricism, musicality and dialogue to offer authentic accounts of inner-city life written by working-class Londoners. The plays are accompanied by two introductory essays: The first gives a specific social and historical context that helps readers make sense of the plays, the second positions hip hop as a contemporary literary form and offers some ways to read hip hop texts as literature. The collection also includes a foreword by leading hip hop theatre practitioner Jonzi D, interviews with the Beats & Elements company, and a glossary of words for students and international readers.

There is no denying that the last couple of years have been tough for all of us. Life has changed drastically due to the Covid 19 pandemic, and this includes rock icons. Suzi Quatro has never had a regular job. Being a rock and roll musician is what she has been doing her whole life. Then suddenly, everything changed, and instead of constantly being on tour, she found herself at home. Suzi is never one to sit around idling her time and the pandemic produced an album that has done very well indeed. It has also produced her third hardcover coffee table book, sharing her thoughts as the days and the weeks passed. Full to the brim with private photographs in colour, Suzi lets us in to her life in this window of time when the world changed. Her thoughts about the state of life as she sees it is meant as an inspiration to us all. "The third in my series of illustrated coffee table books, 1 year in lockdown,1 year on this roller coaster called life, 1 year where you can go through every single emotion you have in 5 minutes. Sometimes you smile, sometimes you cry, many times you just hit the wall. I faithfully did my instagram posts every morning sharing my feelings and tribulations, trying to lift people's spirits. It helps to share. It helps to know you're not alone. Enjoy my moods! ( I blame being a Gemini!!) Suzi Quatro"

What happens in our unconscious minds when we listen to, produce or perform popular music? The Unconscious - a much misunderstood concept from philosophy and psychology - works through human subjects as we produce music and can be traced through the music we engage with. Through a new collaboration between music theorist and philosopher, Smith and Overy present the long history of the unconscious and its related concepts, working systematically through philosophers such as Schopenhauer and Nietzsche, psychoanalysts such as Freud and Lacan, to theorists such as Deleuze and Kristeva. The theories offered are vital to follow the psychological complexity of popular music, demonstrated through close readings of individual songs, albums, artists, genres, and popular music practices. Among countless artists, Listening to the Unconscious draws from Prince to Sufjan Stevens, from Robyn to Xiu Xiu, from Joanna Newsom to Arcade Fire, from PJ Harvey to LCD Sound System, each of whom offer exciting inroads into the fascinating worlds of our unconscious musical minds. And in return, theories of the unconscious can perhaps takes us deeper into the heart of popular music.

Released in 2008, J-pop trio Perfume's GAME shot to the top of Japanese music charts and turned the Hiroshima trio into a household name across the country. It was also a high point for techno-pop, the genre's biggest album since the heyday of Yellow Magic Orchestra. This collection of maximalist but emotional electronic pop stands as one of the style's finest moments, with its influence still echoing from artists both in Japan and from beyond. This book examines Perfume's underdog story as a group long struggling for success, the making of GAME, and the history of techno-pop that shaped it. 33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-basedbooks and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.

Elvis Presley stands tall as perhaps the supreme icon of 20th-century U.S. culture. But he was perceived to be deeply un-American in his early years as his controversial adaptation of rhythm and blues music and gyrating on-stage performances sent shockwaves through Eisenhower's conservative America and far beyond. This book explores Elvis Presley's global transformation from a teenage rebel figure into one of the U.S.'s major pop-cultural embodiments from a historical perspective. It shows how Elvis's rise was part of an emerging transnational youth culture whose political impact was heavily conditioned by the Cold War. As well as this, the book analyses Elvis's stint as G.I. soldier in West Germany, where he acted as an informal ambassador for the so-called American way of life and was turned into a deeply patriotic figure almost overnight. Yet, it also suggests that Elvis's increasingly synonymous identity with U.S. culture ultimately proved to be a double-edged sword, as the excesses of his superstardom and personal decline seemingly vindicated long-held stereotypes about the allegedly materialistic nature of U.S. society. Tracing Elvis's story from his unlikely rise in the 1950s right up to his tragic death in August 1977, this book offers a riveting account of changing U.S. identities during the Cold War, shedding fresh light on the powerful role of popular music and consumerism in shaping images of the United States during the cultural struggle between East and West.

The colorful "Punk Professor", new-wave musician, and critic/filmmaker spins a dazzling survey of women in punk, from the genre's inception in 1970s London to the current voices making waves around the globe. As an industry insider and pioneering post-punk musician, Vivien Goldman's perspective on music journalism is unusually well-rounded. In Revenge of the She-Punks, she probes four themes-identity, money, love, and protest-to explore what makes punk such a liberating art form for women. With her visceral style, Goldman blends interviews, history, and her personal experience as one of Britain's first female music writers in a book that reads like a vivid documentary of a genre defined by dismantling boundaries. A discussion of the Patti Smith song "Free Money," for example, opens with Goldman on a shopping spree with Smith. Tamar-Kali, whose name pays homage to a Hindu goddess, describes the influence of her Gullah ancestors on her music, while the late Poly Styrene's daughter reflects on why her Somali-Scots-Irish mother wrote the 1978 punk anthem "Identity," with the refrain "Identity is the crisis you can't see." Other strands feature artists from farther afield (including in Colombia and Indonesia) and genre-busting revolutionaries such as Grace Jones, who wasn't exclusively punk but clearly influenced the movement while absorbing its liberating audacity. From punk's Euro origins to its international reach, this is an exhilarating world tour.