Pioneers in their fields and two of the best-known women in music in the twentieth century, Nadia and Lili Boulanger have previously been considered in isolation from one another. Yet, as Caroline Potter's new book demonstrates, their careers were closely linked during Lili Boulanger's short life (1893-1918) and there are several intriguing connections between their musical works. This biography also provides the first full analysis of the Boulanger sisters' musical styles, placing them within the context of French musical history. Their lives are also a case study in the issues of gender which surround music making even to the present day. Despite an unusually privileged upbringing, Nadia and Lili Boulanger exemplify the struggle women experienced when attempting to enter the professional music world. Lili became the first woman to win the Prix de Rome in 1913, and Nadia gained second place in 1908. Yet in spite of this initial success, Nadia Boulanger was to give up composing in her thirties and devoted the remainder of her long life to teaching. Her pupils included several of the great composers of the century, including Aaron Copland and Elliott Carter. This book, focusing on their musical careers, is essential reading for anyone interested in French music of the twentieth century.

The history of Soul music has been defined, first and foremost, by a succession of exceptional vocalists. It is impossible to conceive of the genre without them. This does not mean, however, that those who back singers, those who play instruments - bassists; drummers; guitarists; keyboardists; saxophonists - were reduced to nothing other than walk on parts. If Aretha Franklin and Otis Redding were able to move audiences, then their band members and arrangers, the likes of King Curtis and Booker T. Jones, played a key role in creating tracks that had commensurate emotional depth and technical ingenuity. These lesser known figures have heightened our listening pleasure. In Soul Unsung Kevin Le Gendre celebrates the contribution of players of instruments to soul. He analyses, in forensic detail, the inspiring creativity and imagination that several generations of musicians have brought to black pop, and highlights how they have broadened its sound canvas by adopting unusual stylistic approaches and embracing the latest available technology. Furthermore, the book offers insights into the state of contemporary soul and its relationship with jazz, rock and hip-hop. It is precisely because soul has not evolved in a vacuum that it has a canon that is enviably rich in variety. Soul Unsung shines a light on the plethora of mesmerising sounds that constitute this heritage and explains why they affect the listener as much as a great singer. Placing the focus squarely on the band, Le Gendre sets out to change perceptions of one of the great forms of expression to have marked popular culture in the 20th century, so that those who play are given, alongside those who sing, their rightful place in the pantheon of contemporary music.

The Festivalization of Culture explores the links between various local and global cultures, communities, identities and lifestyle narratives as they are both constructed and experienced in the festival context. Drawing on a wide range of case studies from Australia and Europe, festivals are examined as sites for the performance and critique of lifestyle, identity and cultural politics; as vehicles for the mobilization and cementation of local and global communities; and as spatio-temporal events that inspire and determine meaning in people's lives. Investigating the manner in which festivals are no longer merely periodic, cultural, religious or historical events within communities, but rather a popular means through which citizens consume and experience culture, this book also sheds light on the increasing diversity of contemporary societies and the role played by festivals as sites of cohesion, cultural critique and social mobility. As such, this book will be of interest to those working in areas such as the sociology, consumption and commodification of culture, social and cultural geography, anthropology, cultural studies and popular music studies.

Positioned between the psychedelic and counter-cultural music of the late 1960s and the punk and new wave styles of the late 1970s, early 1970s British popular music is often overlooked in pop music studies of the late 20th century, but it was, in fact, highly diverse with many artists displaying an eclecticism and flair for musical experimentation. 'Progressive pop' artists such as Roxy Music, David Bowie, the early Queen, the Electric Light Orchestra, 10cc and Steve Harley & Cockney Rebel successfully straddled the album and singles markets, producing music that often drew on a variety of different musical styles and traditions. Similarly, such artists often set new benchmarks for songwriting and production, utilizing the full potential of the rapidly expanding studio technology of the era to produce albums of highly diverse material featuring, in some cases, special studio-crafted effects and soundscapes that remain unique to this day. This book considers the significance of British progressive pop in the early 1970s as a period during which the boundaries between pop and rock were periodically relaxed, providing a platform for musical creativity less confined by genre and branding.

(FAQ). Neil Young has had one of the most remarkable careers in the history of music. He hasn't just outlived many of his contemporaries some of whom were great inspirations for him ("From Hank to Hendrix," as one of his own songs says); his artistry lives on through those he has inspired (Pearl Jam, Radiohead), and he remains relevant and vital well into his fifth decade of making music. Young also continues to crank out records at a rate that would kill most artists half his age. Between his solo and live albums, and his work with Buffalo Springfield and Crosby, Stills, Nash and Young, his remarkable career has spanned well over 50 albums. Although he has experimented in genres from syntho-pop to rockabilly, Neil Young is best known for the fully cranked, feedback-laden noise he makes with Crazy Horse ( Rust Never Sleeps and Ragged Glory ) and the more introspective folk-pop ( Harvest ). The glue that binds his work together is the songwriting. Because when it comes to writing great, timeless songs, Neil Young has few equals. Neil Young FAQ is the first definitive guide to the music of this mercurial and methodical, enduring, and infuriating icon. From the Archives to Zuma and from the Ditch Trilogy to the Geffen years, this book covers every song and album in painstaking detail-including bootlegs and such lost recordings as Homegrown, Chrome Dreams, Toast, and Meadow Dusk . Obscure facts and anecdotes from the studio to the road, along with dozens of rare images, make this book a must-have for Young fans.

In Breaks in the Air John Klaess tells the story of rap's emergence on New York City's airwaves by examining how artists and broadcasters adapted hip hop's performance culture to radio. Initially, artists and DJs brought their live practice to radio by buying time on low-bandwidth community stations and building new communities around their shows. Later, stations owned by New York's African American elite, such as WBLS, reluctantly began airing rap even as they pursued a sound rooted in respectability, urban sophistication, and polish. At the same time, large commercial stations like WRKS programmed rap once it became clear that the music attracted a demographic that was valuable to advertisers. Moving between intimate portraits of single radio shows and broader examinations of the legal, financial, cultural, and political forces that indelibly shaped the sound of rap radio, Klaess shows how early rap radio provides a lens through which to better understand the development of rap music as well as the intertwined histories of sounds, institutions, communities, and legal formations that converged in the post-Civil Rights era.

In this fascinating study of contemporary Christian worshippers, David L. Moody analyzes Christian rap music against traditional Christian theology. For many, mixing the sanctified worship of God with music originating from unconsecrated avenues has become difficult to accept. From the back alleys and streets of "the hood" to the club scene of urban America, Christian rappers walk to a different beat than the preacher at the pulpit. However, similar to a street evangelist, the Black Christian rapper is about singing praise to God and delivering the gospel message to his "lost homies" on the streets. Moody examines the emergence of hip hop based ministries and their place among youth with the Black community.

With these words, President Clinton contributed to Long Island University's three-day celebration of that momentous event in American history when Robinson became the first African American to play major league baseball. This new book includes presentations from that celebration, especially chosen for their fresh perspectives and illuminating insights. A heady mix of journalism, scholarship, and memory offers a presentation that far transcends the retelling of just another sports story. Readers get a true sense of the social conditions prior to Robinson's arrival in the major leagues and the ripple effect his breakthrough had on the nation. Anecdotes enliven the story and offer more than the usual "larger than life" portrait of Robinson. A melange of contributors from the sports world, academia, and journalism, some of Robinson's contemporaries, Dodger fans, and historians of the era, all sharing a passion for baseball, reflect on issues of sports, race, and the dramatic transformation of the American social and political scene in the last fifty years. In addition to the editors, the list of authors includes Peter Golenbock, one of America's preeminent sports biographers and author of Bums: The Brooklyn Dodgers, 1947-1957, Tom Hawkins, the first African-American to star in basketball at Notre Dame and currently Vice-President for Communications of the Los Angeles Dodgers, Bill Mardo a former writer for the New York Daily Worker, Roger Rosenblatt, teacher at the Southampton Campus of Long Island University, and author of numerous articles, plays, and books, Peter Williams, author of a study of sports myth, The Sports Immortals, and Samuel Regalado, author of Viva Baseball!: LatinMajor Leaguers and Their Special Hunger.

Damage Incorporated: Metallica and the Production of Musical Identity offers an interdisciplinary study investigating a range of topics that intersect in the music and cultural influence of Metallica. As part of a collection of heavy metal bands-among them Slayer, Anthrax, and Megadeth-grouped together under the rubric "thrash metal," Metallica's music presents a number of avenues for investigation. Specifically, Damage Incorporated focuses on identity in popular music as a set of performing conventions, with Metallica's place within certain conventions of genre, race, and gender serving as a constant impetus. The book also engages broadly with larger questions of the politics of culture, American history, musical analysis, and the character of musical discourses in the context of commerce. An essential book for students of popular culture, mass media, and music, Damage Incorporated sets a new standard for the study and exploration of issues of class, gender, and race in popular music. About the Author Glenn T. Pillsbury is a recent Ph.D. in Musicology from UCLA and a rising star in the field of popular music studies. He is the author of the "Metallica" chapter in the Encyclopedia Britannica, a founding editor of the online journal ECHO, and a regular presenter of papers at major scholarly meetings in music and the arts.

Damage Incorporated: Metallica and the Production of Musical Identity offers an interdisciplinary study investigating a range of topics that intersect in the music and cultural influence of Metallica. As part of a collection of heavy metal bands-among them Slayer, Anthrax, and Megadeth-grouped together under the rubric "thrash metal," Metallica's music presents a number of avenues for investigation. Specifically, Damage Incorporated focuses on identity in popular music as a set of performing conventions, with Metallica's place within certain conventions of genre, race, and gender serving as a constant impetus. The book also engages broadly with larger questions of the politics of culture, American history, musical analysis, and the character of musical discourses in the context of commerce. An essential book for students of popular culture, mass media, and music, Damage Incorporated sets a new standard for the study and exploration of issues of class, gender, and race in popular music. About the Author Glenn T. Pillsbury is a recent Ph.D. in Musicology from UCLA and a rising star in the field of popular music studies. He is the author of the "Metallica" chapter in the Encyclopedia Britannica, a founding editor of the online journal ECHO, and a regular presenter of papers at major scholarly meetings in music and the arts.

By the late 1980s and early 1990s, a great number of TV shows and music acts blossomed in Colombia, all of which resorted to regional identity as the narrative core for a renewed idea of national identity. Among them was "Clasicos de la provincial," an album by Colombian singer Carlos Vives and his band La Provincia (1993), which marked the beginning of a successful career that has spanned nearly three decades. Vivess work not only earned much deserved recognition in the musical industry from the beginning, but most importantly, has come to be renowned as a landmark in the cultural history of Colombia. This book is the first in-depth analysis focused on the creation and production process of Vivess work, its main musical and literary features, and its influence on other musicians and in the construction of a narrative about national identity that is still relevant today. More than fifty interviews with Vives and members of the band, musicians, journalists, radio programmers, musical producers, and other key players of the process, together with an extensive review of hundreds of documents, are the sources for this book, which earned its authors a national award in Colombia (2015).

"Classic American Popular Song: The Second Half-Century, 1950-2000" addresses the question: "What happened to American popular song after 1950?" There are numerous books available on the so-called "Golden Age" of popular song, but none that follow the development of popular song styles in the second half of the 20th century. While 1950 is seen as the "end of an era," the tap of popular song creation hardly ran dry after that date. Many of the classic songwriters continued to work through the following decades: Porter was active until 1958; Rodgers until the later 1970s; Arlen until 1976. Some of the greatest lyricists of the classic era continued to do outstanding and successful work: Johnny Mercer and Dorothy Fields, for example, continued to produce lyrics through the early '70s. These works could be explained as simply the Golden Age's "last stand," a refusal of major figures to give in to a new reality. But then, how can we explain the outstanding careers of Frank Loesser, Cy Coleman, Jerry Herman, Jerry Bock and Sheldon Harnick, Fred Kander and John Ebb, Jule Styne, Alan Jay Lerner and Frederick Loewe, and several other major figures? Where did Stephen Sondheim come from?
For anyone interested in the development of American popular song -- and its survival -- this book will make fascinating reading.

Take over from Trey Cool to become the drummer for Green Day! Green Day Authentic Drums Playalong presents eight songs that span their awesome career, arranged for drums with drum charts, melody line and chord symbols, transcribed from the original recordings. This book includes a specially recorded soundalike online audio, with full performance demonstrations and backing tracks for you to play and sing along to.

In an era when performing live is more essential than ever, this is the go-to guidebook for getting your show on the road and making a living from music. Previously published as The Tour Book, this new edition has been extensively revised, reorganized, and updated to reflect today's music industry. Written by a touring professional with over 25 years of experience.

Recording Analysis: How the Record Shapes the Song identifies and explains how the sounds imparted by recording processes enhance the artistry and expression of recorded songs. Moylan investigates how the process of recording a song transforms it into a richer experience and articulates how the unique elements of recorded sound provide essential substance and expression to recorded music. This book explores a broad array of records, evaluating the music, lyrics, social context, literary content and meaning, and offers detailed analyses of recording elements as they appear in a wide variety of tracks. Accompanied by a range of online resources, Recording Analysis is an essential read for students and academics, as well as practitioners, in the fields of record production, song-writing and popular music.

Rapper, chef, and television star Action Bronson is a marijuana superhero, both its champion and devoted consumer, and Stoned Beyond Belief is the ultimate love letter to the world's most magical plant: weed. This is an exploration of every corner of the pot galaxy, from highly scientific botanical analyses and the study of pot's medicinal benefits to a guide to the wild world of weed paraphernalia. Organized loosely as 100 entries and packed with illustrations and photos, Stoned Beyond Belief is a trippy and munchie-filled experience as well as an entertainingly valuable resource for weed enthusiasts and scholars. From recipes for heady edibles to advice on finding the right weed shaman, Stoned Beyond Belief will delight Action Bronson fans and pot aficionados all across the universe.

In 1980, Led Zeppelin formally disbanded following the death of drummer John Bonham. Yet over three decade, the music, the mystique, and the legacy of this legendary rock act lives on. Reissues of their music sell in the millions, while rumors of reunion tours continue to electrify fans across the globe. The various solo projects pursued by the three surviving members-Jimmy Page, Robert Plant, and John Paul Jones-will forever live the shadow of the blinding light they generated as Led Zeppelin. In Experiencing Led Zeppelin: A Listener's Companion, musician and writer Gregg Akkerman looks behind the curtain of "rock gods" sensationalism at this performing act's musical legacy through their studio and live recordings. Drawing on his many years as a rock musician and music scholar, Akkerman peeks under the hood to explain not just the when and the where of Led Zeppelin's music, but the why. Putting readers right there, in the times and places where the band was recording and performing its iconic numbers, Akkerman is the voice whispering in the ear of anyone interested in understanding how Led Zeppelin's music works. Experiencing Led Zeppelin: A Listener's Companion is for the die-hard Led Zeppelin fan and the first-timer just discovering the brilliance of this super band.

To his many fans, he was known simply as "Mr. Excitement," a singer whose music and stage presence influenced generations of performers, from Elvis Presley to Michael Jackson. Jackie Wilson: Lonely Teardrops looks at the life and career of this deeply troubled artist. Published briefly in a limited edition in the United Kingdom, this Routledge edition makes available this definitive biography for Wilson's legions of fans. Also includes two 8-page photo inserts.

In "This Is America": Race, Gender, and Politics in America's Musical Landscape, Katie Rios argues that prominent American artists and musicians build encoded gestures of resistance into their works and challenge the status quo. These artists offer both an interpretation and a critique of what "This Is America" means. Using Childish Gambino's video for "This Is America" as a starting point, Rios considers how elements including clothing, hairstyles, body movements, gaze, lighting effects, distortion, and word play symbolize American dissonance. From Laurie Anderson's presence in challenging authority and playing with traditional gender roles in her works, to the Black female feminism and social activism of Beyonce, Rhiannon Giddens, and Janelle Monae, to hip hop as resistance in the age of Trump, to sonic and visual variety in the musical Hamilton, the subjects are as powerful as they are topical. Rios explores the ways in which artists relate to and represent underrepresented groups, especially groups that are not traditionally perceived as having a majority voice. The encoded resistances recur across performances and video recordings so that they begin to become recognizable as repeated acts of resistance directed at injustices based on a number of categories, including race, gender, class, religion, and politics.

The Relentless Pursuit of Tone: Timbre in Popular Music assembles a broad spectrum of contemporary perspectives on how "sound" functions in an equally wide array of popular music. Ranging from the twang of country banjoes and the sheen of hip-hop strings to the crunch of amplified guitars and the thump of subwoofers on the dance floor, this volume bridges the gap between timbre, our name for the purely acoustic characteristics of sound waves, and tone, an emergent musical construct that straddles the borderline between the perceptual and the political. Essays engage with the entire history of popular music as recorded sound, from the 1930s to the present day, under four large categories. "Genre" asks how sonic signatures define musical identities and publics; "Voice" considers the most naturalized musical instrument, the human voice, as racial and gendered signifier, as property or likeness, and as raw material for algorithmic perfection through software; "Instrument" tells stories of the way some iconic pop music machines-guitars, strings, synthesizers-got (or lost) their distinctive sounds; "Production" then puts it all together, asking structural questions about what happens in a recording studio, what is produced (sonic cartoons? rockist authenticity? empty space?) and what it all might mean.

Buyers Beware offers a new perspective for critical inquiries about the practices of consumption in (and of) Caribbean popular culture. The book revisits commonly accepted representations of the Caribbean from "less respectable" segments of popular culture such as dancehall culture and 'sistah lit' that proudly jettison any aspirations toward middle-class respectability. Treating these pop cultural texts and phenomena with the same critical attention as dominant mass cultural representations of the region allows Patricia Joan Saunders to read them against the grain and consider whether and how their "pulp" preoccupation with contemporary fashion, music, sex, fast food, and television, is instructive for how race, class, gender, sexuality and national politics are constructed, performed, interpreted, disseminated and consumed from within the Caribbean.

(Play It Like It Is). Matching folio to the double album. Nine smashing metal songs, including: Eye of the Beholder * One * The Shortest Straw * and more. Also includes an introduction by Wolf Marshall.

Made in the Low Countries: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology, and musicology of twentieth and twenty-first century popular music of the Dutch-speaking region comprising the Netherlands and Flanders as a region of federal Belgium. The volume consists of essays by leading scholars and publicists in this field, and covers the major issues, genres, and contexts of popular music. Each essay provides adequate context so readers understand why the issue or genre under discussion is of lasting significance to this transnational region. The book first presents a general description of the history and background of popular music made in the region, followed by essays that are organized into four thematic sections: I: Framing and Facilitating; II: Creation and Curation; III: Close Encounters; IV: Changes and Choices.