"The only available in-depth reference guide' to American popular music, this should be joyously welcomed by all students of the field. . . . Highly recommended for most reference collections." Library Journal

Throughout Brazil, Afro-Brazilians face widespread racial prejudice. Many turn to religion, with Afro-Brazilians disproportionately represented among Protestants, the fastest-growing religious group in the country. Officially, Brazilian Protestants do not involve themselves in racial politics. Behind the scenes, however, the community is deeply involved in the formation of different kinds of blackness-and its engagement in racial politics is rooted in the major new cultural movement of black music. In this highly original account, anthropologist John Burdick explores the complex ideas about race, racism, and racial identity that have grown up among Afro-Brazilians in the black music scene. By immersing himself for nearly a year in the vibrant worlds of black gospel, gospel rap, and gospel samba, Burdick pushes our understanding of racial identity and the social effects of music in new directions. Delving into the everyday music-making practices of these scenes, Burdick shows how the creative process itself shapes how Afro-Brazilian artists experience and understand their racial identities. This deeply detailed, engaging portrait challenges much of what we thought we knew about Brazil's Protestants,provoking us to think in new ways about their role in their country's struggle to combat racism.

This book explores the trend of retro and nostalgia within contemporary popular music culture. Using empirical evidence obtained from a case study of fans' engagement with older music, the book argues that retro culture is the result of an inseparable mix of cultural and technological changes, namely, the rise of a new generation and cultural mood along with the encouragement of new technologies. Retro culture has become a hot topic in recent years but this is the first time the subject has been explored from an academic perspective and from the fans' perspective. As such, this book promises to provide concrete answers about why retro culture dominates in contemporary society. For the first time ever, this book provides an empirically grounded theory of popular music, retro culture and its intergenerational audience in the twenty-first century. It will appeal to advanced students of popular music studies, cultural studies, media studies, sociology and music.

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From youth violence, to the impact of high stakes educational testing, to editorial hand wringing over the moral failures of hip-hop culture, young people of color are often portrayed as gang affiliated, "troubled," and ultimately, dangerous. The Hip-Hop Generation Fights Back examines how youth activism has emerged to address the persistent inequalities that affect urban youth of color. Andreana Clay provides a detailed account of the strategies that youth activists use to frame their social justice agendas and organize in their local communities.

Based on two years of fieldwork with youth affiliated with two non-profit organizations in Oakland, California, The Hip-Hop Generation Fights Back shows how youth integrate the history of social movement activism of the 1960s, popular culture strategies like hip-hop and spoken word, as well as their experiences in the contemporary urban landscape, to mobilize their peers. Ultimately, Clay's comparison of the two youth organizations and their participants expands our understandings of youth culture, social movements, popular culture, and race and ethnic relations.

After punk's arrival in 1976, many art students in the northern English city of Leeds traded their paintbrushes for guitars and synthesizers. In bands ranging from Gang of Four, Soft Cell, and Delta 5 to the Mekons, Scritti Politti, and Fad Gadget, these artists-turned-musicians challenged the limits of what was deemed possible in rock and pop music. Taking avant-garde ideas to the record-buying public, they created Situationist antirock and art punk, penned deconstructed pop ditties about Jacques Derrida, and took the aesthetics of collage and shock to dark, brooding electro-dance music. In No Machos or Pop Stars Gavin Butt tells the fascinating story of the post-punk scene in Leeds, showing how England's state-funded education policy brought together art students from different social classes to create a fertile ground for musical experimentation. Drawing on extensive interviews with band members, their associates, and teachers, Butt details the groups who wanted to dismantle both art world and music industry hierarchies by making it possible to dance to their art. Their stories reveal the subversive influence of art school in a regional music scene of lasting international significance.

Leeds, 1980. Amid the violence and decay, the city was home to an extraordinarily vibrant post-punk scene. Out of that swamp crawled the Sisters of Mercy. Over the next five years, they would rise from local heroes to leading alternative band, before blowing apart on the verge of major rock stardom. Their path was strewn with brilliant singles, astonishing EPs, exceptional album tracks and legendary live shows. Two classic line-ups were created and destroyed: Andrew Eldritch on vocals, Craig Adams on bass, Gary Marx and Ben Gunn - later replaced by Wayne Hussey - on guitars, and a drum machine called Doktor Avalanche. Drawing on dozens of interviews with band members and key figures in the Sisters' journey, Paint My Name in Black and Gold is the most complete account yet of how - against the odds and all reasonable expectation - these young men came to make transcendent and life-changing music.

This book is the first to explore style and spectacle in glam popular music performance from the 1970s to the present day, and from an international perspective. Focus is given to a number of representative artists, bands, and movements, as well as national, regional, and cultural contexts from around the globe. Approaching glam music performance and style broadly, and using the glam/glitter rock genre of the early 1970s as a foundation for case studies and comparisons, the volume engages with subjects that help in defining the glam phenomenon in its many manifestations and contexts. Glam rock, in its original, term-defining inception, had its birth in the UK in 1970/71, and featured at its forefront acts such as David Bowie, T. Rex, Slade, and Roxy Music. Termed "glitter rock" in the US, stateside artists included Alice Cooper, Suzi Quatro, The New York Dolls, and Kiss. In a global context, glam is represented in many other cultures, where the influences of early glam rock can be seen clearly. In this book, glam exists at the intersections of glam rock and other styles (e.g., punk, metal, disco, goth). Its performers are characterized by their flamboyant and theatrical appearance (clothes, costumes, makeup, hairstyles), they often challenge gender stereotypes and sexuality (androgyny), and they create spectacle in popular music performance, fandom, and fashion. The essays in this collection comprise theoretically-informed contributions that address the diversity of the world's popular music via artists, bands, and movements, with special attention given to the ways glam has been influential not only as a music genre, but also in fashion, design, and other visual culture.

Popular Music Theory and Analysis: A Research and Information Guide uncovers the wealth of scholarly works dealing with the theory and analysis of popular music. This annotated bibliography is an exhaustive catalog of music-theoretical and musicological works that is searchable by subject, genre, and song title. It will support emerging scholarship and inquiry for future research on popular music.

This interdisciplinary volume explores the girl's voice and the construction of girlhood in contemporary popular music, visiting girls as musicians, activists, and performers through topics that range from female vocal development during adolescence to girls' online media culture. While girls' voices are more prominent than ever in popular music culture, the specific sonic character of the young female voice is routinely denied authority. Decades old cliches of girls as frivolous, silly, and deserving of contempt prevail in mainstream popular image and sound. Nevertheless, girls find ways to raise their voices and make themselves heard. This volume explores the contemporary girl's voice to illuminate the way ideals of girlhood are historically specific, and the way adults frame and construct girlhood to both valorize and vilify girls and women. Interrogating popular music, childhood, and gender, it analyzes the history of the all-girl band from the Runaways to the present; the changing anatomy of a girl's voice throughout adolescence; girl's participatory culture via youtube and rock camps, and representations of the girl's voice in other media like audiobooks, film, and television. Essays consider girl performers like Jackie Evancho and Lorde, and all-girl bands like Sleater Kinney, The Slits and Warpaint, as well as performative 'girlishness' in the voices of female vocalists like Joni Mitchell, Beyonce, Miley Cyrus, Taylor Swift, Kathleen Hanna, and Rebecca Black. Participating in girl studies within and beyond the field of music, this book unites scholarly perspectives from disciplines such as musicology, ethnomusicology, comparative literature, women's and gender studies, media studies, and education to investigate the importance of girls' voices in popular music, and to help unravel the complexities bound up in music and girlhood in the contemporary contexts of North America and the United Kingdom.

This book examines do-it-yourself (DIY) approaches to the collection, preservation, and display of popular music heritage being undertaken by volunteers in community archives, museums and halls of fame globally. DIY institutions of popular music heritage are much more than 'unofficial' versions of 'official' institutions; rather, they invoke a complex network of affect and sociality, and are sites where interested people - often enthusiasts - are able to assemble around shared goals related to the preservation of and ownership over the material histories of popular music culture. Drawing on interviews and observations with founders, volunteers and heritage workers in 23 DIY institutions in Australasia, Europe and North America, the book highlights the potentialities of bottom-up, community-based interventions into the archiving and preservation of popular music's material history. It reveals the kinds of collections being housed in these archives, how they are managed and maintained, and explores their relationship to mainstream heritage institutions. The study also considers the cultural labor of volunteers in the DIY institution, arguing that while these are places concerned with heritage management and the preservation of artefacts, they are also extensions of musical communities in the present in which activities around popular music preservation have personal, cultural, community and heritage benefits. By looking at volunteers' everyday interventions in the archiving and curating of popular music's material past, the book highlights how DIY institutions build upon national heritage strategies at the community level and have the capacity to contribute to the democratization of popular music heritage. This book will have a broad appeal to a range of scholars in the fields of popular music studies, musicology, ethnomusicology, archive studies and archival science, museum studies, critical heritage studies, cultural studies, cultural sociology and media studies.

When Music Migrates uses rich material to examine the ways that music has crossed racial faultlines that have developed in the post-Second World War era as a consequence of the movement of previously colonized peoples to the countries that colonized them. This development, which can be thought of in terms of diaspora, can also be thought of as postmodern in that it reverses the modern flow which took colonizers, and sometimes settlers, from European countries to other places in the world. Stratton explores the concept of 'song careers', referring to how a song is picked up and then transformed by being revisioned by different artists and in different cultural contexts. The idea of the song career extends the descriptive term 'cover' in order to examine the transformations a song undergoes from artist to artist and cultural context to cultural context. Stratton focuses on the British faultline between the post-war African-Caribbean settlers and the white Britons. Central to the book is the question of identity. For example, how African-Caribbean people have constructed their identity in Britain can be considered through an examination of when 'Police on My Back' was written and how it has been revisioned by Lethal Bizzle in its most recent iteration. At the same time, this song, written by the Guyanese migrant Eddy Grant for his mixed-race group The Equals, crossed the racial faultline when it was picked up by the punk-rock group, The Clash. Conversely, 'Johnny Reggae', originally a pop-ska track written about a skinhead by Jonathan King and performed by a group of studio artists whom King named The Piglets, was revisioned by a Jamaican studio group called The Roosevelt Singers. After this, the character of Johnny Reggae takes on a life of his own and appears in tracks by Jamaican toasters as a Rastafarian. Johnny's identity is, then, totally transformed. It is this migration of music that will appeal not only to those studying popular music, but

This book bridges a gap in existing scholarship by foregrounding the contribution of women to the nineteenth-century Lied. Building on the pioneering work of scholars in recent years, it consolidates recent research on women's achievements in the genre, and develops an alternative narrative of the Lied that embraces an understanding of the contributions of women, and of the contexts of their engagement with German song and related genres. Lieder composers including Fanny Hensel, Clara Schumann, Pauline Viardot-Garcia and Josephine Lang are considered with a stimulating variety of analytical approaches. In addition to the focus on composers associated with history and theory of the Lied, the various chapters explore the cultural and sociological background to the Lied's musical environment, as well as engaging with gender studies and discussing performance and pedagogical contexts. The range of subject matter reflects the interdisciplinary nature of current research in the field, and the energy it generates among scholars and performers. Women and the Nineteenth-Century Lied aims to widen readers' perception of the genre and help promote awareness of women's contribution to nineteenth-century musical life through critical appraisal of the cultural context of the Lied, encouraging acquaintance with the voices of women composers, and the variety of their contributions to the repertoire.

Listening according to mood is likely to be what most people do when they listen to music. We want to take part in, or even be part of, the emerging world of the musical work. Using the sources of musical history and philosophy, Erik Wallrup explores this extremely vague and elusive phenomenon, which is held to be fundamental to musical hearing. Wallrup unfolds the untold musical history of the German word for 'mood', Stimmung, which in the 19th century was abundant in the musical aesthetics of the German-Austrian sphere. Martin Heidegger's much-discussed philosophy of Stimmung is introduced into the field of music, allowing Wallrup to realise fully the potential of the concept. Mood in music, or, to be more precise, musical attunement, should not be seen as a peculiar kind of emotionality, but that which constitutes fundamentally the relationship between listener and music. Exploring mood, or attunement, is indispensable for a thorough understanding of the act of listening to music.

The double bass - the preferred bass instrument in popular music during the 1960s - was challenged and subsequently superseded by the advent of a new electric bass instrument. From the mid-1960s and throughout the 1970s, a melismatic and inconsistent approach towards the bass role ensued, which contributed to a major change in how the electric bass was used in performance and perceived in the sonic landscape of mainstream popular music. Investigating the performance practice of the new, melodic role of the electric bass as it appeared (and disappeared) in the 1960s and 1970s, the book turns to the number one songs of the American Billboard Hot 100 charts between 1951 and 1982 as a prime source. Through interviews with players from this era, numerous transcriptions - elaborations of twenty bass related features - are presented. These are juxtaposed with a critical study of four key players, who provide the case-studies for examining the performance practice of the melodic electric bass. This highly original book will be of interest not only to bass players, but also to popular musicologists looking for a way to instigate methodological and theoretical discussions on how to develop popular music analysis.

It is undeniable that technology has made a tangible impact on the nature of musical listening. The new media have changed our relationship with music in a myriad of ways, not least because the experience of listening can now be prolonged at will and repeated at any time and in any space. Moreover, among the more striking social phenomena ushered in by the technological revolution, one cannot fail to mention music's current status as a commodity and popular music's unprecedented global reach. In response to these new social and perceptual conditions, the act of listening has diversified into a wide range of patterns of behaviour which seem to resist any attempt at unification. Concentrated listening, the form of musical reception fostered by Western art music, now appears to be but one of the many ways in which audiences respond to organized sound. Cinema, for example, has developed specific ways of combining images and sounds; and, more recently, digital technology has redefined the standard forms of mass communication. Information is aestheticized, and music in turn is incorporated into pre-existing symbolic fields. This volume - the first in the series Musical Cultures of the Twentieth Century - offers a wide-ranging exploration of the relations between sound, technology and listening practices, considered from the complementary perspectives of art music and popular music, music theatre and multimedia, composition and performance, ethnographic and anthropological research.

The Bloomsbury Handbook of Popular Music Policy is the first thorough analysis of how policy frames the behavior of audiences, industries, and governments in the production and consumption of popular music. Covering a range of industrial and national contexts, this collection assesses how music policy has become an important arm of government, and a contentious arena of global debate across areas of cultural trade, intellectual property, and mediacultural content. It brings together a diverse range of researchers to reveal how histories of music policy development continue to inform contemporary policy and industry practice. The Handbook maps individual nation case studies with detailed assessment of music industry sectors. Drawing on international experts, the volume offers insight into global debates about popular music within broader social, economic, and geopolitical contexts.

HONK! A Street Band Renaissance of Music and Activism explores a fast-growing and transnational movement of street bands-particularly brass and percussion ensembles-and examines how this exciting phenomenon mobilizes communities to reimagine public spaces, protest injustice, and assert their activism. Through the joy of participatory music making, HONK! bands foster active musical engagement in street protests while encouraging grassroots organization, representing a manifestation of cultural activity that exists at the intersections of community, activism, and music. This collection of twenty essays considers the parallels between the diversity of these movements and the diversity of the musical repertoire these bands play and share. In five parts, musicians, activists, and scholars voiced in various local contexts cover a range of themes and topics: History and Scope Repertoire, Pedagogy, and Performance Inclusion and Organization Festival Organization and Politics On the Front Lines of Protest The HONK! Festival of Activist Street Bands began in Somerville, Massachusetts in 2006 as an independent, non-commercial, street festival. It has since spread to four continents. HONK! A Street Band Renaissance of Music and Activism explores the phenomenon that inspires street bands and musicians to change the world and provide musical, social, and political alternatives in contemporary times. Visit the companion webiste: http://www.honkrenaissance.net/

Warren Zevon was one of the most original songwriters to emerge from the prolific 1970s Los Angeles music scene. Beyond his most familiar song-the rollicking 1978 hit "Werewolves of London"-Zevon's smart, often satirical songbook is rich with cinematic, literary, and comic qualities; dark narratives; complex characters; popular culture references; and tender, romantic ballads of parting and longing. Warren Zevon: Desperado of Los Angeles is the first book-length, critical exploration of one of popular music's most talented and tormented antiheroes. George Plasketes provides a comprehensive chronicle of Zevon's 40-year, 20-record career and his enduring cultural significance. Beginning with Zevon's classical training and encounters as a youth with composers Robert Craft and Igor Stravinsky, Plasketes surveys Zevon's initiation into the 1960s through the Everly Brothers, the Turtles, and the film Midnight Cowboy. Plasketes then follows Zevon from his debut album with Asylum Records in 1976, produced by mentor Jackson Browne, through his successes and struggles from a Top Ten album to record label limbo during the 1980s, through a variety of music projects in the 1990s, including soundtracks and scores, culminating with a striking trio of albums in the early 2000s. Despite his reckless lifestyle and personal demons, Zevon made friends and alliances with talk show host David Letterman and such literary figures as Hunter S. Thompson and Carl Hiaasen. It was only after his death in 2003 that Zevon received Grammy recognition for his work. Throughout this book, Plasketes explores the musical, cinematic, and literary influences that shaped Zevon's distinctive style and songwriting themes and continue to make Zevon's work a telling portrait of Los Angeles and American culture.

"Duxbury attempts to document the connections between the rock and classical music genres by listing recorded examples of rock instrumentals and songs that borrow from the classics, and orchestral versions of songs originally composed and/or recorded by rock musicians. . . . There are appendices of selective' lists: big-band versions of the classics, etc. The general index includes the names of classical composers, rock groups and artists, orchestras, choruses, conductors, producers, and song titles. . . . The selective nature of the work might make it less appropriate for scholars, but it will interest and amuse fans and general readers. Recommended for collections specializing in popular music." Choice

Legendarily reticent, perverse and misleading, Prince is one of the few remaining 80s superstars who still, perhaps, remains unexplained. Now a firm fixture in the pop canon, where such classics as 'Purple Rain', 'Sign o' the Times' and 'Parade' regularly feature in Best Ever Album polls, Prince is still, as he ever was, an enigma. His live performances are legendary (21 Nights at the O2 in 2007) and while recent releases have been modestly successful at best, his influence on urban music, and R'n'B in particular, has never been more evident. The Minneapolis Sound can now be heard everywhere. Matt Thorne's Prince, through years of research and interviews with ex-Revolution members such as Wendy and Lisa, is an account of a pop maverick whose experiments with rock, funk, techno and jazz revolutionised pop. With reference to every song, released and unreleased, over 35 years of recording, Prince will stand for years to come as the go-to book on the Great Man.

From the Beatles to Beck, Sinatra to Sam Smith, a parade of era-defining artists have passed through the doors of the Capitol Records Tower, one of Hollywood's most distinctive landmarks and home to one of the world's most defining labels for the past 75+ years. To commemorate this extraordinary history of recorded music, TASCHEN presents this official account of Capitol Records, from its founding year of 1942 to today. With a foreword by Beck, essays by cultural historians and music and architecture critics, as well as hundreds of images from Capitol's extensive archives, we follow the label's evolution and the making of some of the greatest music of the 20th and 21st centuries. Through pop, rock, country, classical, soul, and jazz, the photographic and musical history includes the label's most successful, cool, hip, and creative stars, as well as the one-hit wonders who had their all-too-brief moments in the spotlight. Along the way, we encounter the likes of Miles Davis, Nat King Cole, the Kingston Trio, and Frank Sinatra in Capitol's first 20 years; the Beach Boys, the Band, and the Beatles in the 1960s; global rock magnets Pink Floyd, Wings, Steve Miller Band, Bob Seger, and Linda Ronstadt in the 1970s; Beastie Boys, Duran Duran, Radiohead, and Bonnie Raitt in the 1980s and 1990s; and such contemporary stars as Coldplay, Katy Perry, and Sam Smith. An unmissable milestone for music lovers, Capitol Records is a live and kicking celebration of the mighty giant of the industry that created the soundtrack to generations past, present, and future.

Radiohead and the Journey Beyond Genre traces the uses and transgressions of genre in the music of Radiohead and studies the band's varied reception in online and offline media. Radiohead's work combines traditional rock sounds with a unique and experimental approach towards genre that sets the band apart from the contemporary mainstream. A play with diverse styles and audience expectations has shaped Radiohead's musical output and opened up debates about genre amongst critics, fans, and academics alike. Interpretations speak of a music that is referential of the past but also alludes to the future. Applying both music- and discourse-analytical methods, the book discusses how genre manifests in Radiohead's work and how it is interpreted amongst different audience groups. It explores how genre and generic flexibility affect the listeners' search for musical meaning and ways of discussion. This results in the development of a theoretical framework for the study of genre in individual popular music oeuvres that explores the equal validity of widely differing forms of reception as a multidimensional network of meaning. While Radiohead's music is the product of an eclectic mixture of musical influences and styles, the book also shows how the band's experimental stance has increasingly fostered debates about Radiohead's generic novelty and independence. It asks what remains of genre in light of its past or imminent transgression. Offering new perspectives on popular music genre, transgression, and the music and reception of Radiohead, the book will appeal to academics, students, and those interested in Radiohead and matters of genre. It contributes to scholarship in musicology, popular music, media, and cultural studies.

*THE SUNDAY TIMES TOP TEN BESTSELLER* As seen on Apple TV - 1971: The Year That Music Changed Everything The Sixties ended a year late - on New Year's Eve 1970, when Paul McCartney initiated proceedings to wind up The Beatles. Music would never be the same again. The next day would see the dawning of a new era. 1971 saw the release of more monumental albums than any year before or since and the establishment of a pantheon of stars to dominate the next forty years - Led Zeppelin, David Bowie, the Rolling Stones, Pink Floyd, Marvin Gaye, Carole King, Joni Mitchell, Rod Stewart, the solo Beatles and more. January that year fired the gun on an unrepeatable surge of creativity, technological innovation, blissful ignorance, naked ambition and outrageous good fortune. By December rock had exploded into the mainstream. How did it happen? This book tells you how. It's the story of 1971, rock's golden year.

The Rolling Stones: Sociological Perspectives, edited by Helmut Staubmann, draws from a broad spectrum of sociological perspectives to contribute both to the understanding of the phenomenon Rolling Stones and to an in-depth analysis of contemporary society and culture that takes The Stones a starting point. Contributors approach The Rolling Stones from a range of social science perspectives including cultural studies, communication and film studies, gender studies, and the sociology of popular music. The essays in this volume focus on the question of how the worldwide success of The Rolling Stones over the course of more than half a century reflects society and the transformation of popular culture.