Moby Grape are a genuine cult phenomenon. Their story, a mixture of myth and truth, is a cautionary tale, a triumph, and a tragedy all at once. Though they are seen as a symbol of 1960s San Francisco, Moby Grape were never actually a part of the city s counterculture movement. Yet they were immersed in it, sharing stages with the likes of Aretha Franklin, Jimi Hendrix, Sly Stone, and many more. Moby Grape s five members came together from very different backgrounds, bursting onto the San Francisco scene in the fall of 1966. With their diverse pedigree, they were nothing less than musical alchemists, yet they were also rebels. Their blending of genres within a tight songwriting framework contrasted sharply with that of many of their SF peers. Following the release of the band s debut album in 1967, you could see everyone from Ringo Starr to Jimi Hendrix sporting a `Moby Grape Now! button. But in the months that followed, they were dogged by mismanagement, bad marketing, a scandalous drug bust, and general rock n roll mayhem. It seemed like it was all over in 1969, but in 1971 Moby Grape staged rock s first full-on reunion. Since then, they have fought to retain ownership of their own name, while two members of the band struggled with homelessness and mental illness. Despite all of this, they produced one of the best albums of the era, and today they are heralded by countless luminaries of rock music and rock criticism, from Robert Plant to Robert Christgau, Tom Waits to Greil Marcus. Drawing on extensive interviews with the surviving members of the band, What s Big and Purple and Lives in the Ocean? finally tells the full story of one of the great cult bands of the 60s.

Northern Soul is a cultural phenomenon twice removed from its original source in Britain in the late 1960s. Rooted in gospel and rhythm and blues music, with pounding "four-to-the floor" beats, it is often accompanied by swirling strings, vibraphone flourishes, and infectious clapping. Since the 1960s Northern Soul has spread globally, via the Internet and migration, to such unlikely places as Medellin in Colombia. By giving voice to the members of this scene, this book explores theories about how identity and cultural literacy evolve through engagement with popular culture. It seeks to contribute to understandings about patterns of economic and media consumption, informal learning, intercultural communication, and about how migrants perceive themselves and form connections with others.

Made in Ireland: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology and musicology of 20th- and 21st-century Irish popular music. The volume consists of essays by leading scholars in the field and covers the major figures, styles and social contexts of popular music in Ireland. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Irish popular music. The book is organized into three thematic sections: Music Industries and Historiographies, Roots and Routes and Scenes and Networks. The volume also includes a coda by Gerry Smyth, one of the most published authors on Irish popular music.

Made in Ireland: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology and musicology of 20th- and 21st-century Irish popular music. The volume consists of essays by leading scholars in the field and covers the major figures, styles and social contexts of popular music in Ireland. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Irish popular music. The book is organized into three thematic sections: Music Industries and Historiographies, Roots and Routes and Scenes and Networks. The volume also includes a coda by Gerry Smyth, one of the most published authors on Irish popular music.

The Routledge Companion to Popular Music History and Heritage examines the social, cultural, political and economic value of popular music as history and heritage. Taking a cross-disciplinary approach, the volume explores the relationship between popular music and the past, and how interpretations of the changing nature of the past in post-industrial societies play out in the field of popular music. In-depth chapters cover key themes around historiography, heritage, memory and institutions, alongside case studies from around the world, including the UK, Australia, South Africa and India, exploring popular music's connection to culture both past and present. Wide-ranging in scope, the book is an excellent introduction for students and scholars working in musicology, ethnomusicology, popular music studies, critical heritage studies, cultural studies, memory studies and other related fields.

Cathy Berberian (1925-1983) was a vocal performance artist, singer and composer who pioneered a way of composing with the voice in the musical worlds of Europe, North America and beyond. As a modernist muse for many avant-garde composers, Cathy Berberian went on to embody the principles of postmodern thinking in her work, through vocality. She re-defined the limits of composition and challenged theories of the authorship of the musical score. This volume celebrates her unorthodox path through musical landscapes, including her approach to performance practice, gender performativity, vocal pedagogy and the culturally-determined borders of art music, the concert stage, the popular LP and the opera industry of her times. The collection features primary documentation-some published in English for the first time-of Berberian's engagement with the philosophy of voice, new music, early music, pop, jazz, vocal experimentation and technology that has come to influence the next generation of singers such as Theo Bleckmann, Susan Botti, Joan La Barbara, Rinde Eckert Meredith Monk, Carol Plantamura, Candace Smith and Pamela Z. Hence, this timely anthology marks an end to the long period of silence about Cathy Berberian's championing of a radical rethinking of the musical past through a reclaiming of the voice as a multifaceted phenomenon. With a Foreword by Susan McClary.

Status Quo were one of the most successful, influential and innovative bands of the 1970s. During the first half of the decade, they wrote, recorded and performed a stream of inventive and highly complex rock compositions, developed 12 bar forms and techniques in new and fascinating ways, and affected important musical and cultural trends. But, despite global success on stage and in the charts, they were maligned by the UK music press, who often referred to them as lamebrained three-chord wonders, and shunned by the superstar Disk Jockeys of the era, who refused to promote their music. As a result, Status Quo remain one of the most misunderstood and underrated bands in the history of popular music. Cope redresses that misconception through a detailed study of the band's music and live performances, related musical and cultural subtopics and interviews with key band members. The band is reinstated as a serious, artistic and creative phenomenon of the 1970s scene and shown to be vital contributors to the evolution of rock.

The chapters collected in this volume shed light on the areas of interaction between film studies and heavy metal research, exploring how the audio-visual medium of film relates to, builds on and shapes metal culture. At one end of the spectrum, metal music serves as a form of ambient background in horror films that creates an intense and somewhat threatening atmosphere; at the other end, the high level of performativity attached to the metal spectacle is emphasized. Alongside these tendencies, the recent and ongoing wave of metal documentaries has taken off, relying on either satire or hagiography.

This volume examines the global influence and impact of DIY cultural practice as this informs the production, performance and consumption of underground music in different parts of the world. The book brings together a series of original studies of DIY musical activities in Europe, North and South America, Asia and Oceania. The chapters combine insights from established academic writers with the work of younger scholars, some of whom are directly engaged in contemporary underground music scenes. The book begins by revisiting and re-evaluating key themes and issues that have been used in studying the cultural meaning of alternative and underground music scenes, notably aspects of space, place and identity and the political economy of DIY cultural practice. The book then explores how the DIY cultural practices that characterize alternative and underground music scenes have been impacted and influenced by technological change, notably the emergence of digital media. Finally, in acknowledging the over 40-year history of DIY cultural practice in punk and post-punk contexts, the book considers how DIY cultures have become embedded in cultural memory and the emotional geographies of place. Through combining high-quality data and fresh conceptual insights in the context of an international body of work spanning the disciplines of popular-music studies, cultural and media studies, and sociology the book offers a series of innovative new directions in the study of DIY cultures and underground/alternative music scenes. This volume will be of particular interest to undergraduate students in the above-mentioned fields of study, as well as an invaluable resource for established academics and researchers working in these and related fields.

Bringing together exciting new interdisciplinary work from emerging and established scholars in the UK and beyond, Litpop addresses the question: how has writing past and present been influenced by popular music, and vice versa? Contributions explore how various forms of writing have had a crucial role to play in making popular music what it is, and how popular music informs 'literary' writing in diverse ways. The collection features musicologists, literary critics, experts in cultural studies, and creative writers, organised in three themed sections. 'Making Litpop' explores how hybrids of writing and popular music have been created by musicians and authors. 'Thinking Litpop' considers what critical or intellectual frameworks help us to understand these hybrid cultural forms. Finally, 'Consuming Litpop' examines how writers deal with music's influence, how musicians engage with literary texts, and how audiences of music and writing understand their own role in making 'Litpop' happen. Discussing a range of genres and periods of writing and popular music, this unique collection identifies, theorizes, and problematises connections between different forms of expression, making a vital contribution to popular musicology, and literary and cultural studies.

"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

Critical Themes in World Music is a reader of nine short essays by the authors of the successful Excursions in World Music, Eighth Edition, edited by Timothy Rommen and Bruno Nettl. The essays introduce key and contemporary themes in ethnomusicology-gender and sexuality, coloniality and race, technology and media, sound and space, and more-creating a counterpoint to the area studies approach of the textbook, a longstanding model for thinking about the musics of the world. Instructors can use this flexible resource as a primary or secondary path through the materials, on its own, or in concert with Excursions in World Music, allowing for a more complete understanding that highlights the many continuities and connections that exist between musical communities, regardless of region. Critical Themes in World Music presents a critically-minded, thematic study of ethnomusicology, one that serves to counterbalance, complicate, and ultimately complement the companion textbook.

World Music Pedagogy, Volume VII: Teaching World Music in Higher Education addresses a pedagogical pathway of varied strategies for teaching world music in higher education, offering concrete means for diversifying undergraduate studies through world music culture courses. While the first six volumes in this series have detailed theoretical and applied principles of World Music Pedagogy within K-12 public schools and broader communities, this seventh volume is chiefly concerned with infusing culture-rich musical experiences through world music courses at the tertiary level, presenting a compelling argument for the growing need for such perspectives and approaches. These chapters include discussions of the logical trajectories of the framework into world music courses, through which the authors seek to challenge the status quo of lecture-only academic courses in some college and university music programs. Unique to this series, each of these chapters illustrates practical procedures for incorporating the WMP framework into sample classes. However, this volume (like the rest of the series) is not a prescriptive "recipe book" of lesson plans. Rather, it seeks to enrich the conversation surrounding cultural diversity in music through philosophically-rooted, social justice-conscious, and practice-oriented perspectives.

Musical Gentrification is an exploration of the role of popular music in processes of socio-cultural inclusion and exclusion in a variety of contexts. Twelve chapters by international scholars reveal how cultural objects of relatively lower status, in this case popular musics, are made objects of acquisition by subjects or institutions of higher social status, thereby playing an important role in social elevation, mobility and distinction. The phenomenon of musical gentrification is approached from a variety of angles: theoretically, methodologically and with reference to a number of key issues in popular music, from class, gender and ethnicity to cultural consumption, activism, hegemony and musical agency. Drawing on a wide range of case studies, empirical examples and ethnographic data, this is a valuable study for scholars and researchers of Music Education, Ethnomusicology, Cultural Studies and Cultural Sociology.

In The Most Beautiful, a title inspired by the hit song Prince wrote about their legendary love story, Mayte Garcia for the first time shares the deeply personal story of their relationship and offers a singular perspective on the music icon and their world together: from their unconventional meeting backstage at a concert (and the long-distance romance that followed), to their fairy-tale wedding (and their groundbreaking artistic partnership), to the devastating losses that ultimately dissolved their romantic relationship for good. Throughout it all, they shared a bond more intimate than any other in Prince's life. No one else can tell this story or can provide a deeper, more nuanced portrait of Prince--both the famously private man and the pioneering, beloved artist--than Mayte, his partner during some of the most pivotal personal and professional years of his career. The Most Beautiful is a book that will be returned to for decades, as Prince's music lives on with generations to come.

In Long and Winding Roads: The Evolving Artistry of the Beatles, Revised Edition, Kenneth Womack brings the band's story vividly to life-from their salad days as a Liverpool Skiffle group and their apprenticeship in the nightclubs and mean streets of Hamburg through their early triumphs at the legendary Cavern Club and the massive onslaught of Beatlemania itself. By mapping the group's development as an artistic fusion, Womack traces the Beatles' creative arc from their first, primitive recordings through Abbey Road and the twilight of their career. In this revised edition, Womack addresses new insights in Beatles-related scholarship since the original publication of Long and Winding Roads, along with hundreds of the group's outtakes released in the intervening years. The updated edition also affords attention to the Beatles' musical debt to Rhythm and Blues, as well as to key recent discoveries that vastly shift our understanding of formative events in the band's timeless story.

Teaching the Beatles is designed to provide ideas for instructors who teach the music of the Beatles. Experienced contributors describe varied approaches to effectively convey the group's characteristics and lasting importance. Some of these include: treating the Beatles' lyrics as poetry; their influence on the world of art, film, fashion and spirituality; the group's impact on post-war Britain; political aspects of the Fab Four; Lennon and McCartney's songwriting and musical innovations; the band's use of recording technology; business aspects of the Beatles' career; and insights into teaching the Beatles in an online format.

This volume studies the relationships between government and the popular music industries, comparing three Anglophone nations: Scotland, New Zealand and Australia. At a time when issues of globalization and locality are seldom out of the news, musicians, fans, governments, and industries are forced to reconsider older certainties about popular music activity and their roles in production and consumption circuits. The decline of multinational recording companies, and the accompanying rise of promotion firms such as Live Nation, exemplifies global shifts in infrastructure, profits and power. Popular music provides a focus for many of these topics-and popular music policy a lens through which to view them. The book has four central themes: the (changing) role of states and industries in popular music activity; assessment of the central challenges facing smaller nations competing within larger, global music-media markets; comparative analysis of music policies and debates between nations (and also between organizations and popular music sectors); analysis of where and why the state intervenes in popular music activity; and how (and whether) music fits within the 'turn to culture' in policy-making over the last twenty years. Where appropriate, brief nation-specific case studies are highlighted as a means of illuminating broader global debates.

Marc Bolan was the very first superstar of the Seventies. As the seductive focus of "T Rex", he revelled in fame and fortune, released a string of classic records, but then lost his way, bingeing on cocaine and booze and apparently heading for obscurity. But the fatal 1977 car crash that cut short his planned comeback as a punk rocker was also to fix him forever as the classic icon of Glam Rock. Today, almost 30 years after his death, the legend of Marc Bolan lives on and not just for the image. His music and chameleonic style were to influence many future bands. Mod, Beatnik, Hippie, Glam and Punk Rocker - Bolan's numerous guises offer a fascinating glimpse into the man himself as well as British pop history. This classic biography of a pop obsessive draws from interviews with many friends and colleagues including the late John Peel, brother Harry and band members Mickey Finn and Bill Legend.

Music and World-Building in the Colonial City investigates how nineteenth-century migrants to Australia used music as a resource for world-building, focusing on coalmining regions of New South Wales. It explores how music-making helped British migrants to create communities in unfamiliar country, often with little to no infrastructure. Its key themes are as follows: people's relationships to music within specific contexts; how music-making intersects with class, gender and ethnic background; identity through music. Situated within a wider discourse on music and identity, music and well-being and music and emotions, this is an authoritative study of historical communities and their relationship with music. It will be of particular interest to scholars and researchers working in the fields of sociomusicology, colonial studies and cultural studies.

A story of becoming an artist, by the godmother of rock'n'roll: the National Book Award-winning author of Just Kids Patti Smith 'A poet of distinction' New York Times 'Glorious' NPR 'Rare and ferocious' Salon 'Shockingly beautiful' New York Magazine Everything contained in this little book is true, and written just like it was. The writing of it drew me from my strange torpor and I hope that in some measure it will fill the reader with a vague and curious joy... In this small, luminous memoir, the National Book Award-winner Patti Smith revisits the most sacred experiences of her early years, with truths so vivid they border on the surreal. The author entwines her childhood self - and its 'clear, unspeakable joy' - with memories both real and envisioned from her twenties on New York's MacDougal Street, the street of cafes. Woolgathering was completed in Michigan, on Patti Smith's 45th birthday and originally published in a slim volume from Raymond Foye's Hanuman Books. Twenty years later, Bloomsbury is proud to present it in a much augmented edition, featuring writing that was omitted from the book's first printing, along with new photographs and illustrations.

Is "goth music" a genre, and if so, how does it relate to the goth subculture? The music played at goth club nights and festivals encompasses a broad range of musical substyles, from gloomy Batcave reverberations to neo-medieval bagpipe drones and from the lush vocals of goth metal to the harsh distortion of goth industrial. Goth Music: From Sound to Subculture argues that within this variegated musical landscape a number of key consistencies exist. Not only do all these goth substyles share a number of musical and textual characteristics, but more importantly these aspects of the music are constitutive of goth social reality. Drawing on their own experiences in the European and American goth scenes, the authors explore the ways in which the sounds of goth inform the scene's listening practices, its fantasies of other worlds, and its re-enchantment of their own world. Goth music, this book asserts, engenders a musical timespace of its own, a musical chronotope that is driven by nostalgic yearning. Goth Music: From Sound to Subculture reorients goth subcultural studies onto music: goth music must be recognized not only as simultaneously diverse and consistent, but also as the glue that holds together goth scenes from all over the world. It all starts with the music.

Music Saved Them, They Say: Social Impacts of Music-Making and Learning in Kinshasa (DR Congo) explores the role music-making has played in community projects run for young people in the poverty-stricken and often violent surroundings of Kinshasa, the capital city of the Democratic Republic of the Congo. The musicians described here - former gang members and so-called "witch children" living on the streets - believe music was vital in (re)constructing their lives. Based on fieldwork carried out over the course of three-and-a-half years of research, the study synthesizes interviews, focus group sessions, and participant observation to contextualize this complicated cultural and social environment. Inspired by those who have been "saved by music", Music Saved Them, They Say seeks to understand how structured musical practice and education can influence the lives of young people in such difficult living conditions, in Kinshasa and beyond. "... a tribute to the persistence, engagement and courage of the people in these projects, who can be proud that their work is now exposed to a global audience, not just of researchers but also to practitioners around the world who could learn from and be inspired by these hitherto unknown projects." -John Sloboda, Research Professor, Guildhall School of Music & Drama "This book is very moving but never sentimental, one of the best accounts of music's real transformative capacities that I have come across." -Lucy Green, Emerita Professor of Music Education, University College London Institute of Education

"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