Forty years, twenty-eight ODs, three botched suicides, two heart attacks, a couple of jail stints, a debilitating stroke . . .

Now, Steven Adler, the most self-destructive rock star ever, is ready to share the shattering, untold truth.

Once upon a time, Steven Adler--along with four uniquely talented but very complicated and demanding musicians--helped form Guns N' Roses. They emerged from the streets, primal artists who obliterated glam rock and its big hair to resurrect rock's truer blues roots . . . and took "sex, drugs, and rock 'n' roll" to obscene levels of reckless abandon. By the late 1980s, GN'R was the biggest rock band in the world, grabbing headlines and awards while selling out huge arenas. But there was a price to pay. For Adler, it was his health and sanity, culminating in his brutal public banishment by his once-beloved musical brothers--a humiliating act of betrayal that caused him to plunge into the dark side and spend most of the next twenty years in a drug-fueled hell.

In "My Appetite for Destruction," Adler digs deep, revealing the last secrets--not just his own but GN'R's as well.

An electrifying collection of the finest, most entertaining, and illuminating writing on and from the rock and roll scene--from its earliest days to the present, from the brightest moments of the biggest stars to obscure but compellingly significant treasures. The crazy, exhilarating, endlessly creative world of rock and roll has fascinated us--and some of our best writers--since the earliest days of the genre. William McKeen has assembled in this book the writing of those who played the music and pushed it to new limits, as well as those who were on the scene to witness and celebrate its magic. The story of rock and roll music and the rock and roll life lifts from these pages with marvelous immediacy, in selections ranging from Bruce Springsteen on his experience of backing up Chuck Berry, to Joan Didion sitting in on a Doors recording session, to Henry Rollins on Madonna, to Roddy Doyle's The Commitments. Tom Wolfe, Patti Smith, Don DeLillo, John Lennon, Frank Zappa, Nick Hornby, and many others contribute to this portrait of the music and its culture from its ancestors in the blues to its latest variants beyond grunge and rap. The book is organized into sections that create provocative and eye-opening juxtapositions, from "Superstardom" to "Weirdness," from "Present at the Creation" to "Soul." A section on rock critics shows how these writers matched the music with their own sharp rhythm, while "Tributes" rounds off the volume by remembering in their glory some of the greats who are making noise in the hereafter.

Limited to only 150 copies, this is the deluxe edition of Telling Stories: Photographs of The Fall - the ultimate visual history of iconic band from renowned photographer Kevin Cummins, with a foreword by Poet Laureate Simon Armitage. 'No one has captured the look of alternative UK music over the past half a century more tellingly than Kevin Cummins.' - Simon Armitage 'Kevin Cummins is a true master in being able to capture the essence of music, the soul of the band. Whatever he does however he does it is a mystery to me but it's pure genius.' - Rankin 'Few photographers had such a close connection to The Fall as Manchester-based Kevin Cummins, and his new book, Telling Stories, is a rich visual history of one of the city's most beloved and enduring bands.' - Record Collector Magazine 'Kevin has the uncanny ability of capturing the inner mood of musicians. Be it the dynamics within a pensive Joy Division, or the sense surrounding the fledgeling Fall that something special was around the corner for us all. Kevin's book is nothing less than a remarkable document of a bewildering and defiant anti-fashion movement born in Prestwich, north Manchester in the grimy mid-70s.' - Marc Riley 'Capturing forty years of the band's career via his archive, the legendary photographer (whose recent book, Juvenes, documented the story of Joy Division) gives his take on the phenomenon of The Fall and the late, great Mark E. Smith.' - Vive le Rock Contains never-before-seen images. Foreword by Simon Armitage, Poet Laureate. From chaotic early gigs to their final years, NME photographer Kevin Cummins provides a definitive, unique perspective on cult favourites The Fall. In this stunning visual history spanning four decades, discover how and why they emerged as one of the most innovative, boundary-breaking bands in modern music. With a foreword by Poet Laureate and Fall fan Simon Armitage and an interview with Eleni Poulou, as well as never-before-seen images from Cummins' archive, this is the ultimate visual companion to The Fall.

Susan Burney (1755-1800) was the third daughter of the music historian Charles Burney and the younger sister of the novelist Frances (Fanny) Burney. She grew up in London, where she was able to observe at close quarters the musical life of the capital and to meet the many musicians, men of letters, and artists who visited the family home. After her marriage in 1782 to Molesworth Phillips, a Royal Marines officer who served with Captain Cook on his last voyage, she lived in Surrey and later in rural Ireland. Burney was a knowledgeable enthusiast for music, and particularly for opera, with discriminating tastes and the ability to capture vividly musical life and the personalities involved in it. Her extensive journals and letters, a selection from which is presented here, provide a striking portrait of social, domestic and cultural life in London, the Home Counties and in Ireland in the late eighteenth century. They are of the greatest importance and interest to music and theatre historians, and also contain much that will be of significance and interest for Burney scholars, social historians of England and Ireland, women's historians and historians of the family.

Elisabeth Lutyens (1906-1983), Elizabeth Maconchy (1907-1994) and Grace Williams (1906-1977) were contemporaries at the Royal College of Music. The three composers' careers were launched with performances in the Macnaghten-Lemare Concerts in the 1930s - a time when, in Britain, as Williams noted, a woman composer was considered 'very odd indeed'. Even so, by the early 1940s all three had made remarkable advances in their work: Lutyens had become the first British composer to use 12-note technique, in her Chamber Concerto No. 1 (1939-40); Maconchy had composed four string quartets of outstanding quality and was busy rethinking the genre; and Williams had won recognition as a composer with great flair for orchestral writing with her Fantasia on Welsh Nursery Tunes (1940) and Sea Sketches (1944). In the following years, Lutyens, Maconchy and Williams went on to compose music of striking quality and to attain prominent positions within the British music scene. Their respective achievements broke through the 'sound ceiling', challenging many of the traditional assumptions which accompanied music by female composers. Rhiannon Mathias traces the development of these three important composers through analysis of selected works. The book draws upon previously unexplored material as well as radio and television interviews with the composers themselves and with their contemporaries. The musical analysis and contextual material lead to a re-evaluation of the composers' positions in the context of twentieth-century British music history.

This collection of original essays is in tribute to the work of Derek Scott on the occasion of his sixtieth birthday. As one of the leading lights in Critical Musicology, Scott has helped shape the epistemological direction for music research since the late 1980s. There is no doubt that the path taken by the critical musicologist has been a tricky one, leading to new conceptions, interactions, and heated debates during the past two decades. Changes in musicology during the closing decades of the twentieth century prompted the establishment of new sets of theoretical methods that probed at the social and cultural relevance of music, as much as its self-referentiality. All the scholars contributing to this book have played a role in the general paradigmatic shift that ensued in the wake of Kerman's call for change in the 1980s. Setting out to address a range of approaches to theorizing music and promulgating modes of analysis across a wide range of repertories, the essays in this collection can be read as a coming of age of critical musicology through its active dialogue with other disciplines such as sociology, feminism, ethnomusicology, history, anthropology, philosophy, cultural studies, aesthetics, media studies, film music studies, and gender studies. The volume provides music researchers and graduate students with an up-to-date authoritative reference to all matters dealing with the state of critical musicology today.

Migrating Music considers the issues around music and cosmopolitanism in new ways. Whilst much of the existing literature on 'world music' questions the apparently world-disclosing nature of this genre - but says relatively little about migration and mobility - diaspora studies have much to say about the latter, yet little about the significance of music. In this context, this book affirms the centrality of music as a mode of translation and cosmopolitan mediation, whilst also pointing out the complexity of the processes at stake within it. Migrating music, it argues, represents perhaps the most salient mode of performance of otherness to mutual others, and as such its significance in socio-cultural change rivals - and even exceeds - literature, film, and other language and image-based cultural forms. This book will serve as a valuable reference tool for undergraduate and postgraduate students with research interests in cultural studies, sociology of culture, music, globalization, migration, and human geography.

Throughout the world, the number of festivals has grown exponentially in the last two decades, as people celebrate local and regional cultures, but perhaps more importantly as local councils and other groups seek to use festivals both to promote tourism and to stimulate rural development. However, most studies of festivals have tended to focus almost exclusively on the cultural and symbolic aspects, or on narrow modelling of economic multiplier impacts, rather than examining their long-term implications for rural change. This book therefore has an original focus. It is structured in two parts: the first discusses broad issues affecting music festivals globally, especially in the context of rural revitalisation. The second part looks in more detail at a range of types of festivals commonly found throughout North America, Europe and Australasia, such as country music, jazz, opera and alternative music festivals. The authors draw on in-depth research undertaken over the past five years in a range of Australian places, which traces the overall growth of festivals of various kinds, examines four of the more important and distinctive music festivals, and makes clear conclusions on their significance for rural and regional change.

Finally back in print--David Foster Wallace and Mark Costello's exuberant exploration of rap music and culture.
Living together in Cambridge in 1989, David Foster Wallace and longtime friend Mark Costello discovered that they shared "an uncomfortable, somewhat furtive, and distinctively white enthusiasm for a certain music called rap/hip-hop." The book they wrote together, set against the legendary Boston music scene, mapped the bipolarities of rap and pop, rebellion and acceptance, glitz and gangsterdom. "Signifying Rappers" issued a fan's challenge to the giants of rock writing, Greil Marcus, Robert Palmer, and Lester Bangs: Could the new street beats of 1989 set us free, as rock had always promised?
Back in print at last, "Signifying Rappers" is a rare record of a city and a summer by two great thinkers, writers, and friends. With a new foreword by Mark Costello on his experience writing with David Foster Wallace, this rerelease cannot be missed.

International Who's Who in Popular Music 2012 gives biographical information and contact details for some of the most talented and influential artists and individuals from the world of popular music. Now in its fourteenth edition, there are over 7,000 biographies charting the careers and achievements of artists in pop, rock, folk, jazz, dance, world, country music and much more. Key Features: each entry includes full biographical information: principal career details, recordings and compositions, honours and contact information where available each entrant is given the opportunity to update his or her information spans the full range of the popular music industry, from rock to jazz and dance to country provides information on established names as well as up-and-coming artists a directory section provides details of music festivals, awards, organizations within the industry, and digital music sources for ease of reference, the book includes an index of music group members. In one accessible volume the International Who's Who in Popular Music 2012 offers users a vast collection of information on the most famous and influential people in the popular music industry.

An updated reissue of what, along with England's Dreaming, has become the acknowledged seminal work on punk. Cain was at every major gig and interviewed all of the acts at the time. He was viewed as an 'insider' and his access was unrivalled. This book is a vibrant and fast-paced trip through an extraordinary year. Includes major new interviews with Sex Pistol Johnny Rotten, Strangler Hugh Cornwell and Rat Scabies of The Damned.

Richard Egues and Jose Fajardo are universally regarded as the leading exponents of charanga flute playing, an improvisatory style that crystallized in 1950s Cuba with the rise of the mambo and the chachacha. Despite the commercial success of their recordings with Orquesta Aragon and Fajardo y sus Estrellas and their influence not only on Cuban flute players but also on other Latin dance musicians, no in-depth analytical study of their flute solos exists. In Cuban Flute Style: Interpretation and Improvisation, Sue Miller-music historian, charanga flute player, and former student of Richard Egues-examines the early-twentieth-century decorative style of flute playing in the Cuban danzon and its links with the later soloistic style of the 1950s as exemplified by Fajardo and Egues. Transcriptions and analyses of recorded performances demonstrate the characteristic elements of the style as well as the styles of individual players. A combination of musicological analysis and ethnomusicological fieldwork reveals the polyrhythmic and melodic aspects of the Cuban flute style, with commentary from flutists Richard Egues, Joaquin Oliveros, Polo Tamayo, Eddy Zervigon, and other renowned players. Miller also covers techniques for flutists seeking to learn the style-including altissimo fingerings for the Boehm flute and fingerings for the five-key charanga flute-as well as guidance on articulation, phrasing, repertoire, practicing improvisation, and working with recordings. Cuban Flute Style will appeal to those working in the fields of Cuban music, improvisation, music analysis, ethnomusicology, performance and performance practice, popular music, and cultural theory.

Grunge has been perceived as the music that defined 'Generation X'. Twenty years after the height of the movement there is still considerable interest in its rise and fall, and its main figures such as Kurt Cobain and Courtney Love. As a form of 'retro' music it is even experiencing a resurgence, and Cobain remains an icon to many young music fans today. But what was grunge, and what has it become? This book explores how grunge has been remembered by the fans that grew up with it, and asks how memory is both formed by and forms popular culture. It looks at the relationship between media, memory and music fans and demonstrates how different groups can use and shape memory as part of an ongoing struggle for power in society. Grunge was the site of such a struggle, as popular music so often is, with the young people of the time asking questions about their place in the world and the way society is organized. This book examines what these questions were, and what has happened to them over time. It shows that although grunge challenged many social structures, the way it, and youth itself, are remembered often work to reinforce the status quo.

She's So Fine explores the music, reception and cultural significance of 1960s girl singers and girl groups in the US and the UK. Using approaches from the fields of musicology, women's studies, film and media studies, and cultural studies, this volume is the first interdisciplinary work to link close musical readings with rigorous cultural analysis in the treatment of artists such as Martha and the Vandellas, The Crystals, The Blossoms, Brenda Lee, Dusty Springfield, Lulu, Tina Turner, and Marianne Faithfull. Currently available studies of 1960s girl groups/girl singers fall into one of three categories: industry-generated accounts of the music's production and sales, sociological commentaries, or omnibus chronologies/discographies. She's So Fine, by contrast, focuses on clearly defined themes via case studies of selected artists. Within this analytical rather than historically comprehensive framework, this book presents new research and original observations on the 60s girl group/girl singer phenomenon.

Legendary music producer, Gordon Raphael has spent four decades working with musicians, performers and songwriters to create unique genre-defining sounds. His work with THE STROKES, REGINA SPEKTOR and THE LIBERTINES has made him one of the world's most sought-after music producers. What's his secret? This book gives an insider's view into how music is created and recorded, sharing insights into the artistic discoveries that happen when a group of talented musicians find the right studio, the right producer and the right sound. Like sitting on the purple velvet couch at New York's fabled Transporterraum Studio, this rock 'n' roll memoir gives an All Access Pass to the processes and techniques, the people and the performances. It's the early 2000s and, for the first time, young people who've grown up hating their parent's rock music, have found a reason in the songs of NYC newcomers THE STROKES to drop their electronica, house and techno for guitars, Converse, leather jackets-to form their own bands. Focussing on the eight-year period from the demise of the Seattle grunge scene to the rebirth of a thrilling cultural shift in New York and London that reimagined rock 'n' roll. Gordon Raphael shares his tales of musical glory and loss, creative triumphs and breakups. It's a bumpy ride with a killer soundtrack.

What does it mean to think of Western Art music - and the Austro-German contribution to that repertory - as a tradition? How are men and masculinities implicated in the shaping of that tradition? And how is the writing of the history (or histories) of that tradition shaped by men and masculinities? This book seeks to answer these and other questions by drawing both on a wide range of German-language writings on music, sound and listening from the so-called long nineteenth century (circa 1800-1918), and a range of critical-theoretical texts from the post-war continental philosophical and psychoanalytic traditions, including Lacan, Zizek, Serres, Derrida and Kittler. The book is focussed in particular on bringing the object of historical writing itself into scrutiny by engaging in what Zizek has called a 'historicity' or a way of writing about the past that not merely acknowledges the ahistorical kernel of historical writing, but brings that kernel into the light of day, takes account of it and puts it into play. The book is thus committed to a kind of historical writing that is open-ended - though not ideologically naA-ve - and that does not fix or stabilize the nature of the relationship between so-called 'primary' and 'secondary' texts. The book consists of an introduction, which places the study of classical music and the Austro-German tradition within broader debates about the value of that tradition, and four extensive case studies: an analysis of the cultural-historical category of listening around 1800; a close reading of A. B. Marx's Beethoven monograph of 1859; a consideration of Heinrich Schenker's attitudes to the mob and the vernacular more broadly and an examination, through Franz Kafka, of the figure of Mahler's body.

From 1976 to 1978, the young photographer Simon Barker was a member of the "Bromley Contingent"--a group of avid Sex Pistols fans who comprised the group's inner circle at the height of the punk movement. Many of them, such as Jordan and Siouxsie Sioux, were notorious for their daredevil dress sense, and several--such as Sioux, Steven Severin, Adam Ant, Poly Styrene, Billy Idol, Viv Albertine and Ari Up--went on to form some of the most important bands of the era. This compilation of previously unseen photographs by Barker shows these founders of punk in their earliest incarnations--in bedrooms and kitchens, at public gigs and private parties--before media and commerce sunk their claws into punk's iconoclastic look and class politics. Taken with the simplest and cheapest pocket cameras, the photographs in this collection constitute Barker's "family album for the years 1976 to 1978." In the spirit of the Pistols' "God Save the Queen," the volume closes with a photographic sequence taken by Barker during the 1976 Jubilee celebrations, which shows Romanian tyrant Nicolae Ceausescu hobnobbing with the Queen of England in the royal procession.

"Everybody has to start somewhere. Businessmen start on the ground floor and try to work their way up the corporate ladder. Baseball players bide their time in the minor leagues wishing for an opportunity to move up and play in the majors. Musical compositions aren't very different - some songs just don't climb the charts the first time they're recorded. However, with perseverance, the ideal singer, the right chemistry, impeccable timing, vigorous promotion, and a little luck, these songs can become very famous." So writes Bob Leszczak in the opening pages of Who Did It First?: Great Rock and Roll Cover Songs and Their Original Artists. In this third and final volume to the Who Did It First? series, readers explore the hidden history of the most famous, indeed legendary, rock songs and standards. Did you know that the Wild Ones had a "Wild Thing" before the Troggs? Were you aware that it took a second shot for "Double Shot of My Baby's Love" to make the charts? Had you heard that Guy Villari and the Regents dated "Barbara Ann" five years before the Beach Boys? Were you privy to the fact that there was "Hanky Panky" going on with Ellie Greenwich and the Raindrops, as well as the Summits, before Tommy James and the Shondells made the song a number 1 classic? Some of the information contained within these pages will shock, rattle and roll you. You may fancy yourself a music expert, but this third and last in a series of titles devoted to the story of great songs and their revival as great covers is filled with eye openers. In many instances, one's eyes will open even wider as a result of the list of cover artists (with Paul Anka's remake of Nirvana's "Smells like Teen Spirit" leading the pack). Who Did It First? Great Rock and Roll Cover Songs and Their Original Artists is the perfect playlist builder. So whether quizzing friends at a party, answering a radio station contest, or just satisfying an insatiable curiosity to know who really did do it first, this work is a must-have.

"The new Chris Cornell biography is the book his legacy deserves." -Kerrang! "Reiff unearths plenty of unexpected details and novel anecdotes...but the book is perhaps most valuable for the way it rounds out and humanizes this man who managed to keep so many of his cards close to the vest despite decades in the spotlight." -Variety "Total F*cking Godhead brings Chris Cornell, the voice of a generation, alive on the page. Impressively researched and compulsively readable, Godhead pulls no punches in recounting Cornell's remarkable life and prolific career. It's an inspired chronicle of an impassioned soul. Read it!"-Greg Renoff, author of Van Halen Rising With input from those who knew and worked with him-together with his own words-Total F*cking Godhead recounts the rise of Chris Cornell and his immortal band Soundgarden as they emerged from the 1980s post-punk underground to dominate popular culture in the '90s alongside Pearl Jam, Alice In Chains, and Nirvana. "From his days as a struggling Seattle musician at the forefront of the grunge scene to becoming a global icon, Total F*cking Godhead thoroughly chronicles the life story and prolific output of one of the greatest and most influential singers of all time. You will discover the man and his music all over again."-David de Sola, author of Alice in Chains: The Untold Story Seattle resident and rock writer Corbin Reiff also examines Cornell's dynamic solo career as well as his time in Audioslave. He delves into his hard-fought battle with addiction, and the supercharged reunion with the band that made him famous before everything came to a shocking end. "For those of us still trying to sort out the tragedy of Chris Cornell's death comes this loving look back at the man's life and music. I wrote my own book about grunge, and I still learned a lot from this excellent biography." -Mark Yarm, author of Everybody Loves Our Town: An Oral History of Grunge

In the 1950s and '60s those shiny 45-rpm records with the big hole in the middle were the primary delivery system for popular American music especially rock 'n' roll. Cheap to manufacture and available to even fly-by-night record operations the donut disc changed the way popular music was written recorded promoted and marketed and it broke a at least for a time a the iron-fisted dominance of the major record corporations. This book traces the 7-inch single's origins back to the 1880s and explains the personality conflicts that led an eccentric genius to develop the 45 into one of postwar America's most popular consumer products. It explores how the jukebox the autonomous disc jockey and payola and artist rip-offs kept the 45 at the forefront of rock for 20 years. There are also chapters on the most valuable (and legendary) 45s of all time as well as the oddities oddballs and freak hits that make listening to 45s so much fun. With over 80 illustrations a many in full color.

**SHORTLISTED FOR THE MAN BOOKER INTERNATIONAL 2018** WHO IS VERNON SUBUTEX? An urban legend. A fall from grace. The mirror who reflects us all. Vernon Subutex was once the proprietor of Revolver, an infamous music shop in Bastille. His legend spread throughout Paris. But by the 2000s his shop is struggling. With his savings gone, his unemployment benefit cut, and the friend who had been covering his rent suddenly dead, Vernon Subutex finds himself down and out on the Paris streets. He has one final card up his sleeve. Even as he holds out his hand to beg for the first time, a throwaway comment he once made on Facebook is taking the internet by storm. Vernon does not realise this, but the word is out: Vernon Subutex has in his possession the last filmed recordings of Alex Bleach, the famous musician and Vernon's benefactor, who has only just died of a drug overdose. A crowd of people from record producers to online trolls and porn stars are now on Vernon's trail. Translated from the French by Frank Wynne "Thrilling, magnificently audacious" Irish Times "Brimming with sex, violence and deviant behaviour" Sunday Times "Virginie Despentes's Vernon Subutex trilogy is the zeitgeistiest thing I ever read" NELL ZINK

Migrating Music considers the issues around music and cosmopolitanism in new ways. Whilst much of the existing literature on world music' questions the apparently world-disclosing nature of this genre -- but says relatively little about migration and mobility -- diaspora studies have much to say about the latter, yet little about the significance of music. In this context, this book affirms the centrality of music as a mode of translation and cosmopolitan mediation, whilst also pointing out the complexity of the processes at stake within it. Migrating music, it argues, represents perhaps the most salient mode of performance of otherness to mutual others, and as such its significance in socio-cultural change rivals -- and even exceeds -- literature, film, and other language and image-based cultural forms. This book will serve as a valuable reference tool for undergraduate and postgraduate students with research interests in cultural studies, sociology of culture, music, globalization, migration, and human geography.

The biography of the extraordinary career of Dave Grohl, drummer of Nirvana, front man of the Foo Fighters, based on original and exclusive interviews (A rich history--New York Times Book Review) This Is a Call, the first in-depth, definitive biography of Dave Grohl, tells the epic story of a singular career that includes Nirvana, Foo Fighters, Queens of the Stone Age, and Them Crooked Vultures. Based on ten years of original, exclusive interviews with the man himself and conversations with a legion of musical associates like Queens of the Stone Age frontman Josh Homme, DC punk legend Ian MacKaye, and Nevermind producer Butch Vig, this is Grohl's story. He speaks candidly and honestly about Kurt Cobain, the arguments that almost tore Nirvana apart, the feuds that threatened to derail the Foo Fighters's global success, and the dark days that almost caused him to quit music for good.Dave Grohl has emerged as one of the most recognizable and respected musicians in the world. He is the last true hero to emerge from the American underground. This Is a Call vividly recounts this incredible rock 'n' roll journey.

International Who's Who in Popular Music 2011 provides biographical details on some of the most talented and influential artists and individuals from the world of popular music. Now in its thirteenth edition, it includes over 7,000 biographies charting the careers and achievements of pop, rock, folk, jazz, dance, world and country artists throughout the world.
Key Features:

• each entry includes full biographical information: principal career details, recordings and compositions, honours and contact information where available
• spans the full range of the popular music industry, from rock to jazz and dance to country
• provides information on established names as well as up-and-coming artists
• a directory section provides details of music festivals, awards, organizations within the industry, and digital music sources
• for ease of reference, the book includes an index of music group members.

In one accessible volume the International Who's Who in Popular Music 2011 provides the most comprehensive collection of information on the most famous and influential people in the popular music industry.

This book examines the diverse facets of popular music in Malta, paying special attention to ghana (Malta's folk song), the wind band tradition, and modern popular music. Ciantar provides intriguing discussions and examples of how popular music on this small Mediterranean island country interacts with other aspects of the island's life and culture such as language, religion, history, customs, and politics. Through a series of ethnographic vignettes, the book explores the music as it takes place in bars, at festivals, and during village celebrations, and considers how it is talked about in the local press, at group gatherings, and on social media. The ethnography adopted here is that of a native musician and ethnomusicologist and therefore marries the author's memories with ongoing observations and their evaluation.