This collection of essays, documented by an international and interdisciplinary array of scholars, represents the first academically focused volume exploring the creative idiolect of Frank Zappa. Several of the authors are known for contributing significantly to areas such as popular music, cultural, and translation studies, with expertise and interests ranging from musicology to poetics. The publication presents the reader with an understanding of the ontological depth of Zappa's legacy by relating the artist and his texts to a range of cultural, social, technological and musicological factors, as encapsulated in the book's title - Frank Zappa and the And. Zappa's interface with religion, horror, death, movies, modernism, satire, freaks, technology, resistance, censorship and the avant-garde are brought together analytically for the first time, and approached non chronologically, something that strongly complies with the non linear perspective of time Zappa highlights in both his autobiography and recordings. The book employs a variety of analytical approaches, ranging from literary and performance theory, 'horrality' and musicology, to post modern and textually determined readings, and serves as a unique and invaluable guide to Zappa's legacy and creative force.

This collection of essays, documented by an international and interdisciplinary array of scholars, represents the first academically focused volume exploring the creative idiolect of Frank Zappa. Several of the authors are known for contributing significantly to areas such as popular music, cultural, and translation studies, with expertise and interests ranging from musicology to poetics. The publication presents the reader with an understanding of the ontological depth of Zappa's legacy by relating the artist and his texts to a range of cultural, social, technological and musicological factors, as encapsulated in the book's title - Frank Zappa and the And. Zappa's interface with religion, horror, death, movies, modernism, satire, freaks, technology, resistance, censorship and the avant-garde are brought together analytically for the first time, and approached non chronologically, something that strongly complies with the non linear perspective of time Zappa highlights in both his autobiography and recordings. The book employs a variety of analytical approaches, ranging from literary and performance theory, 'horrality' and musicology, to post modern and textually determined readings, and serves as a unique and invaluable guide to Zappa's legacy and creative force.

The incredible true story of living as a modern-day nomad. Bored, broke and struggling to survive in one of the most expensive cities on earth, Paul Carr realises that it would actually be cheaper to live in a hotel in Manhattan than in his one-bedroom London flat. Inspired by that possibility, he decides to sell most of his possessions, abandon his old life and spend a year living entirely without commitments. Thanks to Paul's highly developed blagging skills, what begins as a one-year experiment soon becomes a permanent lifestyle - a life lived in luxury hotels and mountain-top villas. A life of fast cars, Hollywood actresses and Icelandic rock stars. And, most bizarrely of all, a life that still costs less than surviving on cold pizza in London. Yet, as word of Paul's exploits starts to spread - first online, then through a newspaper column and a book deal - he finds himself forced to up the stakes in order to keep things interesting. With his behaviour spiralling to dangerous levels, he is forced to ask the question: is there such a thing as too much freedom?

The Bloomsbury Handbook of Rock Music Research is the first comprehensive academic survey of the field of rock music as it stands today. More than 50 years into its life and we still ask - what is rock music, why is it studied, and how does it work, both as music and as cultural activity? This volume draws together 37 of the leading academics working on rock to provide answers to these questions and many more. The text is divided into four major sections: practice of rock (analysis, performance, and recording); theories; business of rock; and social and culture issues. Each chapter combines two approaches, providing a summary of current knowledge of the area concerned as well as the consequences of that research and suggesting profitable subsequent directions to take. This text investigates and presents the field at a level of depth worthy of something which has had such a pervasive influence on the lives of millions.

Born in a mainly working-class area of North Tyneside in 1951, Gordon Sumner would become one of the world's best-selling music artists. Known professionally as Sting, he was the lead singer for the band The Police from 1977 to 1984, before launching a hugely successful solo career. The foundations of Sting's creativity and drive for success were established in the region of his birth, with vestiges of his 'Northern Englishness' continuing to emerge in his music long after he left the area. Published to coincide with the 40th anniversary of the formation of The Police, this is the first book to examine the relationship between Sting's working-class background in Newcastle and the creativity and inspiration behind his music. Focusing on the sometimes-blurry borderlines between nostalgia, facts, imagination and memories - as told by Sting, the people who knew (and know) him, and those who have written about him - Carr investigates the often complex resonance between local boy Gordon Sumner and the star the world knows as Sting. This book will be of great interest to the many fans of Sting and The Police, as well as those interested in the history of popular music.

Encountering Ensemble, is a text for students, teachers, researchers and practitioners who wish to develop a deeper understanding of the history, conceptual foundations and practicalities of the world of ensemble theatre. It is the first book to draw together definitions and practitioner examples, making it a cutting edge work on the subject. Encountering Ensemble combines historical and contemporary case studies with a wide range of approaches and perspectives. It is written collaboratively with practitioners and members from the academic community and is divided into three sections: 1. Introduction and an approach to training ensembles 2. Practitioner case studies and analysis of specific practical approaches to training ensembles (or individuals in an ensemble context) 3. Succinct perspectives from practitioners reflecting on a range of questions including: What is an ensemble?; the place of ensemble in the contemporary theatre landscape; and training issues.

Democracy can mean a range of concepts, covering everything from freedoms, rights, elections, governments, processes, philosophies and a panoply of abstract and concrete notions that can be mediated by power, positionality, culture, time and space. Democracy can also be translated into brute force, hegemony, docility, compliance and conformity, as in wars will be decided on the basis of the needs of elites, or major decisions about spending finite resources will be the domain of the few over the masses, or people will be divided along the lines of race, ethnicity, class, religion, etc. because it is advantageous for maintaining exploitative political systems in place to do so. Often, these frameworks are developed and reified based on the notion that elections give the right to societies, or segments of societies, to install regimes, institutions and operating systems that are then supposedly legitimated and rendered infinitely just because formal power resides in the hands of those dominating forces. This book is interested in advancing a critical analysis of the hegemonic paradigm described above, one that seeks higher levels of political literacy and consciousness, and one that makes the connection with education. What does education have to do with democracy? How does education shape, influence, impinge on, impact, negate, facilitate and/or change the context, contours and realities of democracy? How can we teach for and about democracy to alter and transform the essence of what democracy is, and, importantly, what it should be? This book advances the notion of decency in relation to democracy, and is underpinned by an analysis of meaningful, critically-engaged education. Is it enough to be kind, nice, generous and hopeful when we can also see signs of rampant, entrenched and debilitating racism, sexism, poverty, violence, injustice, war and other social inequalities? If democracy is intended to be a legitimating force for good, how does education inform democracy? What types of knowledge, experience, analysis and being are helpful to bring about newer, more meaningful and socially just forms of democracy? Throughout some twenty chapters from a range of international scholars, this book includes three sections: Constructing Meanings for Democracy and Decency; Justice for All as Praxis; and Social Justice in Action for Democracy, Decency, and Diversity: International Perspectives. The underlying thread that is interwoven through the texts is a critical reappraisal of normative, hegemonic interpretations of how power is infused into the educational realm, and, importantly, how democracy can be re-situated and re-formulated so as to more meaningfully engage society and education.

Democracy can mean a range of concepts, covering everything from freedoms, rights, elections, governments, processes, philosophies and a panoply of abstract and concrete notions that can be mediated by power, positionality, culture, time and space. Democracy can also be translated into brute force, hegemony, docility, compliance and conformity, as in wars will be decided on the basis of the needs of elites, or major decisions about spending finite resources will be the domain of the few over the masses, or people will be divided along the lines of race, ethnicity, class, religion, etc. because it is advantageous for maintaining exploitative political systems in place to do so. Often, these frameworks are developed and reified based on the notion that elections give the right to societies, or segments of societies, to install regimes, institutions and operating systems that are then supposedly legitimated and rendered infinitely just because formal power resides in the hands of those dominating forces. This book is interested in advancing a critical analysis of the hegemonic paradigm described above, one that seeks higher levels of political literacy and consciousness, and one that makes the connection with education. What does education have to do with democracy? How does education shape, influence, impinge on, impact, negate, facilitate and/or change the context, contours and realities of democracy? How can we teach for and about democracy to alter and transform the essence of what democracy is, and, importantly, what it should be? This book advances the notion of decency in relation to democracy, and is underpinned by an analysis of meaningful, critically-engaged education. Is it enough to be kind, nice, generous and hopeful when we can also see signs of rampant, entrenched and debilitating racism, sexism, poverty, violence, injustice, war and other social inequalities? If democracy is intended to be a legitimating force for good, how does education inform democracy? What types of knowledge, experience, analysis and being are helpful to bring about newer, more meaningful and socially just forms of democracy? Throughout some twenty chapters from a range of international scholars, this book includes three sections: Constructing Meanings for Democracy and Decency; Justice for All as Praxis; and Social Justice in Action for Democracy, Decency, and Diversity: International Perspectives. The underlying thread that is interwoven through the texts is a critical reappraisal of normative, hegemonic interpretations of how power is infused into the educational realm, and, importantly, how democracy can be re-situated and re-formulated so as to more meaningfully engage society and education.

The Bloomsbury Handbook of Rock Music Research is the first comprehensive academic survey of the field of rock music as it stands today. More than 50 years into its life and we still ask - what is rock music, why is it studied, and how does it work, both as music and as cultural activity? This volume draws together 37 of the leading academics working on rock to provide answers to these questions and many more. The text is divided into four major sections: practice of rock (analysis, performance, and recording); theories; business of rock; and social and culture issues. Each chapter combines two approaches, providing a summary of current knowledge of the area concerned as well as the consequences of that research and suggesting profitable subsequent directions to take. This text investigates and presents the field at a level of depth worthy of something which has had such a pervasive influence on the lives of millions.