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Improvising the Score
2023 Jazz Journalists Association (JJA) Jazz Awards for Books of the Year—Honorable Mention Recipient On December 4, 1957, Miles Davis revolutionized film soundtrack production, improvising the score for Louis Malle’s Ascenseur pour l’échafaud. A cinematic harbinger of the French New Wave, Ascenseur challenged mainstream filmmaking conventions, emphasizing experimentation and creative collaboration. It was in this environment during the late 1950s to 1960s, a brief “golden age” for jazz in film, that many independent filmmakers valued improvisational techniques, featuring soundtracks from such seminal figures as John Lewis, Thelonious Monk, and Duke Ellington. But what of jazz in ...
Digital Flows
Hip hop has become a major cultural force in the internet age, with people constantly creating, sharing, and discussing hip hop online, from Drake memes through viral TikTok dances to AI-generated rap. Author Steven Gamble explores this latest chapter in the life of hip hop, combining a range of research methods and existing literature with diverse case studies that will appeal to die-hard fans and digital enthusiasts alike.
How Hip Hop Became Hit Pop
"How did rap become the most popular genre in the United States, and what were the consequences of this subculture becoming part of the mainstream? In How Hip Hop Became Hit Pop, Amy Coddington examines the programming practices at commercial radio stations in the 1980s and early 1990s to uncover how this industry facilitated rap's introduction into the musical mainstream. Playing rap on the radio changed the sound of the genre, as artists negotiated expanding audiences and industry pressure to make songs that fit on the radio. But the effects of rap's mainstreaming were not one-sided. The genre altered the radio industry by bringing brought together large multicultural audiences, challenging the racial identity of the popular music mainstream. But within a few years, the very idea of the mainstream would be called into question, as radio programmers unsure of the genre's popularity wreaked havoc on the multicultural coalitions which rap had fostered"--
Lloyd’s Register of Yachts 1895
The Lloyd’s Register of Yachts was first issued in 1878, and was issued annually until 1980, except during the years 1916-18 and 1940-46. Two supplements containing additions and corrections were also issued annually. The Register contains the names, details and characters of Yachts classed by the Society, together with the particulars of other Yachts which are considered to be of interest, illustrates plates of the Flags of Yacht and Sailing Clubs, together with a List of Club Officers, an illustrated List of the Distinguishing Flags of Yachtsmen, a List of the Names and Addresses of Yacht Owners, and much other information. For more information on the Lloyd’s Register of Yachts, please click here: https://hec.lrfoundation.org.uk/archive-library/lloyds-register-of-yachts-online
Remixing the Hip-Hop Narrative
Although hip hop is now a well-established global music genre and cultural form, its history and current impact have not yet been sufficiently studied. The interdisciplinary contributions to this volume address hip hop's historical and regional struggles for representation of race, gender, generation, place, and language, as well as the tension between authenticity and commercialization. Contributors offer approaches to historicizing hip-hop culture, and present new theoretical perspectives and methodological tools for addressing hip hop's global impact. This volume targets not only scholars and students but also resonates with recent public debates about identity politics and cultural appropriation.
The Bastard Instrument
The Bastard Instrument chronicles the history of the electric bass and the musicians who played it, from the instrument’s invention through its widespread acceptance at the end of the 1960s. Although their contributions have often gone unsung, electric bassists helped shape the sound of a wide range of genres, including jazz, rhythm & blues, rock, country, soul, funk, and more. Their innovations are preserved in performances from artists as diverse as Lionel Hampton, Liberace, Elvis Presley, Patsy Cline, the Supremes, the Beatles, James Brown, Bob Dylan, Aretha Franklin, Jefferson Airplane, and Sly and the Family Stone, all of whom are discussed in this volume. At long last, The Bastard Instrument gives these early electric bassists credit for the significance of their accomplishments and demonstrates how they fundamentally altered the trajectory of popular music.
Audiovisual Alterity
This new book fully expands our understanding of how historically marginalized groups are represented in music videos. Author Michael Austin explores the ways in which Asian and Pacific Islanders, Indigenous communities, the LGBTQIA+ community, drag performers, religious minorities, and the incarcerated are represented. The book also covers several contemporary controversies involving music videos, especially cultural appropriation. Importantly, this book also explores the ways in which marginalized communities use music videos as a way to find their own voice and represent themselves.
Sounding Human
An expansive analysis of the relationship between human and machine in music. From the mid-eighteenth century on, there was a logic at work in musical discourse and practice: human or machine. That discourse defined a boundary of absolute difference between human and machine, with a recurrent practice of parsing “human” musicality from its “merely mechanical” simulations. In Sounding Human, Deirdre Loughridge tests and traverses these boundaries, unmaking the “human or machine” logic and seeking out others, better characterized by conjunctions such as and or with. Sounding Human enters the debate on posthumanism and human-machine relationships in music, exploring how categories o...
Critical Excess
Jay-Z and Kanye West's death dance for capitalism
