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Many of the architects of rock and roll in the 1950s, including Elvis Presley, Jerry Lee Lewis, and Little Richard, were Southerners who were rooted in the distinctive regional traditions of country, blues, and R&B. As the impact of the British Invasion and the psychedelic era faded at the end of the following decade, such performers as Bob Dylan and the Band returned to the simplicity of American roots music, paving the way for Southern groups to reclaim their region's rock-and-roll heritage. Embracing both Southern musical traditions and a long-haired countercultural aesthetic, such artists as the Allman Brothers Band and Lynyrd Skynyrd forged a new musical community that Charlie Daniels c...
Imagine finding out that everyone on Earth has a hidden ability within - hidden so very deep that most people never harness their power or even realize it's there. Now, imagine other worlds, other life forms - both good andevil- overlapping in a wrinkle of time, allowing these unfamiliar characters to communicate with us, or even cross over into our reality. What if what they have to say is the only saving grace between life as we know it and the end of the world? EvilThingiestakes readers on an adventurous journey as they explore how everyday people pull their inner strengths together to save Earth from annihilation. This fantasy tale is filled with humor, mystery, drama and even love."
Includes bibliographical references and indexes.
Covering—the musical practice of one artist recording or performing another composer's song—has always been an attribute of popular music. In 2009, the internet database Second Hand Songs estimated that there are 40,000 songs with at least one cover version. Some of the more common variations of this "appropriationist" method of musical quotation include traditional forms such as patriotic anthems, religious hymns such as Amazing Grace, Muzak's instrumental interpretations, Christmas classics, and children's songs. Novelty and comedy collections from parodists such as Weird Al Yankovic also align in the cover category, as does the "larcenous art" of sampling, and technological variations...
Interrupted Life is a gripping collection of writings by and about imprisoned women in the United States, a country that jails a larger percentage of its population than any other nation in the world. This eye-opening work brings together scores of voices from both inside and outside the prison system including incarcerated and previously incarcerated women, their advocates and allies, abolitionists, academics, and other analysts. In vivid, often highly personal essays, poems, stories, reports, and manifestos, they offer an unprecedented view of the realities of women's experiences as they try to sustain relations with children and family on the outside, struggle for healthcare, fight to define and achieve basic rights, deal with irrational sentencing systems, remake life after prison; and more. Together, these powerful writings are an intense and visceral examination of life behind bars for women, and, taken together, they underscore the failures of imagination and policy that have too often underwritten our current prison system.
When Southern rock acts like the Allman Brothers and Lynyrd Skynrd stormed American concert stages, detractors immediately came to the fore declaring the genre to be little more than a marketing gimmick. But those on stage themselves would have called its appearance not only inevitable but also a way of life. In the end, the musicians who played Southern rock reflected a robust and broad variety of influences, drawing deeply from the wellsprings of blues, rock, country, and even jazz. Listeners gravitated to the sounds of the New South, a place that had captured pop culture’s imagination amid the turbulence following President Nixon’s successful Southern strategy and silent majorities. S...
The first book to look at rock rebellion through the lens of gender, The Sex Revolts captures the paradox at rock's dark heart--the music is often most thrilling when it is most misogynistic and macho. And, looking at music made by female artists, the authors ask: must it always be this way?