"To be a fan is to scream alone together." This is the discovery Hannah Ewens makes in Fangirls: how music fandom is at once a journey of self-definition and a conduit for connection and camaraderie; how it is both complicated and empowering; and how now, more than ever, fandoms composed of girls and young queer people create cultures that shape and change an entire industry.
This book is about what it means to be a fangirl.
Speaking to hundreds of fans from the UK, US, Europe, and Japan, Ewens tells the story of music fandom using its own voices, recounting previously untold or glossed-over scenes from modern pop and rock music history. In doing so, she uncovers the importance of fan devotion: how Ariana Grande represents both tragedy and resilience to her followers, or what it means to meet an artist like Lady Gaga in person. From One Directioners, to members of the Beyhive, to the author's own fandom experiences, this book reclaims the "fangirl" label for its young members, celebrating their purpose, their power, and, most of all, their passion for the music they love.
In this new biography, Beth Abelson Macleod reintroduces a figure long, and unjustly, overlooked by music history. Trained in Vienna, Bloomfield-Zeisler significantly advanced the development of classical music in the United States. Her powerful and sensitive performances, both in recital and with major orchestras, won her followers across the United States and Europe and often provided her American audiences with their first exposure to the pieces she played. The European-style salon in her Chicago home welcomed musicians, scientists, authors, artists, and politicians, while her marriage to attorney Sigmund Zeisler placed her at the center of a historical moment when Sigmund defended the anarchists in the 1886 Haymarket trial.
In its re-creation of a musical and social milieu, Fannie Bloomfield-Zeisler paints a vivid portrait of a dynamic artistic life.
The female voice plays a more central role in Sufi ritual, especially in the singing of devotional poetry, than in almost any other area of Muslim culture. Female singers perform sufiana-kalam, or mystical poetry, at Sufi shrines and in concerts, folk festivals, and domestic life, while male singers assume the female voice when singing the myths of heroines in qawwali and sufiana-kalam. Yet, despite the centrality of the female voice in Sufi practice throughout South Asia and the Middle East, it has received little scholarly attention and is largely unknown in the West.
This book presents the first in-depth study of the female voice in Sufi practice in the subcontinent of Pakistan and India. Shemeem Burney Abbas investigates the rituals at the Sufi shrines and looks at women's participation in them, as well as male performers' use of the female voice. The strengths of the book are her use of interviews with both prominent and grassroots female and male musicians and her transliteration of audio- and videotaped performances. Through them, she draws vital connections between oral culture and the written Sufi poetry that the musicians sing for their audiences. This research clarifies why the female voice is so important in Sufi practice and underscores the many contributions of women to Sufism and its rituals.
Fernando Ortiz (1881–1969) is recognized as one of the most influential Latin American authors of the twentieth century. Although he helped establish the field of Afro-diasporic studies, his writings are still relatively unknown to the English-speaking world. In Fernando Ortiz on Music, accomplished ethnomusicologist Robin Moore has collected and translated an essential selection of Ortiz’s publications. These essays on Afro-Cuban expressive culture, music and dance are now available for the first time in English.
Ortiz’s writings are accompanied by an extended introduction that contextualizes the author’s life, intellectual influences, and collaborators as well as his fieldwork and interviews. Fernando Ortiz on Music also charts the writer’s changing views of black heritage through the years. This comprehensive anthology, which includes examples of his early scholarship as well as publications from the 1940s and ’50s, extends the life and legacy of this important and under-known scholar of Latin American and Caribbean music.
Contributors include: David Garcia, Sarah Lahasky, Cary Peñate, Susan Thomas, and the editor
Improvisation is the creation and development of new, unexpected, and productive cocreative relations among people. It cultivates the capacity to discern elements of possibility, potential, hope, and promise where none are readily apparent. Improvisers work with the tools they have in the arenas that are open to them. Proceeding without a written score or script, they collaborate to envision and enact something new, to enrich their experience in the world by acting on it and changing it. By analyzing the dynamics of particular artistic improvisations, mostly by contemporary American jazz musicians, the authors reveal improvisation as a viable and urgently needed model for social change. In the process, they rethink politics, music, and the connections between them.
The “Hip-hop Nation” has been scouted, staked out, and settled by journalists and scholars alike. Antonio T. Tiongson Jr. steps into this well-mapped territory with questions aimed at interrogating how nation is conceptualized within the context of hip-hop. What happens, Tiongson asks, to notions of authenticity based on hip-hop’s apparent blackness when Filipino youth make hip-hop their own?
Tiongson draws on interviews with Bay Area–based Filipino American DJs to explore the authenticating strategies they rely on to carve out a niche within DJ culture. He shows how Filipino American youth involvement in DJing reconfigures the normal boundaries of Filipinoness predicated on nostalgia and cultural links with an idealized homeland. Filipinos Represent makes the case that while the engagement of Filipino youth with DJ culture speaks to the broadening racial scope of hip-hop—and of what it means to be Filipino—such involvement is also problematic in that it upholds deracialized accounts of hip-hop and renders difference benign.
Looking at the ways in which Filipino DJs legitimize their place in an expressive form historically associated with African Americans, Tiongson examines what these complex forms of identification reveal about the contours and trajectory of contemporary U.S. racial formations and discourses in the post–civil rights era.
Environment, craft, and meaning in the work of Appalachian instrument makers.
How can the craft of musical instrument making help reconnect people to place and reenchant work in Appalachia? How does the sonic search for musical tone change relationships with trees and forests? Following three craftspeople in the mountain forests of Appalachia through their processes of making instruments, Finding the Singing Spruce considers the meanings of work, place, and creative expression in drawing music from wood.
Jasper Waugh-Quasebarth explores the complexities and contradictions of instrument-making labor, which is deeply rooted in mountain forests and expressive traditions but also engaged with global processes of production and consumption. Using historical narratives and sensory ethnography, among other approaches, he finds that the craft of lutherie speaks to the past, present, and future of the region’s work and nature.
From Buddy Holly and the Crickets to the Flatlanders, Terry Allen, and Natalie Maines, Lubbock, Texas, has produced songwriters, musicians, and artists as prolifically as cotton, conservatives, and windstorms. While nobody questions where the conservatives come from in a city that a recent nonpartisan study ranked as America's second most conservative, many people wonder why Lubbock is such fertile ground for creative spirits who want to expand the boundaries of thought in music and art. Is it just that "there's nothing else to do," as some have suggested, or is there something in the character of Lubbock that encourages creativity as much as conservatism?
In this book, Christopher Oglesby interviews twenty-five musicians and artists with ties to Lubbock to discover what it is about this community and West Texas in general that feeds the creative spirit. Their answers are revealing. Some speak of the need to rebel against conventional attitudes that threaten to limit their horizons. Others, such as Joe Ely, praise the freedom of mind they find on the wide open plains. "There is this empty desolation that I could fill if I picked up a pen and wrote, or picked up a guitar and played," he says. Still others express skepticism about how much Lubbock as a place contributes to the success of its musicians. Jimmie Dale Gilmore says, "I think there is a large measure of this Lubbock phenomenon that is just luck, and that is the part that you cannot explain."
As a whole, the interviews create a portrait not only of Lubbock's musicians and artists, but also of the musical community that has sustained them, including venues such as the legendary Cotton Club and the original Stubb's Barbecue. This kaleidoscopic portrait of the West Texas music scene gets to the heart of what it takes to create art in an isolated, often inhospitable environment. As Oglesby says, "Necessity is the mother of creation. Lubbock needed beauty, poetry, humor, and it needed to get up and shake its communal ass a bit or go mad from loneliness and boredom; so Lubbock created the amazing likes of Jimmie Dale Gilmore, Butch Hancock, Terry Allen, and Joe Ely."
Representing a historical cross-section of performance and training in Western music since the seventeenth century, Five Lives in Music brings to light the private and performance lives of five remarkable women musicians and composers. Elegantly guiding readers through the Thirty Years War in central Europe, elite courts in Germany, urban salons in Paris, Nazi control of Germany and Austria, and American musical life today, as well as personal experiences of marriage, motherhood, and widowhood, Cecelia Hopkins Porter provides valuable insights into the culture in which each woman was active.
A combination of button accordion and bajo sexto, conjunto originated in the Texas-Mexico borderlands as a popular dance music and became a powerful form of regional identity. Today, listeners and musicians around the world have embraced the genre and the work of conjunto masters like Flaco Jiménez and Mingo Saldívar.
Erin E. Bauer follows conjunto from its local origins through three processes of globalization--migration via media, hybridization, and appropriation--that boosted the music’s reach. As Bauer shows, conjunto’s encounter with globalizing forces raises fundamental questions. What is conjunto stylistically and socioculturally? Does context change how we categorize it? Do we consider the music to be conjunto based on its musical characteristics or due to its performance by Jiménez and other regional players? How do similar local genres like Tejano and norteño relate to ideas of categorization?
A rare look at a fascinating musical phenomenon, Flaco’s Legacy reveals how conjunto came to encompass new people, places, and styles.
An iconic symbol of Spain, flamenco has become a global phenomenon. Peter Manuel offers English-language readers a rare portrait of the music’s history, styles, and cultural impact. Beginning with flamenco’s Moorish and Roma influences, Manuel follows the music’s evolution through its consolidation in the mid-1800s and on to the vibrant contemporary scene. An investigation of flamenco’s major song-types looks at rhythm and compás, guitar technique, and many other aspects of the music while Manuel’s description and analysis of the repertoire range from soleares and bulerías to tangos. His overview of contemporary flamenco culture provides insight into issues that surround the music, including globalization, gender dynamics, notions of ownership, and the ongoing debates on purity versus innovation and the relative roles played by Gitanos and non-Gitanos.
Multifaceted and entertaining, Flamenco Music is an in-depth study of the indelible art form that inspires enthusiasts and practitioners around the world.
A group of three friends who made music in a house in Lubbock, Texas, recorded an album that wasn’t released and went their separate ways into solo careers. That group became a legend and then—twenty years later—a band. The Flatlanders—Joe Ely, Jimmie Dale Gilmore, and Butch Hancock—are icons in American music, with songs blending country, folk, and rock that have influenced a long list of performers, including Robert Earl Keen, the Cowboy Junkies, Ryan Bingham, Terry Allen, John Hiatt, Hayes Carll, Lucinda Williams, Steve Earle, and Lyle Lovett.
In The Flatlanders: Now It’s Now Again, Austin author and music journalist John T. Davis traces the band’s musical journey from the house on 14th Street in Lubbock to their 2013 sold-out concert at Carnegie Hall. He explores why music was, and is, so important in Lubbock and how earlier West Texas musicians such as Buddy Holly and Roy Orbison, as well as a touring Elvis Presley, inspired the young Ely, Gilmore, and Hancock. Davis vividly recreates the Lubbock countercultural scene that brought the Flatlanders together and recounts their first year (1972–1973) as a band, during which they recorded the songs that, decades later, were released as the albums More a Legend Than a Band and The Odessa Tapes. He follows the three musicians through their solo careers and into their first decade as a (re)united band, in which they cowrote songs for the first time on the albums Now Again and Hills and Valleys and recovered their extraordinary original demo tape, lost for forty years. Many roads later, the Flatlanders are finally both a legend and a band.
Contributors
Steve Albini
Ben Austen
Jake Austen
John Battles
Bosco
Ken Burke
Mike Maltese
King Merinuk
Ken Mottet
Jonathan Poletti
James Porter
"Colonel" Dan Sorenson
Jacqueline Stewart
Written in close collaboration with Mr. Seckler and those who know him, Foggy Mountain Troubadour is the first full-length biography of an American original. Penny Parsons follows a journey from North Carolina schoolhouses to the Grand Ole Opry stage and the Bluegrass Hall of Fame, from boarding houses to radio studios and traveling five to a car on two-lane roads to make the next show. Throughout, she captures the warm humor, hard choices, and vivid details of a brilliant artist's life as he criss-crosses a nation and a century making music.
Three prominent folklorists wrote these essays in the 1970s about Dorrance Weir of upstate New York and his song "Take that Night Train to Selma," Joe Scott of Maine and his song "The Plain Golden Band," and Paul Hall of Newfoundland and "The Bachelor's Song."
“The spirit of balladry is not dead, but slowly dying. The instincts, sentiments, and feelings which it represents are indeed as immortal as romance itself, but their mode of expression, the folksong, is fighting with its back to the wall, with the odds against it in our introspective age.” This statement by Josiah Henry Combs is that of a man who grew up among the members of a singing family in one of the last strongholds of the ballad-making tradition, the Southern Highlands of the United States.
Combs was born in 1886 in Hazard, Kentucky, the heart of the mountain feud area—a significant background for one who was to take a prominent part in the “ballad war” of the 1900s. Combs’s intimate knowledge of folk culture and his grasp of the scholarly literature enabled him to approach the ballad controversy with common sense as well as with some of the heat generated by the dispute.
Although in the early twentieth century there was probably no more controversy about the nature of the folk and folksong than there is today, it was a different kind of controversy. Many theories of the origins of folksong current at that time, such as the alleged relationship of traditional ballads to “primitive poetry,” did not take into account contemporary evidence. Combs said, “Here as elsewhere, I go directly to the folk for much of my information, allowing the songs, language, names, customs . . . of the people to help settle the problem of ancestry. . . . In brief, a conscientious study of the lore of the folk cannot be separated from the folk itself.”
Folk-Songs du Midi des États-Unis, published as a doctoral dissertation at the University of Paris in 1925, was an introduction to the study of the folksong of the Southern Appalachians, together with a selection of folksong texts collected by Combs. Folk-Songs of the Southern United States, the first publication of that work in English, is based on the French text and Combs’s English draft. To this edition is appended an annotated listing of all songs in the Josiah H. Combs Collection in the Western Kentucky Folklore Archive at the University of California, Los Angeles. The appendix also includes the texts of selected songs.
The aim of this edition is to make the contents of the original volume more readily available in English and to provide an index to the Combs Collection that may be drawn upon by students of folksong. The book also offers texts of over fifty songs of British and American origin as sung in the Southern Highlands.
Detailing the fascinating career of Joe Evans, Follow Your Heart chronicles the nearly thirty years that he spent immersed in one of the most exciting times in African American music history. An alto saxophonist who between 1939 and 1965 performed with some of America's greatest musicians, including Louis Armstrong, Cab Calloway, Charlie Parker, Jay McShann, Andy Kirk, Billie Holiday, Bill "Bojangles" Robinson, Lionel Hampton, and Ivory Joe Hunter, Evans warmly recounts his wide range of experience in the music industry. Readers follow Evans from Pensacola, Florida, where he first learned to play, to such exotic destinations as Tel Aviv and Paris, which he visited while on tour with Lionel Hampton. Evans also comments on popular New York City venues used for shaping and producing black music, such as the Apollo Theater, the Savoy, Minton's Playhouse, and the Rhythm Club.
Revealing Evans as a master storyteller, Follow Your Heart describes his stints as a music executive, entrepreneur, and musician. Evans provides rich descriptions of jazz, swing, and rhythm and blues culture by highlighting his experiences promoting tracks to radio deejays under Ray Charles's Tangerine label and later writing, arranging, and producing hits for the Manhattans and the Pretenders. Leading numerous musical ventures that included a publishing company and several labels--Cee Jay Records (with Jack Rags), Revival, and Carnival Records--Evans remained active in the music industry even after he stopped performing regularly. As one of the few who enjoyed success as both performer and entrepreneur, he offers invaluable insight into race relations within the industry, the development of African American music and society from the 1920s to 1970s, and the music scene of the era.
Most pop songs are short-lived. They appear suddenly and, if they catch on, seem to be everywhere at once before disappearing again into obscurity. Yet some songs resonate more deeply—often in ways that reflect broader historical and cultural changes.
In Footsteps in the Dark, George Lipsitz illuminates these secret meanings, offering imaginative interpretations of a wide range of popular music genres from jazz to salsa to rock. Sweeping changes that only remotely register in official narratives, Lipsitz argues, can appear in vivid relief within popular music, especially when these changes occur outside mainstream white culture. Using a wealth of revealing examples, he discusses such topics as the emergence of an African American techno music subculture in Detroit as a contradictory case of digital capitalism and the prominence of banda, merengue, and salsa music in the 1990s as an expression of changing Mexican, Dominican, and Puerto Rican nationalisms. Approaching race and popular music from another direction, he analyzes the Ken Burns PBS series Jazz as a largely uncritical celebration of American nationalism that obscures the civil rights era’s challenge to racial inequality, and he takes on the infamous campaigns to censor hip-hop and the radical black voice in the early 1990s.
Teeming with astute observations and brilliant insights about race and racism, deindustrialization, and urban renewal and their connections to music, Footsteps in the Dark puts forth an alternate history of post–cold war America and shows why in an era given to easy answers and clichéd versions of history, pop songs matter more than ever.
George Lipsitz is professor of black studies and sociology at the University of California, Santa Barbara. Among his many books are Life in the Struggle, Dangerous Crossroads, and American Studies in a Moment of Danger (Minnesota, 2001).
Winner, Wayland D. Hand Prize, American Folklore Society, 2018
Originating in a homicide in St. Louis in 1899, the ballad of “Frankie and Johnny” became one of America’s most familiar songs during the first half of the twentieth century. It crossed lines of race, class, and artistic genres, taking form in such varied expressions as a folk song performed by Huddie Ledbetter (Lead Belly); a ballet choreographed by Ruth Page and Bentley Stone under New Deal sponsorship; a mural in the Missouri State Capitol by Thomas Hart Benton; a play by John Huston; a motion picture, She Done Him Wrong, that made Mae West a national celebrity; and an anti-lynching poem by Sterling Brown.
In this innovative book, Stacy I. Morgan explores why African American folklore—and “Frankie and Johnny” in particular—became prized source material for artists of diverse political and aesthetic sensibilities. He looks at a confluence of factors, including the Harlem Renaissance, the Great Depression, and resurgent nationalism, that led those creators to engage with this ubiquitous song. Morgan’s research uncovers the wide range of work that artists called upon African American folklore to perform in the 1930s, as it alternately reinforced and challenged norms of race, gender, and appropriate subjects for artistic expression. He demonstrates that the folklorists and creative artists of that generation forged a new national culture in which African American folk songs featured centrally not only in folk and popular culture but in the fine arts as well.
The music of Queen and powerhouse lead singer Freddie Mercury are best experienced with the volume turned all the way up. Alfonso Casas’s Freddie Mercury delivers a sonorous homage to the formidable singer and the turning points that produced a game-changing body of music that continues to inspire fans around the globe.
First published in Spain and now available worldwide, this luminous work covers Freddie's three “births”: his birth as Farrokh Bulsara in Zanzibar; his adoption of the last name of Mercury and the launch of Queen with Brian May and Roger Taylor; and the emergence of the lasting legend after Freddie’s death at the age of forty-five. Casas's evocative illustrations highlight the key moments in the singer’s transformation from child prodigy to superstar, bringing to life the bold innovator who broke free of his conventional upbringing. Chronicling events from Freddie’s marriage to Mary Austin and early fame in London’s 1970s glam scene, to the making of multiple megahits (including the six-minute chart-topper “Bohemian Rhapsody”), to his final years in a lasting relationship with Jim Hutton, Freddie Mercury is an exhilarating, poignant portrait of a creative genius who lived life to the hilt.
Is there a moment in history when a work receives its ideal interpretation? Or is negotiation always required to preserve the past and accommodate the present? The freedom of interpretation, Charles Rosen suggests in these sparkling explorations of music and literature, exists in a delicate balance with fidelity to the identity of the original work.
Rosen cautions us to avoid doctrinaire extremes when approaching art of the past. To understand Shakespeare only as an Elizabethan or Jacobean theatergoer would understand him, or to modernize his plays with no sense of what they bring from his age, deforms the work, making it less ambiguous and inherently less interesting. For a work to remain alive, it must change character over time while preserving a valid witness to its earliest state. When twentieth-century scholars transformed Mozart’s bland, idealized nineteenth-century image into that of a modern revolutionary expressionist, they paradoxically restored the reputation he had among his eighteenth-century contemporaries. Mozart became once again a complex innovator, challenging to perform and to understand.
Drawing on a variety of critical methods, Rosen maintains that listening or reading with intensity—for pleasure—is the one activity indispensable for full appreciation. It allows us to experience multiple possibilities in literature and music, and to avoid recognizing only the revolutionary elements of artistic production. By reviving the sense that works of art have intrinsic merits that bring pleasure, we justify their continuing existence.
In the long decade between the mid-1950s and the late ’60s, jazz was changing more than its sound. The age of Max Roach’s Freedom Now Suite, John Coltrane’s A Love Supreme, and Charles Mingus’s The Black Saint and the Sinner Lady was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture. Freedom Is, Freedom Ain’t is the first book to tell the broader story of this period in jazz—and American—history.
The story’s central figures are jazz musicians like Coltrane and Mingus, who rewrote the conventions governing improvisation and composition as they sought to infuse jazz with that gritty exuberance known as “soul.” Scott Saul describes how these and other jazz musicians of the period engaged in a complex cultural balancing act: utopian and skeptical, race-affirming and cosmopolitan, they tried to create an art that would make uplift into something forceful, undeniable in its conviction, and experimental in its search for new possibilities. Freedom Is, Freedom Ain’t considers these musicians and their allies as a cultural front of the Civil Rights movement, a constellation of artists and intellectuals whose ideas of freedom pushed against a Cold War consensus that stressed rational administration and collective security. Capturing the social resonance of the music’s marriage of discipline and play, the book conveys the artistic and historical significance of the jazz culture at the start, and the heart, of the Sixties.
This award-winning book, now available in paperback, is the first solid appraisal of the legendary career of the eminent Hungarian-born conductor Fritz Reiner (1888-1963). Personally enigmatic and often described as difficult to work with, he was nevertheless renowned for the dynamic galvanization of the orchestras he led, a nearly unrivaled technical ability, and high professional standards. Reiner's influence in the United States began in the early 1920s and lasted until his death. Reiner was also deeply committed to serious music in American life, especially through the promotion of new scores. In Fritz Reiner, Maestro and Martinet, Kenneth Morgan paints a very real portrait of a man who was both his own worst enemy and one of the true titans of his profession.
From Jim Crow to Jay-Z traces black male representations to chattel slavery and American minstrelsy as early examples of fetishization and commodification of black male subjectivity. Continuing with diverse discussions including black action films, heavyweight prizefighting, Elvis Presley's performance of blackness, and white rappers such as Vanilla Ice and Eminem, White establishes a sophisticated framework for interpreting and critiquing black masculinity in hip-hop music and culture. Arguing that black music has undeniably shaped American popular culture and that hip-hop tropes have exerted a defining influence on young male aspirations and behavior, White draws a critical link between the body, musical sound, and the construction of identity.
Helen Walker-Hill's unique study provides a carefully researched examination of the history and scope of musical composition by African American women composers from the nineteenth and twentieth centuries. Focusing on the effect of race, gender, and class, From Spirituals to Symphonies notes the important role played by individual personalities and circumstances in shaping this underappreciated category of American art. The study also provides in-depth exploration of the backgrounds, experiences, and musical compositions of eight African American women including Margaret Bonds, Undine Smith Moore, and Julia Perry, who combined the techniques of Western art music with their own cultural traditions and individual gifts. Despite having gained national and international recognition during their lifetimes, the contributions of many of these women are today forgotten.
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