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In Bass Madness, fishing authority Ken Schultz goes behind the scenes of the so-called “Super Bowl of bass fishing” to uncover what turned an unassuming sport into a full-blown sporting spectacle complete with athletes, spectators, TV cameras, and intense drama. This is an entertaining and enlightening guide to the history, legends, and lore of bass fishing’s greatest championship.
Too Much Too Young, the 2 Tone Records Story: Rude Boys, Racism, and the Soundtrack of a Generation by Daniel Rachel Pdf
The definitive and remarkable story of 2 Tone Records, featuring an introduction by Pauline Black —A Times/Sunday Times Book of the Year —An Uncut Book of the Year —Long-Listed for the Penderyn Music Book Prize —A Louder Than War Book of the Year —A Blitzed Magazine Book of the Year In 1979, 2 Tone Records exploded into the consciousness of music lovers in Britain, the US, and beyond, as albums by the Specials, the Selecter, Madness, the English Beat, and the Bodysnatchers burst onto the charts and a youth movement was born. 2 Tone was Black and white: a multiracial force of British and Caribbean musicians singing about social issues, racism, class, and gender struggles. It spoke of injustices in society and fought against rightwing extremism. It was exuberant and eclectic: white youths learning to dance to the infectious rhythm of ska and reggae, crossed with a punk attitude, to create an original hybrid. The idea of 2 Tone was born in Coventry, England, and masterminded by a middle-class art student, Jerry Dammers, who envisioned an English Motown. Dammers signed a slew of successful artists, and a number of successive hits propelled 2 Tone onto Top of the Pops and into the hearts and minds of a generation. However, infighting among the bands and the pressures of running a label caused 2 Tone to bow to the inevitable weight of expectation and recrimination. Over the following years, Dammers built the label back up again, entering a new phase full of fresh signings and a beautiful end-piece finale in the activist hit song “(Free) Nelson Mandela.” Told in three parts, Too Much Too Young is the definitive story of a label that for a brief, bright burning moment shaped British, American, and world culture.
“Pagan life seduces me a little more with each passing day. If it were possible today, I would change my religion and would joyfully embrace poetic paganism,” wrote the Armenian poet Daniel Varuzhan in 1908. During the seven years that remained in his life, he wrote largely in this “pagan” vein. If it was an artistic endeavour, why then should art be defined in reference to religion? And which religion precisely? Was Varuzhan echoing Schelling’s Philosophy of Art? Mourning Philology draws on Varuzhan and his work to present a history of the national imagination, which is also a history of national philology, as a reaction to the two main philological inventions of the nineteenth century: mythological religion and the native. In its first part, the book thus gives an account of the successive stages of orientalist philology. The last episode in this story of national emergence took place in 1914 in Constantinople, when the literary journal Mehyan gathered around Varuzhan the great names to come of Armenian literature in the diaspora
Psychohistoriography lays out a model of group therapy which challenges dominant Eurocentric approaches to psychology and mental health, and includes a step by step process which professionals can use with clients of Caribbean descent to explore issues around race, identity and culture.
What happens to “local” sound when globalization exposes musicians and audiences to cultural influences from around the world? Jeremy Wallach explores this question as it plays out in the eclectic, evolving world of Indonesian music after the fall of the repressive Soeharto regime. Against the backdrop of Indonesia’s chaotic and momentous transition to democracy, Wallach takes us to recording studios, music stores, concert venues, university campuses, video shoots, and urban neighborhoods. Integrating ground-level ethnographic research with insights drawn from contemporary cultural theory, he shows that access to globally circulating music and technologies has neither extinguished nor homogenized local music-making in Indonesia. Instead, it has provided young Indonesians with creative possibilities for exploring their identity in a diverse nation undergoing dramatic changes in an increasingly interconnected world. Ultimately, he finds, the unofficial, multicultural nationalism of Indonesian popular music provides a viable alternative to the religious, ethnic, regional, and class-based extremism that continues to threaten unity and democracy in that country.
Popular Music and the Myths of Madness by Dr Nicola Spelman Pdf
Studies of opera, film, television, and literature have demonstrated how constructions of madness may be referenced in order to stigmatise but also liberate protagonists in ways that reinforce or challenge contemporaneous notions of normality. But to date very little research has been conducted on how madness is represented in popular music. In an effort to redress this imbalance, Nicola Spelman identifies links between the anti-psychiatry movement and representations of madness in popular music of the 1960s and 1970s, analysing the various ways in which ideas critical of institutional psychiatry are embodied both verbally and musically in specific songs by David Bowie, Lou Reed, Pink Floyd, Alice Cooper, The Beatles, and Elton John. She concentrates on meanings that may be made at the point of reception as a consequence of ideas about madness that were circulating at the time. These ideas are then linked to contemporary conventions of musical expression in order to illustrate certain interpretative possibilities. Supporting evidence comes from popular musicological analysis - incorporating discourse analysis and social semiotics - and investigation of socio-historical context. The uniqueness of the period in question is demonstrated by means of a more generalised overview of songs drawn from a variety of styles and eras that engage with the topic of madness in diverse and often conflicting ways. The conclusions drawn reveal the extent to which anti-psychiatric ideas filtered through into popular culture, offering insights into popular music's ability to question general suppositions about madness alongside its potential to bring issues of men's madness into the public arena as an often neglected topic for discussion.
In post-war London two girls are relieved to find husbands. One lands the 1950s dream of wealth and security. The other, Elaine, endures 14 years married to a man with Obsessive Compulsive Disorder. At first Elaine finds Gerald's activities curious but manageable. But he grows increasingly withdrawn, his mania grows and his actions obscure, and he even becomes violent. The birth of their daughter heralds a complete breakdown and 5 years of silence, fear, and despair. With startling honesty and great eloquence, Bass describes their poverty, her loneliness, fears for her child, finding comfort in an affair with the village doctor, and how the marriage finally ended.
Cult Musicians handpicks 50 notable figures from the modern world of music and explores the creative genius that earned them the cult label, while celebrating the works that made their names. What makes a cult musician? Whether pioneering in their craft, fiercely and undeniably unique or critically divisive, cult musicians come in all shapes and guises. Some gain instant fame, others instant notoriety, and more still remain anonymous until a chance change in fashion sees their work propelled into the limelight. In Cult Musicians Robert Dimery introduces 50 musicians deserving of a cult status. The book will cover a plethora of genres and boundary-breakers, from afrobeat and art pop to glam rock and proto punk – Bjork and PJ Harvey to Aphex Twin and Wiley. Discover little knowns with small, devout followings and superstars gracing the covers of magazines: each musician is special in their individuality and their ability to inspire, antagonise and delight. Following Cult Artists, Cult Filmmakers and Cult Writers, Cult Musicians is an essential addition to any music lover's library, as well as an entertaining introduction to our weird and wonderful world of music. The Musicians: Alex Chilton, Alice Coltrane, Aphex Twin, Arthur Lee, Arthur Russell, Betty Davis, Bjork, Bobbie Gentry, Brian Eno, Brigitte Fontaine, Captain Beefheart, Delia Derbyshire, Edith Piaf, Fela Kuti, Frank Zappa, Gil Scott-Heron, Iggy Pop, J Dilla, John Cage, Karlheinz Stockhausen, Kat Bjelland, Kool Keith, Laurie Anderson, Lee 'Scratch' Perry, Lili Boulanger, Lydia Lunch, Manu Chao, Marianne Faithfull, Mark E. Smith, Mark Hollis, Moondog, Nick Cave, Nick Drake, Nico, Patti Smith, Peaches, PJ Harvey, Robert Wyatt, Roky Erickson, Ryuichi Sakamoto, Sandy Denny, Scott Walker, Serge Gainsbourg, Sixto Rodriguez, Sun Ra, Syd Barrett, The Slits, Tom Waits, Wiley, Yoko Ono.
What is posthumanism and why does it matter? This reader offers an introduction to the ways in which humanism's belief in the natural supremacy of the Family of Man has been called into question at different moments and from different theoretical positions. What is the relationship between posthumanism and technology? Can posthumanism have a politics - post-colonial or feminist? Are postmodernism and poststructuralism posthumanist? What happens when critical theory meets Hollywood cinema? What links posthumanism to science fiction? Posthumanism addresses these and other questions in an attempt to come to terms with one of the most pressing issues facing contemporary society.
The New Rolling Stone Encyclopedia of Rock & Roll by Patricia Romanowski Bashe,Patricia Romanowski,Holly George-Warren,Jon Pareles Pdf
Selected by the Rock and Roll Hall of Fame as its official source of information, this authoritative volume, first published in 1983, once again tops the charts with its full coverage of every aspect of the rock scene. Accompanying the more than 2,200 performer profiles are essays that reveal the artists' musical influences, first breaks, hits and misses, and more.
Gormy Ruckles is a monster in training. He has one quite good fang, but his roar needs some work. Can Gormy become the scariest monster of all? [back cover].
