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TheInternational Who's Who in Popular Music 2002offers comprehensive biographical information covering the leading names on all aspects of popular music. It brings together the prominent names in pop music as well as the many emerging personalities in the industry, providing full biographical details on pop, rock, folk, jazz, dance, world and country artists. Over 5,000 biographical entries include major career details, concerts, recordings and compositions, honors and contact addresses. Wherever possible, information is obtained directly from the entrants to ensure accuracy and reliability. Appendices include details of record companies, management companies, agents and promoters. The reference also details publishers, festivals and events and other organizations involved with music.
First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
This comprehensive two-volume set brings together all aspects of the blues from performers and musical styles to record labels and cultural issues, including regional evolution and history. Organized in an accessible A-to-Z format, the Encyclopedia of the Blues is an essential reference resource for information on this unique American music genre. For a full list of entries, contributors, and more, visit the Encyclopedia of the Blues website.
The Bloomsbury Encyclopedia of Popular Music Volume 1 provides an overview of media, industry, and technology and its relationship to popular music. In 500 entries by 130 contributors from around the world, the volume explores the topic in two parts: Part I: Social and Cultural Dimensions, covers the social phenomena of relevance to the practice of popular music and Part II: The Industry, covers all aspects of the popular music industry, such as copyright, instrumental manufacture, management and marketing, record corporations, studios, companies, and labels. Entries include bibliographies, discographies and filmographies, and an extensive index is provided.
Black vaudevillians and entertainers joked that T.O.B.A. stood for “tough on black artists.” But the Theater Owner’s Booking Association (T.O.B.A.) played a foundational role in the African American entertainment industry and provided a training ground for icons like Cab Calloway, Bessie Smith, Ethel Waters, Sammy Davis Jr., the Nicholas Brothers, Count Basie, and Butterbeans and Susie. Michelle R. Scott’s institutional history details T.O.B.A.’s origins and practices while telling the little-known stories of the managers, producers, performers, and audience members involved in the circuit. Looking at the organization over its eleven-year existence (1920–1931), Scott places T.O.B.A. against the backdrop of what entrepreneurship and business development meant in black America at the time. Scott also highlights how intellectuals debated the social, economic, and political significance of black entertainment from the early 1900s through T.O.B.A.’s decline during the Great Depression. Clear-eyed and comprehensive, T.O.B.A. Time is a fascinating account of black entertainment and black business during a formative era.
The demand for recognition, responsibility, and reparations is regularly invoked in the wake of colonialism, genocide, and mass violence: there can be no victims without recognition, no perpetrators without responsibility, and no justice without reparations. Or so it seems from law’s limited repertoire for assembling the archive after ‘the disaster’. Archival and memorial practices are central to contexts where transitional justice, addressing historical wrongs, or reparations are at stake. The archive serves as a repository or ‘storehouse’ of what needs to be gathered and recognised so that it can be left behind in order to inaugurate the future. The archive manifests law’s authority and its troubled conscience. It is an indispensable part of the liberal legal response to biopolitical violence. This collection challenges established approaches to transitional justice by opening up new dialogues about the problem of assembling law’s archive. The volume presents research drawn from multiple jurisdictions that address the following questions. What resists being archived? What spaces and practices of memory - conscious and unconscious - undo legal and sovereign alibis and confessions? And what narrative forms expose the limits of responsibility, recognition, and reparations? By treating the law as an ‘archive’, this book traces the failure of universalised categories such as 'perpetrator', 'victim', 'responsibility', and 'innocence,' posited by the liberal legal state. It thereby uncovers law’s counter-archive as a challenge to established forms of representing and responding to violence.
Soca music, an offspring of older Trinidadian calypso, emerged in the late 1970s and is now recognized as one of the English-speaking Caribbean’s most distinctive styles of popular vocal music. Frankie McIntosh and the Art of the Soca Arranger tells a story of Caribbean music in the diaspora through the eyes and ears of a pioneering soca arranger. A fascinating collaboration between Frankie McIntosh and music scholar Ray Allen, this cowritten memoir places the music arranger at the center of several overlapping narratives of immigration and musical diaspora. The book begins with McIntosh’s personal voyage from Saint Vincent to Brooklyn and his efforts to hammer out a career in music while raising a family in his newly adopted home. His immigrant tale is intertwined with his musical journey, from popular Caribbean dance bands through formal studies in Western classical music and jazz to his work as a gigging jazz pianist and calypso/soca arranger. Along the way he embraced the varied musics of New York’s African American and West Indian communities, working with such iconic calypsonians as the Mighty Sparrow, Lord Kitchener, Calypso Rose, and Alston “Becket” Cyrus. His story provides a unique lens for viewing Brooklyn Carnival music and brings into focus the borough’s rise to prominence as the transnational hub of the soca music industry in the 1980s. An alternative to traditional scholarship that tends to focus on calypso and soca singers, this work explores the instrumental dimensions of the art form through the life and music of one of the most celebrated soca arrangers and keyboardists of all time.