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A well-known noise musician disappears, leaving behind only questions, only to return, twelve years later, with no real answers. Where did he go for over a decade? Perhaps he met a victim of the Slit-Mouth Woman and they took a night train to nowhere. Perhaps they stumbled on an industrial wasteland of a city filled with strange doctors, mysterious foreigners, psychotic policemen, and unfriendly residents. Perhaps they became caught between violent struggles they barely understood in their journey to go back home. One can only speculate. Malarkey Books is proud to present Music Is Over!, a surreal picaresque horror novel by Ben Arzate. It's very weird, it's totally bizarre, it's kind of violent, and it's weirdly touching. It's all of these things but more than anything it's just a cool book. Cover design by Mark Wilson. Typesetting by Michael Kazepis. Ebook available at malarkeybooks.com.
Given the explosion in recent years of scholarship exploring the ways in which disability is manifested and performed in numerous cultural spaces, it’s surprising that until now there has never been a single monograph study covering the important intersection of popular music and disability. George McKay’s Shakin’ All Over is a cross-disciplinary examination of the ways in which popular music performers have addressed disability: in their songs, in their live performances, and in various media presentations. By looking closely into the work of artists such as Johnny Rotten, Neil Young, Johnnie Ray, Ian Dury, Teddy Pendergrass, Curtis Mayfield, and Joni Mitchell, McKay investigates such questions as how popular music works to obscure and accommodate the presence of people with disabilities in its cultural practice. He also examines how popular musicians have articulated the experiences of disability (or sought to pass), or have used their cultural arena for disability advocacy purposes.
Perfect Cousin Herbert always gets all the attention until Uncle Louie starts teaching Bernie how to play the trumpet
A whimsical color concept board book that shares a some fun pop music history while teaching children all the colors of the rainbow. Preschoolers learning to identify colors will love this whimsical book, while music-savvy parents will love the artistic representation of some of their favorite song titles, including Little RED Corvette, BLUE Suede Shoes, and PINK Moon, just to name a few.
This collection brings new voices and new perspectives to the study of popular—and particularly rock—music. Focusing on a variety of artists and music forms, Rock Over the Edge asks what happens to rock criticism when rock is no longer a coherent concept. To work toward an answer, contributors investigate previously neglected genres and styles, such as “lo fi,” alternative country, and “rock en español,” while offering a fresh look at such familiar figures as Elvis Presley, the Beatles, and Kurt Cobain. Bridging the disciplines of musicology and cultural studies, the collection has two primary goals: to seek out a language for talking about music culture and to look at the relationship of music to culture in general. The editors’ introduction provides a backward glance at recent rock criticism and also looks to the future of the rapidly expanding discipline of popular music studies. Taking seriously the implications of critical theory for the study of non-literary aesthetic endeavors, the volume also addresses such issues as the affective power of popular music and the psychic construction of fandom. Rock Over the Edge will appeal to scholars and students in popular music studies and American Studies as well as general readers interested in popular music. Contributors. Ian Balfour, Roger Beebe, Michael Coyle, Robert Fink, Denise Fulbrook, Tony Grajeda, Lawrence Grossberg, Trent Hill, Josh Kun, Jason Middleton, Lisa Ann Parks, Ben Saunders, John J. Sheinbaum, Gayle Wald, Warren Zanes
During the Great War, composers and performers created music that expressed common sentiments like patriotism, grief, and anxiety. Yet music also revealed the complexities of the partnership between France, Great Britain, Canada, and the United States. At times, music reaffirmed a commitment to the shared wartime mission. At other times, it reflected conflicting views about the war from one nation to another or within a single nation. Over Here, Over There examines how composition, performance, publication, recording, censorship, and policy shaped the Atlantic allies' musical response to the war. The first section of the collection offers studies of individuals. The second concentrates on communities, whether local, transnational, or on the spectrum in-between. Essay topics range from the sinking of the Lusitania through transformations of the entertainment industry to the influenza pandemic. Contributors: Christina Bashford, William Brooks, Deniz Ertan, Barbara L. Kelly, Kendra Preston Leonard, Gayle Magee, Jeffrey Magee, Michelle Meinhart, Brian C. Thompson, and Patrick Warfield
From country and blues to rap and punk, Texas music is all over the map, figuratively and literally. Texas musicians have pioneered new musical genres, instruments, and playing styles, proving themselves to be daring innovators who often call the tune for musicians around the country and even abroad. To introduce some of these trailblazing Texas musicians to a wider audience and pay tribute to their accomplishments, Michael Corcoran profiles thirty-two of them in All Over the Map: True Heroes of Texas Music. Corcoran covers musicians who work in a wide range of musical genres, including blues, gospel, country, rap, indie rock, pop, Cajun, Tejano, conjunto, funk, honky-tonk, rockabilly, rhythm and blues, and Western swing. His focus is on underappreciated artists, pioneers who haven't fully received their due. He also includes well-known musicians who've been underrated, such as Stevie Ray Vaughan and Selena, and invites us to take a closer look at the unique talents of these artists. Corcoran's profiles come from articles he wrote for the Dallas Morning News, Austin American-Statesman, Houston Press, and other publications, which have been expanded and updated for this volume. His musical detective work even uncovers a case of mistaken identity (Washington Phillips) and corrects much misinformation on Blind Willie Johnson and Arizona Dranes. Corcoran closes the book with lively pieces on the Austin music scene and its most famous, if no longer extant, clubs, as well as his personal lists of the forty greatest Texas songs of all time and the twenty-five essential CDs for Texas music fans.
On Repeat offers an in-depth inquiry into music's repetitive nature. Drawing on a diverse array of fields, it sheds light on a range of issues from repetition's use as a compositional tool to its role in characterizing our behavior as listeners, and considers related implications for repetition in language, learning, and communication.
A baffling murder on a remote country lane puts Alan Banks and his team to the test in the detective’s most intense and gripping case yet – from an author hailed by Louise Penny as “a writer at the top of his game.” With Detective Inspector Annie Cabbot investigating the young woman’s death, newly promoted Detective Superintendent Banks finds himself taking on the coldest of cases: a fifty-year-old assault allegedly perpetrated by beloved celebrity Danny Caxton. Now Caxton stands accused at the center of a media storm, and it’s Banks’ job to discover the shocking truth. As more women step forward with accounts of Caxton’s manipulation, Banks must piece together decades-old evidence – as the investigation leads him down the darkest of paths… Suspenseful, powerful, and surprising, When the Music’s Over is the finest novel to date from one of the foremost suspense writers at work today.