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NATIONAL BESTSELLER A 2023 ROLLING STONE RECOMMENDED BOOK Shortlisted for the 2017 Legislative Assembly of Ontario Speaker's Book Award Nominated for the 2018 Heritage Toronto Award - Historical Writing: Book “The preeminent account of the late singer's life.” —Rolling Stone The definitive, full-access story of the life and songs of Canada's legendary troubadour Gordon Lightfoot’s name is synonymous with timeless songs about trains and shipwrecks, rivers and highways, lovers and loneliness. His music defined the folk-pop sound of the 1960s and ‘70s, topped charts and sold millions. He is unquestionably Canada’s greatest songwriter, and an international star who has performed on the world’s biggest stages. While Lightfoot’s songs are well known, the man behind them is elusive. He’s never allowed his life to be chronicled in a book—until now. Biographer Nick Jennings has had unprecedented access to the notoriously reticent musician. Lightfoot takes us deep inside the artist’s world, from his idyllic childhood in Orillia, the wild sixties, and his canoe trips into Canada’s North to his heady times atop the music world. Jennings explores the toll that success took on his personal life—including his troubled relationships, his battle with alcohol and his near-death experiences—and the extraordinary drive and tenacity that pulled him through it all. Rich in voices from fellow musicians, close friends, Lightfoot’s family and the singer’s own reminiscences, the biography tells the stories behind some of his best-known love songs, including “Beautiful” and “Song for a Winter’s Night,” as well as the infidelity and divorce that resulted in classics like “Sundown” and “If You Could Read My Mind.” Kris Kristofferson has called Lightfoot’s songs “some of the most beautiful and lasting music of our time.” Lightfoot is an unforgettable portrait of a treasured singer-songwriter, an artist whose work has been covered by everyone from Joni Mitchell, Barbra Streisand and Nico to Bob Dylan, Elvis Presley and Gord Downie. Revealing and insightful, Lightfoot is both an inspiring story of redemption and an exhilarating read.
With Freeman Kwazdo Donkor and Abraham Adzenyah. Based on four Ghanaian rhythmic groups (Sikyi, Adowa, Gahu and Akom), this book and CD will provide drumset players with a "new" vocabulary based on some of the oldest and most influential rhythms in the world. A groundbreaking presentation!
This is the first book-length study of dub poetry, the musical talkover that has been an important part of the reggae scene in Canada, Britain and of course the Caribbean since the 1970's. Christian Habekost 's qualifications for writing such a book are beyond dispute. He is a German poet who has been involved with the dub movement since it began and knows most of its leading figures. As Ranting Chako, he is featured on the LP Dread Poets Society. The bibliography indicates that he has interviewed many of the 43 poet-performers mentioned, often on several occasions. Verbal Riddim, based on his doctoral dissertation at the University of Mannheim, is a successful blend of the performer and the researcher.
The global icon is an omnipresent but poorly understood element of mass culture. This book asks why audiences around the world have embraced particular iconic figures, how perceptions of these figures have changed, and what this tells us about transnational relations since the Cold War era. Prestholdt addresses these questions by examining one type of icon: the anti-establishment figure. As symbols that represent sentiments, ideals, or something else recognizable to a wide audience, icons of dissent have been integrated into diverse political and consumer cultures, and global audiences have reinterpreted them over time. To illustrate these points the book examines four of the most evocative and controversial figures of the past fifty years: Che Guevara, Bob Marley, Tupac Shakur, and Osama bin Laden. Each has embodied a convergence of dissent, cultural politics, and consumerism, yet popular perceptions of each reveal the dissonance between shared, global references and locally contingent interpretations. By examining four very different figures, Icons of Dissent offers new insights into global symbolic idioms, the mutability of common references, and the commodification of political sentiment in the contemporary world.
"The definitive edition, revised and expanded with new material ..."--Cover.
Music and Identity in Ireland and Beyond represents the first interdisciplinary volume of chapters on an intricate cultural field that can be experienced and interpreted in manifold ways, whether in Ireland (The Republic of Ireland and/or Northern Ireland), among its diaspora(s), or further afield. While each contributor addresses particular themes viewed from discrete perspectives, collectively the book contemplates whether ’music in Ireland’ can be regarded as one interrelated plane of cultural and/or national identity, given the various conceptions and contexts of both Ireland (geographical, political, diasporic, mythical) and Music (including a proliferation of practices and genres) that give rise to multiple sites of identification. Arranged in the relatively distinct yet interweaving parts of ’Historical Perspectives’, ’Recent and Contemporary Production’ and ’Cultural Explorations’, its various chapters act to juxtapose the socio-historical distinctions between the major style categories most typically associated with music in Ireland - traditional, classical and popular - and to explore a range of dialectical relationships between these musical styles in matters pertaining to national and cultural identity. The book includes a number of chapters that examine various movements (and ’moments’) of traditional music revival from the late eighteenth century to the present day, as well as chapters that tease out various issues of national identity pertaining to individual composers/performers (art music, popular music) and their audiences. Many chapters in the volume consider mediating influences (infrastructural, technological, political) and/or social categories (class, gender, religion, ethnicity, race, age) in the interpretation of music production and consumption. Performers and composers discussed include U2, Raymond Deane, Afro-Celt Sound System, E.J. Moeran, Séamus Ennis, Kevin O’Connell, Stiff Little Fingers, Frederick May, Arnold
Music and Identity in Ireland and Beyond represents the first interdisciplinary volume of chapters on an intricate cultural field that can be experienced and interpreted in manifold ways, whether in Ireland (The Republic of Ireland and/or Northern Ireland), among its diaspora(s), or further afield. While each contributor addresses particular themes viewed from discrete perspectives, collectively the book contemplates whether ‘music in Ireland’ can be regarded as one interrelated plane of cultural and/or national identity, given the various conceptions and contexts of both Ireland (geographical, political, diasporic, mythical) and Music (including a proliferation of practices and genres) that give rise to multiple sites of identification. Arranged in the relatively distinct yet interweaving parts of ‘Historical Perspectives’, ‘Recent and Contemporary Production’ and ‘Cultural Explorations’, its various chapters act to juxtapose the socio-historical distinctions between the major style categories most typically associated with music in Ireland - traditional, classical and popular - and to explore a range of dialectical relationships between these musical styles in matters pertaining to national and cultural identity. The book includes a number of chapters that examine various movements (and ‘moments’) of traditional music revival from the late eighteenth century to the present day, as well as chapters that tease out various issues of national identity pertaining to individual composers/performers (art music, popular music) and their audiences. Many chapters in the volume consider mediating influences (infrastructural, technological, political) and/or social categories (class, gender, religion, ethnicity, race, age) in the interpretation of music production and consumption. Performers and composers discussed include U2, Raymond Deane, Afro-Celt Sound System, E.J. Moeran, Séamus Ennis, Kevin O’Connell, Stiff Little Fingers, Frederick May, Arnold Bax and Morrissey.
The second edition of The Bloomsbury Handbook of Religion and Popular Music provides an updated, state-of-the-art analysis of the most important themes and concepts in the field, combining research in religious studies, theology, critical musicology, cultural analysis, and sociology. It comprises 30 updated essays and six new chapters covering the following areas: · Popular Music, Religion, and Performance · Musicological Perspectives · Popular Music and Religious Syncretism · Atheism and Popular Music · Industrial Music and Noise · K-pop The Handbook continues to provide a guide to methodology, key genres and popular music subcultures, as well as an extensive updated bibliography. It remains the essential tool for anyone with an interest in popular culture generally and religion and popular music in particular.
The perfect supplement to traditional guidebooks, PartyEuropes 429 pages are packed with over 600 reviews of fun and social, day and night activities in the 14 hottest European destinations. The unique manner in which it is written enables young travelers to customize reviews to match their own definition of fun in order to maximize every moment of their time abroad.