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When Genres Collide is a provocative history that rethinks the relationship between jazz and rock through the lens of the two oldest surviving and most influential American popular music periodicals: Down Beat and Rolling Stone. Writing in 1955, Duke Ellington argued that the new music called rock 'n' roll “is the most raucous form of jazz, beyond a doubt.” So why did jazz and rock subsequently become treated as separate genres? The rift between jazz and rock (and jazz and rock scholarship) is based on a set of received assumptions about their fundamental differences, but there are other ways popular music history could have been written. By offering a fresh examination of key historical moments when the trajectories and meanings of jazz and rock intersected, overlapped, or collided, it reveals how music critics constructed an ideological divide between jazz and rock that would be replicated in American musical discourse for decades to follow.
When Genres Collide is a provocative history that rethinks the relationship between jazz and rock through the lens of the two oldest surviving and most influential American popular music periodicals: Down Beat and Rolling Stone. Writing in 1955, Duke Ellington argued that the new music called rock 'n' roll “is the most raucous form of jazz, beyond a doubt.” So why did jazz and rock subsequently become treated as separate genres? The rift between jazz and rock (and jazz and rock scholarship) is based on a set of received assumptions about their fundamental differences, but there are other ways popular music history could have been written. By offering a fresh examination of key historical moments when the trajectories and meanings of jazz and rock intersected, overlapped, or collided, it reveals how music critics constructed an ideological divide between jazz and rock that would be replicated in American musical discourse for decades to follow.
Her mind tried to fight a bloody battle against what her body already knew. She wanted him, and she wanted him bad. On the heels of college graduation and the unexpected death of her mother, Emily Cooper moves to New York City to join her boyfriend for a fresh start. Dillon Parker has been sweet, thoughtful, and generous through Emily’s loss, and she can’t imagine her life without him—even as her inner voice tells her to go slow. Then she meets Gavin Blake. A rich and notorious playboy, Gavin is dangerously sexy and charming as hell. Their first encounter is brief, but it’s enough to inflame Emily’s senses. When their paths cross again through an unexpected mutual acquaintance, she tries to deny the connection she feels, but Mr. Tall, Dark, and Handsome won’t let go so easily. As she discovers Gavin’s pain-filled past and Dillon’s true nature begins to surface, Emily knows she must take action or risk destroying everyone—including herself. But how can she choose when she can’t trust her own heart?
Scientists are building rocket ships for a chosen few to escape planets hurtling toward each other on a direct collision course, leaks out touching off a savage struggle for survival.
Craving attention and wanting to fit in, fifteen-year-old Hazard James strikes up a friendship with bad apple Jesse Wesley, who introduces him to house parties, hangovers, and eventually a "friends with benefits" routine.
When Two Worlds Collide Caesar Rondina “When Two Worlds Collide” is a modern day love story about Jill and Tony. Tony was from New Jersey, and Jill was from California. The story is set in a Midwestern college town. It took Tony some time to approach Jill. They finally met under the strangest of circumstances in their junior year. From that moment on, their love would have to transcend time, distance, and space. They would have to overcome the obstacles of culture and upbringing. In this love story, you will follow Tony and Jill as they mature as people and face these obstacles together. Could their love survive? Many of the experiences in this book you may have had yourself. Jill and Tony will captivate your mind as they steal your heart. You will develop a special attachment to their story. Love is more than just saying I love you. As Jill and Tony take this journey, look back and ask yourself. Could I have survived this? They live in a world that is shattered and torn as they fight with every breath to keep their love alive. Will they transcend time, distance, and space. Find out when you read, “When Two Worlds Collide”
A race against time, war, and the very fabric of the universe itself, perfect for fans of Sliding Doors and 11/22/63. Sixteen-year-old Winnie Schulde has always seen splits--the moment when two possible outcomes diverge, one in her universe and one in another. Multiverse theory, Winnie knows, is all too real, though she has never been anything but an observer of its implications--a secret she keeps hidden from just about everyone, as she knows the uses to which it might be put in the midst of a raging WWII. But her physicist father, wrapped up in his research and made cruel by his grief after the loss of Winnie's mother, believes that if he pushes her hard enough, she can choose one split over another and maybe, just maybe, change their future and their past. Winnie is certain that her father's theories are just that, so she plays along in an effort to placate him. Until one day, when her father's experiment goes wrong and Scott, the kind and handsome lab assistant Winnie loves from afar, is seriously injured. Without meaning to, Winnie chooses the split where Scott is unharmed. And in doing so, finds herself pulled into another universe, an alternate reality. One that already has a Winnie. In this darkly thrilling novel that blends science and war with love and loss, some actions just can't be undone. Praise for When You and I Collide: "A serious tale of attempting reinvention at the cost of rending reality." --Kirkus Reviews
Singing a Hindu Nation is a study of ranullnullriya kirtan, a western Indian performance medium that combines song, Hindu philosophical discourse, and nationalist storytelling. Beginning during the anti-colonial movement of the late nineteenth-century, performers of ranullnullriya kirtan led masses of Marathi-speaking people in temples and streets, and they have continued to preach and sing nationalism as devotion in the post-colonial era, and into the twenty-first century. In this book, author Anna Schultz demonstrates how, through this particular form of musical performance, the political becomes devotional, and explores why it motivates people to action and violence. Through both historical and ethnographic studies, Schultz shows that ranullnullriya kirtan has been especially successful in combining these two realms because kirtankars perform as representatives of the divine sage Narad, thereby infusing their nationalist messages with ritual weight. By speaking and singing in regional idioms with rich associations for Maharashtrian congregations, they use music to combine political and religious signs in ways that seem natural and desirable, promoting embodied experiences of nationalist devotion. As the first monograph on music and Hindu-nationalism, Singing a Hindu Nation presents a rare glimpse into the lives and performance worlds of nationalists on the margins of all-India political parties and cultural organizations, and is an essential resource for ethnomusicologists, as well as scholars of South Asian studies, religion, and political theory.
When Our Heart Collide is a perfect blend of heartbreak and happiness. It showcases pain, anxiety, love, truth & much more. This book helps put feelings into words for anyone who may be struggling to find clarity. The poetry and genuine words are written to reassure you that you're not alone in any feelings you may be feeling. This book is for you and I hope it finds you when you need it most.
The Oxford Handbook of Music and the Middlebrow takes a fresh look at the history of nineteenth- and twentieth-century music. Offering an alternative to the traditional focus on either highbrow modernism on the one hand or lowbrow popular music on the other, its novel view centers on the wealth of previously overlooked products and practices that bridged the space between these cultural extremes. While seminal attempts to recover middlebrow culture came from literary critics and historians, middlebrow studies is now a burgeoning field within musicology. As the first essay collection on this topic, this handbook has two aims: first, it seeks to explore the middlebrow as a historical phenomenon, excavating the kinds of critical writings, marketing practices, and compositional styles with which it was associated. By reanimating a range of musical practices and products--from symphonic concerts to Broadway musicals, opera criticism to rock journalism, and modern jazz to pop-rock--the contributors investigate how artists, critics, and audiences breached the divide from both above and below. In the process, the handbook chapters push the boundaries of middlebrow studies and demonstrate the category's relevance outside of the mid-twentieth-century Anglophone world by delving into the nineteenth century, interrogating the present day, and looking to Germany, Russia, and beyond. The handbook's second aim is to complicate the disciplinary divisions that have flowed from the entrenched oppositions between high and low genres. Breaking new ground by bringing together scholars of classical and popular music, these chapters trace common middlebrow themes across traditional disciplinary boundaries. Across this broad vista, contributors account for the kinds of syntheses, overlaps, and juxtapositions that made the cultural middle such a richly textured and endlessly contested terrain.