Born Slippy

A provocative, globe-trotting, time-shifting novel about the seductions of -- and resistance to -- toxic masculinity. "Frank knew as well as anyone how stories start and how they end. This fiery mess, or something like it, was bound to happen. He had been expecting it for years." Frank Baltimore is a bit of a loser, struggling by as a carpenter and handyman in rural New England when he gets his big break, building a mansion in the executive suburbs of Hartford. One of his workers is a charismatic eighteen-year-old kid from Liverpool, Dmitry, in the US in the summer before university. Dmitry is a charming sociopath, who develops a fascination with his autodidactic philosopher boss, perhaps thinking that, if he could figure out what made Frank tick, he could be less of a pig. Dmitry heads to Asia and makes a neo-imperialist fortune, with a trail of corpses in his wake. When Dmitry's office building in Taipei explodes in an enormous fireball, Frank heads to Asia, falls in love with Dmitry's wife, and things go from bad to worse. Combining the best elements of literary thriller, noir and political satire, Born Slippy is a darkly comic and honest meditation on modern life under global capitalism.

Pop music would be a different beast without the B-Side. Music history is riven with songs deemed throwaway that revolted against their lowly status and refused to be denied. Be it rock'n'roll’s national anthem (‘Rock Around The Clock’), disco’s enduring game-changer (‘I Feel Love’) or hip-hop’s most notorious dis track (‘Hit ’Em Up’), all three started life as the so-called ‘lesser’ track on releases primed for maximum chart impact. But the B-side has done much more than make stars of Bill Haley, Donna Summer and 2Pac. Whether it was the Beatles, the Kinks and the Yardbirds in the 60s, Elton John, the Who and Queen in the 70s, Depeche Mode, the Cure and Prince in the 80s, or Oasis, Pulp and Radiohead in the 90s, the B-side allowed many of the world’s greatest artists freedom to experiment with no commercial constraints in an age where physical product ruled the roost. A quickfire A-Z of 500+ flips, B-SIDE is the first serious examination of the format’s covert role in pushing the musical envelope. Best read with one eye on YouTube and one ear on a streaming service, its revelations will prick up the ears of music fans of all persuasions.

From winner of the Nordic Council Literature Prize and the Icelandic Literature Prize, Auður Ava Ólafsdóttir, comes a dazzling novel about a family of midwives set in the run-up to Christmas in Iceland In the days leading up to Christmas, Dómhildur delivers her 1,922nd baby. Beginnings and endings are her family trade; she comes from a long line of midwives on her mother’s side and a long line of undertakers on her father’s. She even lives in the apartment that she inherited from her grandaunt, a midwife with a unique reputation for her unconventional methods. As a terrible storm races towards Reykjavik, Dómhildur discovers decades worth of letters and manuscripts hidden amongst her grandaunt’s clutter. Fielding calls from her anxious meteorologist sister and visits from her curious new neighbour, Dómhildur escapes into her grandaunt’s archive and discovers strange and beautiful reflections on birth, death and human nature. With her singular warmth and humor, in Animal Life Ólafsdóttir gives us a beguiling novel that comes direct from the depths of an Icelandic winter, full of hope for spring.

First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

This book offers a unique examination of the development of popular music function in film. It assesses the contribution of popular music to the interpretation of the most significant films, covering the period from rock ‘n’ roll’s initial introduction at the opening of Blackboard Jungle, to the backlash against disco, which followed soon after the release of Saturday Night Fever. By dividing this period into five phases—The Classical American Musical Phase, The British Invasion Phase, The New Hollywood Alienation Phase, The Disco Phase and The Post-Disco Conservative Phase—the book pinpoints key moments at which individual developments occurred and lays out a path of expansion in popular music function. Each chapter offers close analyses of this period’s most innovative films; examines the cultural, historical, technical and industrial factors peculiar to each phase and considers the influence of these upon the specific timing of functional advances.

'I love this book!' SARAH CRACKNELL, SAINT ETIENNE 'Poignant and wonderfully warm' CATHY NEWMAN, CHANNEL 4 NEWS 'Shows us how music has the power to change everything' JUDE ROGERS It is 1994. In a loft bedroom in North Yorkshire, fifteen-year-old Anna sits on the carpet immersed in the pages of Smash Hits, listening to cassette tapes that she keeps in a shoebox. She is dreaming of living inside the songs. The very same year, British music is about to be transformed and will leap from pop to rave to Britpop. This new universe will change Anna's life. Connection is a Song is a journey through the sounds of the 1990s; the story of a life-defining love of music and the tracks that shaped this girl's adventures through the decade. It travels from the impossibly mournful 'Nothing Compares 2 U' by Sinead O'Connor to the delirium of the KLF's '3 a.m. Eternal' via the cartoon swagger of EMF's 'Unbelievable', Madonna's terrifyingly sexy 'Vogue' and the guitar indie heart of the '90s where Elastica's 'Connection' beats Blur and Oasis in Anna's own Battle of Britpop. This is a powerful, universal coming of age story - and also a coming out story - about growing up in an English provincial town, with its suspiciously sticky nightclub floors, the lingering smell of Impulse deodorant, kisses that taste of cider and songs that give Anna feelings that she has never felt before. It is the tale of an outsider who, through connections made at gigs, mysterious black feathers and conversations in smoke-filled cars, finds the people and the places that will take her to her life.

James Piazza is a Western New York-based archivist and music historian. He developed a series of multimedia presentations on experimental music, ambient sound, archival techniques for digital audio, and lectures on personal media servers for large file libraries. His primary goal is to create a greater public understanding and awareness of 20th century music and sound. Piazza founded Innerspace Labs as an independent music archive chiefly communicating with the public via The Innerspace Connection music blog. He manages a library of over 300,000 soundworks focusing on ambient and experimental recordings. This book comprises the first 12 years of our publications showcasing highlights of the Archive, as well as select previously unpublished works.

Sampling and remixing are now common in art, music and new media. Assessing their aesthetic qualities by focusing on technical advances in 1970s and 80s music, and later in art and media, the author argues that 'Remix' punches above its deemed cultural weight.