Jimi Hendrix And The Cultural Politics Of Popular Music

This book, on Jimi Hendrix’s life, times, visual-cultural prominence, and popular music, with a particular emphasis on Hendrix’s relationships to the cultural politics of race, gender, sexuality, ethnicity, class, and nation. Hendrix, an itinerant “Gypsy” and “Voodoo child” whose racialized “freak” visual image continues to internationally circulate, exploited the exoticism of his race, gender, and sexuality and Gypsy and Voodoo transnational political cultures and religion. Aaron E. Lefkovitz argues that Hendrix can be located in a legacy of black-transnational popular musicians, from Chuck Berry to the hip hop duo Outkast, confirming while subverting established white supremacist and hetero-normative codes and conventions. Focusing on Hendrix’s transnational biography and centrality to US and international visual cultural and popular music histories, this book links Hendrix to traditions of blackface minstrelsy, international freak show spectacles, black popular music’s global circulation, and visual-cultural racial, gender, and sexual stereotypes, while noting Hendrix’s place in 1960s countercultural, US-exceptionalist, cultural Cold War, and rock histories.

The original architects of rock 'n roll were black musicians, but by the 1980s, rock music produced by African Americans was no longer "authentically black." Mahon offers an in-depth account of how, since 1985, members of the Black Rock Coalition have broadened understandings of black identity and culture through rock music.

While attention has been paid to various aspects of music education in China, to date no single publication has systematically addressed the complex interplay of sociopolitical transformations underlying the development of popular music and music education in the multilevel culture of China. Before the implementation of the new curriculum reforms in China at the beginning of the twenty-first century, there was neither Chinese nor Western popular music in textbook materials. Popular culture had long been prohibited in school music education by China’s strong revolutionary orientation, which feared ‘spiritual pollution’ by Western cultures. However, since the early twenty-first century, education reform has attempted to help students deal with experiences in their daily lives and has officially included learning the canon of popular music in the music curriculum. In relation to this topic, this book analyses how social transformation and cultural politics have affected community relations and the transmission of popular music through school music education. Ho presents music and music education as sociopolitical constructions of nationalism and globalization. Moreover, how popular music is received in national and global contexts and how it affects the construction of social and musical meanings in school music education, as well as the reformation of music education in mainland China, is discussed. Based on the perspectives of school music teachers and students, the findings of the empirical studies in this book address the power and potential use of popular music in school music education as a producer and reproducer of cultural politics in the music curriculum in the mainland.

What makes human consciousness unique? John Parrington draws on early Russian ideas and the latest neuroscience to argue that humans went through a 'mind shift' when we developed language, and words and the shared cultural world they enabled altered our brains, and have shaped them ever since.

Jimmy was a down-at-heel guitarist in New York, relying on his latest lovers to support him while he tried to emulate his hero Bob Dylan. A black guy playing white rock music, he wanted to be all things to all people. But when Jimmy arrived in England and became Jimi, the cream of swinging London fell under his spell. It wasn't that Jimi could play with his teeth, play with his guitar behind his back. It was that he could really play. Journeying through the purple haze of idealism and paranoia of the sixties, Jimi Hendrix was the man who made Eric Clapton consider quitting, to whom Bob Dylan deferred on his own song 'All Along the Watchtower', who forced Miles Davis to reconsider his buttoned-down ways - and whose 'Star Spangled Banner' defined Woodstock. And when his star, which had burned so brightly, was extinguished far too young, his legend lived on in the music - and the intrigue surrounding his death. Eschewing the traditional rock-biography format, Two Riders Were Approaching is a fittingly psychedelic and kaleidoscopic exploration of the life and death of Jimi Hendrix - and a journey into the dark heart of the sixties. While the groupies lined up, the drugs got increasingly heavy and the dream of the sixties burned in the fire and blood of the Vietnam War, the assassination of Martin Luther King and the election of President Richard Nixon. Acclaimed writer Mick Wall, author of When Giants Walked the Earth, has drawn upon his own interviews and extensive research to produce an inimitable, novelistic telling of this tale - the definitive portrait of the Guitar God at whose altar other guitar gods worship. Jimi Hendrix's is a story that has been told many times before - but never quite like this.

Women in Rock, Women in Romanticism is the first book-length work to explore the interrelationships between contemporary female musicians and eighteenth- and nineteenth-century art, music, and literature by women and men. The music and videos of contemporary musicians including Erykah Badu, Beyoncé, The Carters, Hélène Cixous, Missy Elliot, the Indigo Girls, Janet Jackson, Janis Joplin (and Big Brother and the Holding Company), Natalie Merchant, Joni Mitchell, Janelle Monáe, Alanis Morrisette, Siouxsie Sioux, Patti Smith, St. Vincent (Annie Clark), and Alice Walker are explored through the lenses of pastoral and Afropresentism, Gothic, female Gothic, and the literature of William Blake, Beethoven, Arthur Schopenhauer, Samuel Taylor Coleridge, Charlotte Dacre, Ralph Waldo Emerson, E.T.A. Hoffmann, Ann Radcliffe, William Shakespeare, Mary Shelley, her husband Percy Shelley, Henry David Thoreau, Horace Walpole, Jane Williams, Mary Wollstonecraft, and William Wordsworth to explore how each sheds light on the other, and how women have appropriated, responded to, and been inspired by the work of authors from previous centuries.

The SAGE Encyclopedia of Music and Culture presents key concepts in the study of music in its cultural context and provides an introduction to the discipline of ethnomusicology, its methods, concerns, and its contributions to knowledge and understanding of the world's musical cultures, styles, and practices. The diverse voices of contributors to this encyclopedia confirm ethnomusicology's fundamental ethos of inclusion and respect for diversity. Combined, the multiplicity of topics and approaches are presented in an easy-to-search A-Z format and offer a fresh perspective on the field and the subject of music in culture. Key features include: Approximately 730 signed articles, authored by prominent scholars, are arranged A-to-Z and published in a choice of print or electronic editions Pedagogical elements include Further Readings and Cross References to conclude each article and a Reader’s Guide in the front matter organizing entries by broad topical or thematic areas Back matter includes an annotated Resource Guide to further research (journals, books, and associations), an appendix listing notable archives, libraries, and museums, and a detailed Index The Index, Reader’s Guide themes, and Cross References combine for thorough search-and-browse capabilities in the electronic edition

In the literature of information science, a number of studies have been carried out attempting to model cognitive, affective, behavioral, and contextual factors associated with human information seeking and retrieval. On the other hand, only a few studies have addressed the exploration of creative thinking in music, focusing on understanding and describing individuals’ information seeking behavior during the creative process. Trends in Music Information Seeking, Behavior, and Retrieval for Creativity connects theoretical concepts in information seeking and behavior to the music creative process. This publication presents new research, case studies, surveys, and theories related to various aspects of information retrieval and the information seeking behavior of diverse scholarly and professional music communities. Music professionals, theorists, researchers, and students will find this publication an essential resource for their professional and research needs.