My Kind Of Sound

This volume explores the importance and significance that music has in our lives. The relationship between music and identity is based on conceptions about meanings and identification, especially powerful when connected with youth and popular music. We narrate ourselves in a musical way and we must study ‘music as culture’ rather than ‘music in culture’. The contributions to this book attend to emerging phenomena such as the rise of the Reggaeton music around the world, the importance of music in anime media, and music industry changes and uncertainties in the new millennium. Music is art, but it is also an industry and a business, and the two are intertwined: through the sale of tickets, original formulas are obtained and, in the same way, products (not just musical, but multimedia) are born from alternative culture, eventually becoming mainstream. In addition, this book also takes into account iconic artists such as Nirvana, David Bowie or Miley Cyrus, and the important contribution of music to the narrative and success of popular TV series, analysing cases such as Babylon Berlin and Vikings. From Blade Runner (1982) to current television mainstream productions, the music-image alliance does not only satisfy and distract us, but also challenges us and forces us to rethink our view of the world.

"Compiles most of [the author's] long-running comic series of the same name, serialized in the largest Chicago alternative weekly, the 'Chicago reader,' every other week, for over a decade"--An author's not

Everybody needs someone who gets their crazy Hank Kirby can't catch a break. He doesn't mean to screw up. It just happens. Case in point: his attempt to ask out the girl he likes literally goes up in flames when he spelled "prom" in sparklers on Amanda Carlisle's lawn...and nearly burns down her house, without ever asking her the big question. Hank just wants to pretend the incident never happened. And he might've gotten away with it-except there is a witness. Peyton Breedlove, brooding loner and budding pyromaniac, saw the whole thing, and she blackmails Hank into an unusual friendship. Sure, Hank may be headed for his biggest disaster yet, but it's only when life falls apart that you can start piecing it back together. "Funny, authentic, and, at turns, heartbreaking."-Jessi Kirby, author of Things We Know by Heart and Moonglass "I had so much fun reading this book."-Adi Alsaid, author of Never Always Sometimes and Let's Get Lost

Preaching is a calling. And the first call to preach is always a call to prepare to preach. This book will help you prepare for your Bible-based ministry of public speaking and pulpit ministry. This is a must-read if you want to be an effective preacher of the Word of God!

From the acclaimed author of A Good Distance and Some Things That Stay, a thoughtful and compelling novel about the voices that call out to us—and the ways our lives can be transformed when we learn to listen. It was past two in the morning and Alice Marlowe was in bed alone when the phone rang. Lifting the receiver, she heard the voice of a child at the other end—a child who was clearly frightened, reluctant to reveal too much, and like Alice, all alone. After a brief, halting conversation—and before she knows quite what she’s doing—Alice is at the little girl’s apartment. She has no idea where Larissa Benton’s mother has gone or when she’s coming back. She knows the right thing to do is to call the police. But when they arrive and carry a crying Larissa away, accompanied by a social worker, Alice finds it difficult to let her go. She had no plans to bring a child into her life. She is single, in her late forties. She lives with a cat named Sampson and has imaginary conversations with her dead twin brother. As a sign-language interpreter for the deaf, she is used to standing between people, facilitating their conversations with each other. But perhaps it is this unusual skill that can help Larissa, who, as she travels through the labyrinth of Cleveland’s child-welfare system, refuses to speak. And perhaps that late-night call was somehow meant to bring them together—a lonely woman with no one to love, and a beautiful, scared six-year-old girl.

Would you give your first love a second chance? Justine Thomas and Maddie Kind met at university and were the couple most likely. Everybody said so. That is, until Maddie left without saying goodbye. Ten years later the pair are reunited at a friend’s funeral, and now Justine can’t shake Maddie from her life. But why is she back? Why did she disappear? And more importantly, is she interested in the whole cake, or just one last slice of Justine? Strap in for a novel that deals with life’s big topics: love, death & cake. Clare Lydon is the queen of British romantic comedy, and this stellar lesbian romance is guaranteed to give you all the feels. Quite simply, it’s unputdownable.

Pink Noises brings together twenty-four interviews with women in electronic music and sound cultures, including club and radio DJs, remixers, composers, improvisers, instrument builders, and installation and performance artists. The collection is an extension of Pinknoises.com, the critically-acclaimed website founded by musician and scholar Tara Rodgers in 2000 to promote women in electronic music and make information about music production more accessible to women and girls. That site featured interviews that Rodgers conducted with women artists, exploring their personal histories, their creative methods, and the roles of gender in their work. This book offers new and lengthier interviews, a critical introduction, and resources for further research and technological engagement. Contemporary electronic music practices are illuminated through the stories of women artists of different generations and cultural backgrounds. They include the creators of ambient soundscapes, “performance novels,” sound sculptures, and custom software, as well as the developer of the Deep Listening philosophy and the founders of the Liquid Sound Lounge radio show and the monthly Basement Bhangra parties in New York. These and many other artists open up about topics such as their conflicted relationships to formal music training and mainstream media representations of women in electronic music. They discuss using sound to work creatively with structures of time and space, and voice and language; challenge distinctions of nature and culture; question norms of technological practice; and balance their needs for productive solitude with collaboration and community. Whether designing and building modular synthesizers with analog circuits or performing with a wearable apparatus that translates muscle movements into electronic sound, these artists expand notions of who and what counts in matters of invention, production, and noisemaking. Pink Noises is a powerful testimony to the presence and vitality of women in electronic music cultures, and to the relevance of sound to feminist concerns. Interviewees: Maria Chavez, Beth Coleman (M. Singe), Antye Greie (AGF), Jeannie Hopper, Bevin Kelley (Blevin Blectum), Christina Kubisch, Le Tigre, Annea Lockwood, Giulia Loli (DJ Mutamassik), Rekha Malhotra (DJ Rekha), Riz Maslen (Neotropic), Kaffe Matthews, Susan Morabito, Ikue Mori, Pauline Oliveros, Pamela Z, Chantal Passamonte (Mira Calix), Maggi Payne, Eliane Radigue, Jessica Rylan, Carla Scaletti, Laetitia Sonami, Bev Stanton (Arthur Loves Plastic), Keiko Uenishi (o.blaat)

This volume explores the importance and significance that music has in our lives. The relationship between music and identity is based on conceptions about meanings and identification, especially powerful when connected with youth and popular music. We narrate ourselves in a musical way and we must study 'music as culture' rather than 'music in culture'. The contributions to this book attend to emerging phenomena such as the rise of the Reggaeton music around the world, the importance of music in anime media, and music industry changes and uncertainties in the new millennium. Music is art, but it is also an industry and a business, and the two are intertwined: through the sale of tickets, original formulas are obtained and, in the same way, products (not just musical, but multimedia) are born from alternative culture, eventually becoming mainstream. In addition, this book also takes into account iconic artists such as Nirvana, David Bowie or Miley Cyrus, and the important contribution of music to the narrative and success of popular TV series, analysing cases such as Babylon Berlin and Vikings. From Blade Runner (1982) to current television mainstream productions, the music-image alliance does not only satisfy and distract us, but also challenges us and forces us to rethink our view of the world.