Music inspired by that movement is today enjoying considerable attention at home and abroad. Few new listeners, however, make the connection between this music and the circumstances surrounding its creation, the most violent and repressive days of the military regime that governed Brazil from 1964 to 1985. With key manifestations in theater, cinema, visual arts, literature, and especially popular music, Tropicalia dynamically articulated the conflicts and aspirations of a generation of young, urban Brazilians.Focusing on a group of musicians from Bahia, an impoverished state in northeastern Brazil noted for its vibrant Afro-Brazilian culture, Christopher Dunn reveals how artists including Caetano Veloso, Gilberto Gil, Gal Costa, and Tom Ze created this movement together with the musical and poetic vanguards of Sao Paulo, Brazil's most modern and industrialized city. He shows how the tropicalists selectively appropriated and parodied cultural practices from Brazil and abroad in order to expose the fissure between their nation's idealized image as a peaceful tropical "garden" and the daily brutality visited upon its citizens.

    This lavish volume examines the Lady's history and phenomenal rise, her music and videos, and her unique look and chameleon-like nature. Chock-full of photos that capture Gaga from childhood through stardom, it also includes images of those who have influenced her style and an appraisal of her place in the pantheon of performance artists.Gaga is a must-have for the millions who love this very special performer and celebrity.

    Tour journal documenting the final Black Flag tour and first Rollins Band tour.

    He was a soldier. He was a flag-waver for the Labour Party. He is Billy Bragg, best known as a passionate political songwriter and urbane folk singer, but equally admired for his offbeat love songs. Billy Bragg is a British institution who never went out of fashion (he was never in fashion in the first place). In America he was chosen as the spiritual heir to legendary protest singer Woody Guthrie, beating rival claims from the likes of Bob Dylan and Neil Young. In the UK he surfaced on current affairs TV programmes during the 2001 election dressed as a Roman legionary advocating tactical voting to keep the Tories out. Billy Bragg is a one-off and Still Suitable for Miners is his official story, a portrait of a peerless entertainer and a fearless campaigner growing up in Britain in the years after rock 'n' roll. The book includes childhood photos and previously unseen images from Billy's personal archive.

    With this volume spanning from her punk fanzine roots to her landmark piece on R. Kelly's past, The First Collection leaves no doubt why The New York Times has called Hopper's work "influential." Not merely a selection of two decades of Hopper's most engaging, thoughtful, and humorous writing, this book documents the last 20 years of American music making and the shifting landscape of music consumption. The book journeys through the truths of Riot Grrrl's empowering insurgence, decamps to Gary, IN, on the eve of Michael Jackson's death, explodes the grunge-era mythologies of Nirvana and Courtney Love, and examines emo's rise. Through this vast range of album reviews, essays, columns, interviews, and oral histories, Hopper chronicles what it is to be truly obsessed with music. The pieces in The First Collection send us digging deep into our record collections, searching to re-hear what we loved and hated, makes us reconsider the art, trash, and politics Hopper illuminates, helping us to make sense of what matters to us most.

    Suspended for a few seconds, they float in their own space and time with their own hidden prospects. For want of a better term, we call these moments “magical” and when we remember them they are cloaked in a halo of special meaning.’For 14-year-old Johnny Clegg, hearing Zulu street music as plucked on the strings of a guitar by Charlie Mzila one evening outside a corner café in Bellevue, Johannesburg, was one such ‘magical’ moment. The success story of Juluka and later Savuka, and the cross-cultural celebration of music, language, story, dance and song that stirred the hearts of millions across the world, is well documented. Their music was the soundtrack to many South Africans’ lives during the turbulent 70s and 80s as the country moved from legislated oppression to democratic freedom. It crossed borders, boundaries and generations, resonating around the world and back again. Less known is the story of how it all began and developed. Scatterling of Africa is that origin story, as Johnny Clegg wrote it and wanted it told. It is the story of how the son of an unconventional mother, grandson of Jewish immigrants, came to realise that identity can be a choice, and home is a place you leave and return to as surely as the seasons change.

    In the spring of 1991 they decided to grapple with the beast, taking a theatrical tour that would exaggerate their differences. By turns enraptured by and disdainful of America and its obsession with celebrity they brushed shoulders with the famous (Axl Rose, Liza Minelli and Joni Mitchell) travelled, played and uttered their detached commentary on what was happening. Throughout they were shadowed by the author Chris Heath and photographer Pennie Smith.

    It features interviews (that read like thoughtful essays) with Joan Jett, Kathleen Hanna (Bikini Kill), Valerie Agnew (7 Year Bitch), Lois Maffeo, Naomi Yang (Galaxie 500), Kendra Smith, Phranc, Candice Pederson (K Records), Bettina Richards, Chrissie Hynde, and June Millington (Fanny, the "Godmothers of Womyn's Rock").

    In this book, Miller writes about each of the past 53 years in popular music-1957-2009- via countdown song lists, blending the perspectives of a serious musician, a thoughtful critic, and an all-devouring music fan. Miller not only tells you why he loves particular songs, but also what was going on in the musical world in which they competed to be heard.

    Seventeen years after their last album, they resurrected themselves with an intense, socially conscious record, We Got It from Here . . . Thank You 4 Your Service, which arrived when fans needed it most, in the aftermath of the 2016 election. Poet and essayist Hanif Abdurraqib digs into the group's history and draws from his own experience to reflect on how its distinctive sound resonated among fans like himself. The result is as ambitious and genre-bending as the rap group itself.Abdurraqib traces the Tribe's creative career, from their early days as part of the Afrocentric rap collective known as the Native Tongues, through their first three classic albums, to their eventual breakup and long hiatus. Their work is placed in the context of the broader rap landscape of the 1990s, one upended by sampling laws that forced a reinvention in production methods, the East Coast-West Coast rivalry that threatened to destroy the genre, and some record labels' shift from focusing on groups to individual MCs. Throughout the narrative Abdurraqib connects the music and cultural history to their street-level impact. Whether he's remembering The Source magazine cover announcing the Tribe's 1998 breakup or writing personal letters to the group after bandmate Phife Dawg's death, Abdurraqib seeks the deeper truths of A Tribe Called Quest; truths that--like the low end, the bass--are not simply heard in the head, but felt in the chest.

    Their crazy creativity matches the expressive spirit of punk....As [Morse] points out, the best way to learn about punk it just to listen....If invested adults love the topic, a shared reading experience can't be beat."-- Kirkus Reviews "Clay artist Yi molds...fantastically detailed Plasticine figures to create scenes of the birth of punk. Using a benign craft-project material for the skinny bodies and ragged clothing of Joey Ramone, Sid Vicious, and their rowdy, fist-waving audiences is very much in the spirit of punk (Plasticine is especially good for mohawks), and readers will spend long stretches inspecting her painstakingly modeled guitars, amplifiers, and safety pins."-- Publishers Weekly "Why It's Wild: A history of punk music for kids illustrated in Gumby-esque claymation (minus the –mation)."-- School Library Journal , 100 Scope Notes's "Wildest Children's Books of 2015""What is Punk? is fun, sophisticated and beautifully illustrated introduction to the music genre for kids--or adults."-- New York Daily News "Reading What is Punk? to [my kids] made me feel as if I was passing on something truly significant. Morse and Yi have created a comprehensive and articulate...documentary about the roots of punk rock."-- The Globe and Mail "An essential way to pass down to your son or daughter the lesson that pop culture can be political."-- The Globe and Mail , 100 Best Books of 2015"A cool book of punk history for kids by Eric Morse, with great clay illustrations by Anny Yi."-- Slate , Mom and Dad Are Fighting podcast"Eric Morse's book What Is Punk? explains the envelope-pushing genre to the younger set, and perhaps some adults, as well."--St. Louis Public Radio"Think Wallace and Grommet with liberty spikes and anarchy patches...While [Anny Yi's] images of Johnny Rotten and Henry Rollins are cute, they're presented as live action dioramas that are adorable, accurate and engaging."-- San Diego City Beat "While What Is Punk? is undeniably a children’s book, it can serve as a history lesson for potential fans of any age....What Is Punk? exposes the reader to the rebellious sub-culture in a friendly, educative manner."-- Alternative Press "A fun little book intended to serve as (rhyming) curriculum for little punks learning their Punk History 101....Sid, Glenn, and Milo meet Wallace and Gromit."-- Razorcake "Pairing Yi's Wallace & Gromit-style clay pictorials with Morse's rhyming ride through the history of punk music across the globe, the children’s book is ready to raise the next generation of riot grrrls....You're going to want to give What Is Punk? as a gift at every baby shower this year. Just don't be surprised if your niece ends up bleaching her hair blonde and tearing up her leather jacket at age 6."--Bustle"Written by Trampoline House founder Eric Morse in classically Suessical iambic, the book is lusciously illustrated with photographs of Play-Doh recreations of all mommy's and daddy's favorite punk heroes: the Ramones, Iggy and the Stooges--and Debbie Harry, David Byrne, David Johansen, Tom Verlaine, and Lou Reed all standing in front of CBGBs."--Bedford & BoweryWhat Is Punk? is a must-read pop-culture primer for children--an introduction to the punk revolution, recreated in vivid 3-D clay illustrations and told through rhyming couplets.From London's Clash and Sex Pistols to the Ramones' NYC protopunk, from Iggy Pop to the Misfits, this volume depicts some of our culture's seminal moments and iconic characters. A delightful read for kids and parents alike, illustrated in a truly unique visual style, What Is Punk? lays the groundwork for the next generation of little punks.

    The concert and the live album, Johnny Cash at Folsom Prison, propelled him to worldwide superstardom. He reached new audiences, ignited tremendous growth in the country music industry, and connected with fans in a way no other artist has before or since.Johnny Cash at Folsom Prison is a riveting account of that day, what led to it, and what came after. Scrupulously researched, rich with the author's unprecedented access to Folsom Prison's and Columbia Records' archives, illustrated with more than 100 photos, Johnny Cash at Folsom Prison shows how Johnny Cash forever became a champion of the downtrodden, as well as one of the more enduring forces in American music.

    Around 1900, the phenomenon known as Wagnerism saturated European and American culture. Such colossal creations as The Ring of the Nibelung, Tristan und Isolde, and Parsifal were models of formal daring, mythmaking, erotic freedom, and mystical speculation. A mighty procession of artists, including Virginia Woolf, Thomas Mann, Paul Cézanne, Isadora Duncan, and Luis Buñuel, felt his impact. Anarchists, occultists, feminists, and gay-rights pioneers saw him as a kindred spirit. Then Adolf Hitler incorporated Wagner into the soundtrack of Nazi Germany, and the composer came to be defined by his ferocious antisemitism. For many, his name is now almost synonymous with artistic evil.In Wagnerism, Alex Ross restores the magnificent confusion of what it means to be a Wagnerian. A pandemonium of geniuses, madmen, charlatans, and prophets do battle over Wagner's many-sided legacy. As readers of his brilliant articles for The New Yorker have come to expect, Ross ranges thrillingly across artistic disciplines, from the architecture of Louis Sullivan to the novels of Philip K. Dick, from the Zionist writings of Theodor Herzl to the civil-rights essays of WEB Du Bois, from O Pioneers! to Apocalypse Now.In many ways, Wagnerism tells a tragic tale. An artist who might have rivaled Shakespeare in universal reach is undone by an ideology of hate. Still, his shadow lingers over twenty-first century culture, his mythic motifs coursing through superhero films and fantasy fiction. Neither apologia nor condemnation, Wagnerism is a work of passionate discovery, urging us toward a more honest idea of how art acts in the world.

    Policeman-turned-detective-turned-writer A Yi describes life as a provincial gumshoe in China. Physician Siddhartha Mukherjee visits a government hospital in New Delhi, where he meets Madha Sengupta, at the end of his life and on the frontiers of medicine. Robert Macfarlane explores the limestone world beneath the Peak District. And Haruki Murakami revisits his walk to Kobe in the aftermath of the 1995 earthquake.In this issue--which includes poems by Charles Simic and Ellen Bryant Voigt, a story by Miroslav Penkov, and non-fiction by David Searcy, Teju Cole, and Hector Abad--GRANTA presents a panoramic view of our shared landscape and investigates our motivations for exploring it. One’s destination is never a place,” Henry Miller wrote, but a new way of seeing things.”

    But with the touring, recording and extraordinary anecdotes, there wasn't time for an in-depth look at what she actually did for all those years: sing. She sang with warmth and emotional honesty, sometimes while battling acute stage-fright.Part memoir, part wide-ranging exploration of the art, mechanics and spellbinding power of singing, Naked at the Albert Hall takes in Dusty Springfield, Dennis Potter and George Eliot; Auto-tune, the microphone and stage presence; The Streets and The X Factor. Including interviews with fellow artists such as Alison Moyet, Romy Madley-Croft and Green Gartside of Scritti Politti, and portraits of singers in fiction as well as Tracey's real-life experiences, it offers a unique, witty and sharply observed insider's perspective on the exhilarating joy and occasional heartache of singing.