Search Results for music majors

... Michael Jackson Thriller music majors David Bowie Michael Zilkha ZE Records ...

... Released in late 1982, Michael Jackson’s Thriller dominated the year in pop music and paved the way for the music majors to reenter the field of dance. The turnaround announced itself in March when David Bowie released Let’s Dance , an album coproduced by Chic’s Nile Rodgers, and gained...

... in pop music and paved the way for the music majors to reenter the field of dance. The turnaround announced itself in March when David Bowie released Let’s Dance , an album coproduced by Chic’s Nile Rodgers, and gained momentum when Irene Cara and Giorgio Moroder’s “Flashdance” came out in April. A go...

... The introduction to Streaming Music, Streaming Capital offers an overview of the major features of the streaming ecosystem. A key argument is that the development of streaming platforms since the late aughts provides important insights into music’s complicated relation to capitalism. Not only...

... The epilogue considers interventions that seek to respond to the difficulties music communities face in the age of streaming. These include increasing minimum payout rates; changing revenue share models; developing platform cooperatives; transforming platforms into public utilities; among others...

... and artistically significant, it also ignited a fierce debate. The French felt they had to choose between two types of jazz, traditional New Orleans jazz or the more transient bebop, and the choice became a major symbolic issue. The practice of New Orleans jazz, considered by many as the “authentic” form...

...), and, briefly, Mutare, Mapfumo works through a series of bands, ultimately finding real success as singer and principal songwriter for the Acid Band. The chapter deconstructs key songs that established Mapfumo as a major cultural figure—both a pioneer in the rehabilitation of long-stigmatized traditional music...

... This chapter offers a comparative perspective on the relationship between the social and the aesthetic by contrasting the development of an Afro-modernist aesthetic of politics and music in American jazz improvisation of the 1950s and 1960s and the aesthetics of sensibilisation...

... “All Voice; All Ears: From the Figure of Sound to the Practice of Music” is concerned with common assumptions about music and its definition. One major problem with the naming process in general is that the name becomes an index for an experiential phenomenon. Relying on the index, we become...

... In this mainly conceptual, ground-clearing chapter, the author develops thinking on the articulation between music and the social. This task responds to the long-standing demand issued by scholarship in popular music studies, ethnomusicology, and music sociology for clarity in theorizing...

... the Dust” indicated that dance music could still cross over, the majors declined to develop these records beyond a pop context. The corporate exodus presented the city’s independent labels and record stores with an opportunity; Vinyl Mania emerged as a particularly influential store. As national disco...

.... By the summer, he would sign with a major label, team with a childhood hero on a remix, spawn headlines about the definition of country music and racism, break a string of chart records, come out as gay, and appear on the cover of Time magazine. These feats were all enabled by a confluence of digital-era...

... In this chapter, Robert G. O’Meally takes seriously James Baldwin’s statement (quoting one of his key models, Henry James) that in a cruel and sorrowful life, Black artists can use blues music to make their way through a blues-beset world. The chapter considers how both Baldwin and Beauford...

... and the silent majority of women who don’t. The chapter focuses on improvised solos in taiko , the contemporary tradition of Japanese drumming now firmly established in North America. Asian Americans literally play themselves into visibility and audibility through taiko, but musical mastery, skill...

... This chapter addresses the fraught interface between improvisation and women. While critical studies of improvisation in jazz have offered powerful progressive ideals of social transformation, they rarely acknowledge the overwhelming presence of men who improvise and the silent majority of women...

... Despite the musical and lyrical eclecticism, innovative formal designs, and unconventional recording and production techniques of the Grateful Dead’s earliest studio albums, many fans and critics were skeptical that the Dead were capable of capturing the energy of their live concerts on record...

... he published the first major article on hip hop (in the Village Voice ) in September. Baker and Robie went on to lead the citywide charge into electronics, Malcolm McLaren contributed “Buffalo Gals,” and Man Parrish’s “Hip Hop, Be Bop (Don’t Stop)” took rap further into electronic territory...

... This chapter offers a comparative perspective on the relationship between the social and the aesthetic by contrasting the development of an Afro-modernist aesthetic of politics and music in American jazz improvisation of the 1950s and 1960s and the aesthetics of sensibilisation...

.... The chapter deconstructs key songs that established Mapfumo as a major cultural figure—both a pioneer in the rehabilitation of long-stigmatized traditional music and a rare popular artist brave enough to engage the combative politics of this era. In “Pamuromo Chete (It’s Mere Talk),” Mapfumo offers a defiant...