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The Beatles, the 1968 double LP more commonly known as the White Album, has always been viewed as an oddity in the group’s oeuvre. Many have found it to be inconsistent, sprawling, and self-indulgent. The Beatles through a Glass Onion is the first-ever scholarly volume to explore this seminal recording at length, bringing together contributions by some of the most eminent scholars of rock music writing today. It marks a reconsideration of this iconic but under-appreciated recording and reaffirms the White Album’s significance in the Beatles’ career and in rock history.

This volume treats the White Album as a whole, with essays scrutinizing it from a wide range of perspectives. These essays place the album within the social and political context of a turbulent historical moment; locate it within the Beatles’ lives and careers, taking into consideration the complex personal forces at play during the recording sessions; investigate the musical as well as pharmaceutical influences on the record; reveal how it reflects new developments in the Beatles’ songwriting and arranging; revisit the question of its alleged disunity; and finally, track its legacy and the breadth of its influence on later rock, pop, and hip-hop artists.

The Beatles through a Glass Onion features the scholarship of Adam Bradley, Vincent Benitez, Lori Burns, John Covach, Walter Everett, Michael Frontani, Steve Hamelman, Ian Inglis, John Kimsey, Mark Osteen, Russell Reising, Stephen Valdez, Anthony D. Villa, Kenneth Womack, and Alyssa Woods. John Covach’s Afterword summarizes the White Album’s lasting impact and value. The Beatles through a Glass Onion represents a landmark work of rock music scholarship. It will prove to be an essential and enduring contribution to the field.
“That was probably the most humiliating thing that has ever happened to me. Probably,” Selena Gomez has claimed. Given 19-year-old Selena has yet to make a false move, what was she talking about? Apparently she had ended up on kiss-cam with her teen idol boyfriend Justin Bieber and been wrestled into a public kiss by one of the most wanted men on the planet. The comment typically sums up Gomez’s refreshing and direct way of speaking about her life and relationships, which have so endeared her to teenage girls globally.

Gomez's star quality must have been evident from birth - she was named after the singer huge Latin star Selena Quintanilla-Pérez. It was her mother Amanda Dawn "Mandy" Teefey, a former theatre actress, who inspired her to act. She received her first break on Barney & Friends in 2002, before being discovered by Disney when they were conducting a global casting call. She made two pilots which floundered before she was cast in the series Wizards of Waverley in 2008. During the series, she also kick-started her musical career. Typically cautious, she has said she decided to form a band to support her rather than go solo. She said she had decided to name them ‘Selena Gomez and the Scene’ to mock disparagers who criticised her for wanting to launch herself into music.

Like most Disney stars, she has proved to be multi-talented. She's definitely more Christina and Justin than Britney, even though she has frequently cited Britney as a hero. But like her Disney Club alumni, she's also entered into a relationship with a fellow child star, who eerily has the same name as Britney's first love. Her and Justin were surprisingly low-key about their burgeoning romance until they were each other's official dates at the Vanity Fair party during the 2011 Oscars. Since then they have made several public appearances together for the benefits of their admirers, as well as been snapped together during their more private moments.

The star became the youngest ever person to become a UN ambassador in 2009, and has since travelled throughout the world, raising awareness of poverty and famine in countries that her fans may not have heard of before. However, despite Gomez's wholesomeness, the actress is also paving her way into more adult roles. She recently warned fans that they should avoid her upcoming projects because they will see a different side to her. She's appeared in publicity shots for the project wearing bikinis and has said that the film has made her do things that she never expected to do on screen, like smoke and drink.

But Selena has a close relationship to her fans who have turned her into one of the most talked about singers in recent years. The television star turned actress most recently crowdsourced her self-titled perfume, which will go on sale at Macy's. Fans were encouraged to send in their suggestions, with most of them saying that they wanted a poem which they could wear everyday, at either school or at the gym. She told MTV News that the scent represents her as much as it does her fans: "It's still very much me. I think it represents what I like. It's refreshing and young, but it's kind of older as well." Gomez might have her eyes firmly set on her career but she also wants to grow with her fans.

When 16 year old Robyn Rihanna Fenty first moved to the United States to pursue a career in music, there was no indication that she would become anything other than another flash-in-the-pan, sub-Beyonce pop starlet.

Born and raised in a working class area of Saint Michael parish in south-west Barbados, Rihanna was the eldest daughter of Monica Braithwaite and Ronald Fenty. Her father struggled with addictions to crack cocaine and alcohol, leading to her parents’ divorce when Rihanna was 14, after which she maintained contact with her father, but continued living with her mother and two younger brothers, Rorrey and Rajad. Like many teenage girls, she formed a singing group with friends and dreamt of becoming a pop star.

However, unlike many teenage girls, Rihanna also benefitted from good connections.When she discovered two US record executives were holidaying on her home island, an audition for her group was arranged by mutual friends. History has forgotten the other two members of Rihanna’s singing group, but in Miss Fenty,record execs Carl Sturken and Eric Rogers saw something marketable. Jay Z did too. He signed her to Def Jam during his brief tenure as president allowing for the release of two albums of reggae-tinged R&B that would make her name.

The caribbean influences in Rihanna’s early releases made her a refreshing novelty for R&B fans, but if that was all she had to offer, no doubt by now “Rihanna” would be just another footnote in pop history, alongside Ashanti, Amerie, or Christina Milian (remember them?). But Rihanna had something else. Perhaps inspired by her oft-cited idol Madonna, she has demonstrated an ability to shapeshift in a way that is always uncannily ahead of the trend.

As of early 2012, the OutKast duo has sold over 26 million records domestically, has been awarded 6 Grammy awards, and are regarded as one of the best rap groups of all time, and certainly one of the most important. Their initial single, “Player’s Ball”, brought a southern, soulful swing to the world of hip-hop. The unique sound and style fused the lyricism of progressive underground hip-hop with an organic production style that was very different from the more polished, sample-based sound from the northeastern corridor of the United States. Outkast’s sound resonated with the countless music fans outside of the New York metropolitan area, and was integral to the development of the sound of southern hip-hop. The popularity of Outkast’s music was critical in showing the commercial viability of “non-traditional” hip-hop, and ultimately led to the opening of the genre to a wider sonic and thematic palette.

In addition to six albums of groundbreaking hip-hop, OutKast’s career has been instrumental in moving the business and creative epicenter of hip-hop music in the United States from New York City to Atlanta, Georgia.

OutKast is part of a larger musical collective, the Dungeon Family, which consists of OutKast, four-man group the Goodie M.O.B., and production team, Organized Noize Productions. Their impact can be seen in new acts around the world, whether it’s in the style of dress, vocal delivery, or instrumentation.

OutKast’s collective discography is characterized by experimentation, which is unusual for a best-selling rap group. Each of their albums displays an increasingly unique sound that is an exploration and expansion of their influences, which include electro, funk, soul, reggae, and traditional hip-hop. Despite this constant push to test genre boundaries, the group has remained accessible with have several Billboard hits, including “Hey Ya!” - a classic, British Invasion-styled pop song, “The Way You Move” - a hip-hop/R&B hybrid, and “Ms. Jackson” - a song about failed relationships featuring a reversed snare sample as a prominent part of its instrumentation.

Benjamin and Patton met at Lenox Mall in Atlanta, GA, while both were students at Tri-Cities High School. They bonded over music and similar styles, which led to a creation of a rap group called 2 Shades Deep. The duo performed at local talent shows and caught the eye of Rico Wade, Ray Murray, and Patrick “Sleepy” Brown - a trio of Atlanta-based producers who eventually became Organized Noize.

Wade and Murray invited Benjamin and Patton to their basement home studio. It was in this basement that the genesis of a shift in hip-hop was created. Benjamin and Patton, along with Murray and Wade, began creating hip-hop music that mixed samples, beat machines, live instrumentation, and a unique, southern slant on composition that was very different compared to the music coming out of the Northeast. Along with fellow Atlanta artists (including CeeLo Green, Big Gipp, Khujo, T-Mo, Joi Gilliam, and Sleepy Brown), Benjamin, Patton, Wade and Murray formed the collective known as The Dungeon Family, named after the aforementioned basement studio.

2 Shades Deep eventually changed their name to OutKast, and promptly began to record the songs that became Southerplayalisticadillacmuzik.

Can’t get enough of the King? A lively romp through all things Presley, this sassy guide covers what you really want to know about the man who continues to leave generations of females “All Shook Up.”

“It’s just like being in junior high again. This book offers the scoop on Elvis’s way with women–the wives, the girlfriends, the screaming fans–and leaves plenty of room for ever important hair and wardrobe discussions...[and] films and concert highlights too.”–Time

The first book explicitly fashioned for Elvis Presley’s largest fan base, The Girls’ Guide to Elvis offers a fabulously fun look at the man who begged us to love him tender. This kitschy, dishy, gossip-filled guidebook is packed with never-before-seen photographs and tasty tidbits about the King of Rock and Roll and his insatiable appetite for females, finery, and good old down-home food. Discover Elvis’s bedroom do’s and don’ts.

Dig into details about his relationships with Priscilla, Ann-Margret, and Nancy Sinatra. Peek at snapshots of Presley on dates with local girls we never even knew about. Delve into his infamous shopping sprees and analyze his predilection for jewel-encrusted jumpsuits. Get the skinny on how Elvis felt about his weight–and even learn to cook low-fat versions of his favorite foods. Plus much, much more.

For Elvis fans of all ages--from those who screamed at Elvis the Pelvis in concert to those who know the immortal icon from CDs and DVDs--The Girls’ Guide to Elvis is a must-have keepsake.
From the "War on Hippies" to the Great Rock 'n' Roll Swindle, the story of Modern Lovers is a high octane tale of Brutalist architecture, rock 'n' roll ambition and the struggle for identity in a changing world. One of punk rock's foundational documents, the archetype for indie obsession and all but disowned by its author, The Modern Lovers was an album doomed by its own coolness from day one. Powered by the two-chord wonder “Roadrunner” and its proclamation that “I'm in love with rock 'n' roll,”The Modern Lovers is the essential document of American alienation, an escape route from the cultural wasteland of postwar suburbia. The Modern Lovers is the bridge connecting the Velvet Underground and the Sex Pistols; they were peers of the New York Dolls and friends with Gram Parsons and they would splinter into Talking Heads, The Cars, and The Real Kids.

But The Modern Lovers was never meant to be an album. A collection of demos, recorded in fits and starts as Jonathan Richman and his band negotiate modernity and the music industry. It is a collection of songs about a city and a society in flux, grappling with ancient corruptions and bright-eyed idealism. Richman observes a city all but abandoned by adults, ravaged by white flight and urban renewal, veering towards anarchy as old world social moors collide with new attitudes. It is a city stands in stark contrast to the the ranchstyle bedroom community where he was raised. All of these conflicts are churned through Richman's intellectual acuity and emotional unrest to create one of the 20th century's most enduring documents of post-adolescent malaise.
The Politics of Verdi's Cantica treats a singular case study of the use of music to resist oppression, combat evil, and fight injustice. Cantica, better known as Inno delle nazioni / Hymn of the Nations, commissioned from Italy's foremost composer to represent the newly independent nation at the 1862 London International Exhibition, served as a national voice of pride and of protest for Italy across two centuries and in two very different political situations. The book unpacks, for the first time, the full history of Verdi's composition from its creation, performance, and publication in the 1860s through its appropriation as purposeful social and political commentary and its perception by American broadcast media as a 'weapon of art' in the mid twentieth century. Based on largely untapped primary archival and other documentary sources, journalistic writings, and radio and film scripts, the project discusses the changing meanings of the composition over time. It not only unravels the complex history of the work in the nineteenth century, of greater significance it offers the first fully documented study of the performances, radio broadcast, and filming of the work by the renowned Italian conductor Arturo Toscanini during World War II. In presenting new evidence about ways in which Verdi's music was appropriated by expatriate Italians and the US government for cross-cultural propaganda in America and Italy, it addresses the intertwining of Italian and American culture with regard to art, politics, and history; and investigates the ways in which the press and broadcast media helped construct a musical weapon that traversed ethnic, aesthetic, and temporal boundaries to make a strong political statement.
How many songs have we lost when a lyricist could not find a musician, nor the musician a lyricist? The answer for the bereft musician could well lie within the pages of Lyrically Speakinga plethora of superbly crafted lyrics from the soul of Kay Bell. James Shipstone, RCA Records. BMG Records. BMG Music Publishing Australia/New Zealand. 19771997

A song has the indefinable and irresistible power to instantly transport you to another place and time. But before that song can reach its audience, a rare and special partnership must be launched between the words and the music. In this groundbreaking publicationintended to inspire just such artistic collaborationsaward-winning lyricist Kay Bell shares a poignant collection of her original lyrics, the beating heart for up to 180 potential songs, to openly elicit creative collaborations with composers around the world.

Who has not been touched in one way or another by the power of music? Songs have changed lives, saved lives, spawned lifelong love affairs, broken hearts and mended them, brought tears, joy, and laughter to people the world over.

Kay Bell is an award-winning lyricist who has received global recognition for both her lyrics and co-written songs. Drawn to human understanding, she hopes her words will support the quest for connection and global peace. Her passion for storytelling (in prose and lyrical form) is the catalyst that propels Kays words out in search of realising their potential.

For collaboration opportunities, and all other enquiries (including use of the lyrics contained in this collection and setting them to music), please visit

 Cat On Strat Guitar Method

Complete Guitar Guide For Both Teachers And Students

Playing or teaching guitar involves 6 basic fundamentals:

1) Getting started (learning names and definitions)

2) Scales (playing single notes)

3) Chords (playing multiple notes)

4) Techniques (complex methods for playing scales and chords)

5) Reading music (how to read the “code” of music)

6) Writing music (how to write the “code” of music).

By dividing guitar theory this way the student or teacher can digest more clearly the scope of all that they need to learn or teach. This book is designed to clear up the confusion of guitar theory and remove any boring aspects, all the while giving insightful knowledge of music and the technique of playing guitar. When finished the guitarist should have all the knowledge needed to develop their own style, jam with other musicians while knowing exactly what is going on theoretically, and be able to compose complex music in rock, blues, jazz, pop, folk and heavy metal. Easy concise exercises help the student develop the skills to execute the licks and passages needed to express oneself and help any teacher using this as a teachers guide to layout clear concise goals and objectives.

First "The Cat On Strat Guitar Method" will start with the basics: buying equipment, knowing the instrument parts, how to tune the guitar, how to read guitar tablature and standard notation, finding all the notes on the guitar, and understanding scale and chord charts. 

Second is an in-depth look at scales and their origins with dozens of easy to read scale charts and complete sets of each scale studied.

Third is a deep understanding of chords, consisting in a study of how both simple and complex chords are built. Following this study of chords is a comprehensive chord dictionary with hundreds of easy to read chords.

Fourth is technique, with a listing of all the fundamentals as well as advanced techniques that are used in more complex modern music. Study includes: double stops, scale patterns, arpeggios, finger tapping and so much more. This section will clear up your confusion and break down the techniques that are to used in your favorite pop, rock and heavy metal songs.

Fifth is a brief but thorough introduction to reading music, short but concise it ties into your complete education in music building a solid foundation for all further studies.

     Sixth and finally is a look at writing music. Song structure, chord groupings and melody will be brought together to help the most creative guitarist organize their creativity and create actual songs that are structured professionally and effortlessly.

In the end you will find here a user friendly, all inclusive method on playing or teaching the guitar. I have had much success with this approach over the years with all my students both young and old. Now is your chance to learn guitar the right way, easy, complete and frustration free use this guide to teach yourself or use as an all inclusive teachers reference guide.

By the time Roger McGuinn, David Crosby, Chris Hillman, and Michael Clarke entered the studio to begin work on this album, they were basically falling apart at the seams. "Ladyfriend", a song written by Crosby, had just failed miserably as a chart single despite the fact that he lobbied hard to get it released. This - coupled with the fact that he made what the rest of the band considered an embarrassing political speech onstage during their set at the Monterey Pop Festival, and then sat in with rivals the Buffalo Springfield the following day - pushed McGuinn and Hillman in particular to the limits of their patience. Then, for the Notorious sessions, Crosby presented a song called "Triad", written about a threesome, and although McGuinn and Hillman reluctantly agreed to record it, they later decided to place a less controversial Goffin & King pop number called "Goin' Back" on the album instead. Crosby declared the song banal and refused to sing on it. A few too many studio flare-ups later, McGuinn and Hillman finally screeched up into the Hollywood Hills in their Jaguars and fired Crosby on the spot. Also brooding during this period was drummer Michael Clarke, who had always borne the brunt of the other band members' rage while recording. He was by far the least accomplished member of the band musically, and when they suggested bringing in a studio drummer to embellish some tracks (Jim Gordon, later of Derek & the Dominos fame), he finally declared he'd had enough and moved to Hawaii to get away from the music scene altogether. So, McGuinn and Hillman were left to cobble together an album with the help of producer Gary Usher (known for his work with Brian Wilson, the Millenium, Sagittarius and many others). The fact that it turned out to be one of the defining albums of the 60s psychedelic pop experience was either a sheer stroke of luck, or a testament to McGuinn and Hillman's determination to prove that they didn't need Crosby's help to construct their masterpiece.
More than any rock artist since The Beatles, Radiohead's music inhabits the sweet spot between two extremes: on the one hand, music that is wholly conventional and conforms to all expectations of established rock styles, and, on the other hand, music so radically experimental that it thwarts any learned notions. While averting mainstream trends but still achieving a significant level of success in both US and UK charts, Radiohead's music includes many surprises and subverted expectations, yet remains accessible within a framework of music traditions. In Everything in its Right Place: Analyzing Radiohead, Brad Osborn reveals the functioning of this reconciliation of extremes in various aspects of Radiohead's music, analyzing the unexpected shifts in song structure, the deformation of standard 4/4 backbeats, the digital manipulation of familiar rock 'n' roll instrumentation, and the expected resolutions of traditional cadence structures. Expanding on recent work in musical perception, focusing particularly on form, rhythm and meter, timbre, and harmony, Everything in its Right Place treats Radiohead's recordings as rich sonic ecosystems in which a listener participates in an individual search for meaning, bringing along expectations learned from popular music, classical music, or even Radiohead's own compositional idiolect. Radiohead's violations of these subjective expectation-realization chains prompt the listener to search more deeply for meaning within corresponding lyrics, biographical details of the band, or intertextual relationships with music, literature, or film. Synthesizing insights from a range of new methodologies in the theory of pop and rock, and specifically designed for integration into music theory courses for upper level undergraduates, Everything in its Right Place is sure to find wide readership among scholars and students, as well as avid listeners who seek a deeper understanding of Radiohead's distinctive juxtapositional style.
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