The Beatles, the Rolling Stones, the Kinks, the Who, and numerous other groups put Britain at the center of the modern musical map. Please Please Me offers an insider's view of the British pop-music recording industry during the seminal period of 1956 to 1968, based on personal recollections, contemporary accounts, and all relevant data that situate this scene in the economic, political, and social context of postwar Britain. Author Gordon Thompson weaves issues of class, age, professional status, gender, and ethnicity into his narrative, beginning with the rise of British beat groups and the emergence of teenagers as consumers in postwar Britain, and moving into the competition between performers and the recording industry for control over the music. He interviews musicians, songwriters, music directors, and producers and engineers who worked with the best-known performers of the era. Drawing his interpretation of the processes at work during this musical revolution into a wider context, Thompson unravels the musical change and innovation of the time with an eye on understanding what traces individuals leave in the musical and recording process.
Black Existentialism and Decolonizing Knowledge collects key philosophical writings of Lewis R. Gordon, a globally renowned scholar whose writings cover liberation struggles across the globe and make field-defining contributions to the philosophy of existence, philosophy of race, Africana philosophy, philosophy of human sciences, aesthetics, and decolonization. Gordon's expansive output ranges across phenomenology, anti-Blackness, activist thinkers, sexuality, Fanon, Jimi Hendrix, Black Jewish struggles, critical pedagogy, psychoanalysis, and Ubuntu philosophy. Edited by Rozena Maart and Sayan Dey, two decolonial thinkers from South Africa and India, this reader shifts attention away from colonial centres of power, encouraging global dialogue across students, scholars, and activists. Featuring a foreword by the celebrated novelist and postcolonial thinker, Ngugi wa Thiong'o, this reader includes a mixture of research articles, short critical essays, reflections, interviews, poems, and photographs in the creative pursuit of liberation.
Not Only the Master's Tools brings together new essays on African American studies. It is ideal for students and scholars of African studies, philosophy, literary theory, educational theory, social and political thought, and postcolonial studies.
Day-to-day naval actions from October 1940 through May 1941. Provides detailed information on movements of all identifiable vessels of Allied, Axis, and neutral countries, plus convoy movements and minefields. Information is broken down by month, then by geographical area, date, and time. This series is an invaluable source for historians, students, and anyone interested in the naval history of World War II.
The intellectual history of the last quarter of this century has been marked by the growing influence of Africana thought--an area of philosophy that focuses on issues raised by the struggle over ideas in African cultures and their hybrid forms in Europe, the Americas, and the Caribbean. Existentia Africana is an engaging and highly readable introduction to the field of Africana philosophy and will help to define this rapidly growing field. Lewis R. Gordon clearly explains Africana existential thought to a general audience, covering a wide range of both classic and contemporary thinkers--from Douglass and DuBois to Fanon, Davis and Zack.
In this book, philosopher and social critic Lewis Gordon explores the ossification of disciplines, which he calls disciplinary decadence. In response, he offers a theory of what he calls a teleological suspension of disciplinarity, in which he encourages scholars and lay intellectuals to pay attention to the openness of ideas and purposes on which their disciplines were born. Gordon builds his case through discussions of philosophy of education, problems of secularization in religious thought, obligations across generations, notions of invention in the study of ideas, decadence in development, colonial epistemologies, and the quest for a genuine postcolonial language. These topics are examined with the underlying diagnosis of the present political and academic environment as one in which it is indecent to think.
This book examines how de-radicalisation programmes have been portrayed in the media and details the role of public relations (PR) strategies employed by such programmes and Countering Violent Extremism (CVE) to create positive coverage of their work. CVE and de-radicalisation programmes have seen a significant rise in recent years and are now cornerstones of many countries’ counterterrorism strategies. Despite the increased importance of these tools to counter violent radicalisation leading to terrorism, they remain controversial and sometimes receive fierce public criticism and opposition. This work looks at how CVE and de-radicalisation programs are able to influence a country’s discourse on de-radicalisation, and how far governmental programs differ from non-governmental initiatives in terms of their PR strategies. The book also provides a theoretical basis of how the discourse on CVE is constructed in the media. As major case studies, this book examines the United Kingdom, Germany and Nigeria. For these countries, the authors have gathered and assessed roughly 3,000 newspaper articles on de-radicalisation programmes over a decade to provide an empirical base. This book will be of much interest to students of countering violent extremism, de-radicalisation, and terrorism studies.
a valuable source of social commentary at a time of great change wide ranging - from women's issues to colonisation Gordon is well known - Emeritus Professor at the University of London Institute of Education
Antiblack racism avows reason is white while emotion, and thus supposedly unreason, is black. Challenging academic adherence to this notion, Lewis R. Gordon offers a portrait of Martinican-turned-Algerian revolutionary psychiatrist and philosopher Frantz Fanon as an exemplar of “living thought” against forms of reason marked by colonialism and racism. Working from his own translations of the original French texts, Gordon critically engages everything in Fanon from dialectics, ethics, existentialism, and humanism to philosophical anthropology, phenomenology, and political theory as well as psychiatry and psychoanalysis. Gordon takes into account scholars from across the Global South to address controversies around Fanon’s writings on gender and sexuality as well as political violence and the social underclass. In doing so, he confronts the replication of a colonial and racist geography of reason, allowing theorists from the Global South to emerge as interlocutors alongside northern ones in a move that exemplifies what, Gordon argues, Fanon represented in his plea to establish newer and healthier human relationships beyond colonial paradigms.
The castrato phenomenon stretched from the late sixteenth century, when castrati first appeared in Italian courts and churches, through the eighteenth century, when they occupied a celebrity status on the operatic stage. Throughout this time, the voice of the castrato--hailed as uniquely strong, flexible and expressive--contributed to a dramatic expansion of the musical vocabulary and to finding new ways to embody the poetic text. For us today, the castrato also highlights the porous relationship of voices and instruments/machines and the inherent materiality of sound. In her revealing study, Bonnie Gordon asks what it meant that the early-modern period produced a caste of technologically altered male singers and she uses the castrato as a critical provocation for asking questions about the interrelated histories of music, technology, sound, the limits of the human body, and what counts as human"--
The 366 lyrics of Petrarch's Canzoniere exert a unique influence in literary history. From the mid-fifteenth century to the early seventeenth, the poems are imitated in every major language of western Europe, and for a time they provide Renaissance Europe with an almost exclusive sense of what love poetry should be. In this stimulating look at the international phenomenon of Petrarch's poetry, Gordon Braden focuses on materials in languages other than English--Italian, French, and Spanish, with brief citations from Croatian and Cypriot Greek, among others. Braden closely examines Petrarch's theme of love for an impossible object of desire, a theme that captivated and inspired across centuries, societies, and languages. The book opens with a fresh interpretation of Petrarch's sequence, in which Braden defines the poet's innovations in the context of his predecessors, Dante and the troubadours. The author then examines how Petrarchan predispositions affect various strains of Renaissance literature: prose narrative, verse narrative, and, primarily, lyric poetry. In the final chapter, Braden turns to the poetry of Sor Juana Inés de la Cruz to demonstrate a sophisticated case of Petrarchism taken to one of its extremes within the walls of a convent in seventeenth-century Mexico.
The eminent scholar Lewis R. Gordon offers a probing meditation on freedom, justice, and decolonization. What is there to be understood and done when it is evident that the search for justice, which dominates social and political philosophy of the North, is an insufficient approach for the achievements of dignity, freedom, liberation, and revolution? Gordon takes the reader on a journey as he interrogates a trail from colonized philosophy to re-imagining liberation and revolution to critical challenges raised by Afropessimism, theodicy, and looming catastrophe. He offers not forecast and foreclosure but instead an urgent call for dignifying and urgent acts of political commitment. Such movements take the form of examining what philosophy means in Africana philosophy, liberation in decolonial thought, and the decolonization of justice and normative life. Gordon issues a critique of the obstacles to cultivating emancipatory politics, challenging reductionist forms of thought that proffer harm and suffering as conditions of political appearance and the valorization of nonhuman being. He asserts instead emancipatory considerations for occluded forms of life and the irreplaceability of existence in the face of catastrophe and ruin, and he concludes, through a discussion with the Circassian philosopher and decolonial theorist, Madina Tlostanova, with the project of shifting the geography of reason.
In Crossing Bar Lines: The Politics and Practices of Black Musical Space James Gordon Williams reframes the nature and purpose of jazz improvisation to illuminate the cultural work being done by five creative musicians between 2005 and 2019. The political thought of five African American improvisers—trumpeters Terence Blanchard and Ambrose Akinmusire, drummers Billy Higgins and Terri Lyne Carrington, and pianist Andrew Hill—is documented through insightful, multilayered case studies that make explicit how these musicians articulate their positionality in broader society. Informed by Black feminist thought, these case studies unite around the theory of Black musical space that comes from the lived experiences of African Americans as they improvise through daily life. The central argument builds upon the idea of space-making and the geographic imagination in Black Geographies theory. Williams considers how these musicians interface with contemporary social movements like Black Lives Matter, build alternative institutional models that challenge gender imbalance in improvisation culture, and practice improvisation as joyful affirmation of Black value and mobility. Both Terence Blanchard and Ambrose Akinmusire innovate musical strategies to address systemic violence. Billy Higgins’s performance is discussed through the framework of breath to understand his politics of inclusive space. Terri Lyne Carrington confronts patriarchy in jazz culture through her Social Science music project. The work of Andrew Hill is examined through the context of his street theory, revealing his political stance on performance and pedagogy. All readers will be elevated by this innovative and timely book that speaks to issues that continue to shape the lives of African Americans today.
Itchycoo Park, 1964-1970-the second volume of Sixties British Pop, Outside In- explores how London songwriters, musicians, and production crews navigated the era's cultural upheavals by reimagining the pop-music envelope. British songwriters, musicians, and production crews explored form, sound, and subject matter as western society grappled with racism, sexism, war, revolution, and migration in a postcolonial world. As these creators and curators of popular culture combined interests in jazz, folk, blues, Indian ragas, and western classical music, they created sophisticated hybrid forms that redefined pop music. Based on extensive research and drawing on vintage and original interviews, Sixties British Pop, Outside In contextualizes the world of the Beatles through King Crimson in the frameworks of the postwar surge in births that created the Bulge Generation in the UK (and Baby Boomers in America), emergent technologies, English behavior, and the places and spaces in which people created and consumed pop music"--
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