Dance music has seen an unprecedented explosion in the 21st century as a stampede of subgenres, such as dance pop and EDM (electronic dance music), have come to define the pop music scene worldwide. In this collection of original interviews, 33 hitmakers from 11 countries discuss their lives and careers in this still-unfolding new age--including Alcazar's Andreas Lundstedt, Dave Aude, Bart & Baker, Bimbo Jones, Chris Cox, Darude, Inaya Day, Deepend, Freemasons, D.O.N.S./Warp Brothers' Oliver Goedicke, Xenia Ghali, Gryffin, Harrison, In-Grid, Kimberley Locke, Paul Oakenfold, Suzanne Palmer, Ralphi Rosario, Sak Noel, Richard Vission and more. Special commentary provided by Moto Blanco's Danny Harrison and clubland queen Martha Wash.
Beginning early in the 1980s, a dance music revolution swept across Europe and Britain, merging rock, new wave, disco and worldbeat sounds. The resulting explosion of high-energy, increasingly electronic dance-pop caused a sensation worldwide. In this book of original interviews, 32 of the era's most celebrated artists, producers and industry professionals discuss their lives and careers: Thomas Anders (Modern Talking's "You're My Heart, You're My Soul"), Pete Burns (Dead or Alive's "You Spin Me Round (Like a Record)"), Desireless ("Voyage Voyage"), Phil Harding (PWL Mixmaster), Junior ("Mama Used to Say"), Leee John (Imagination's "Just an Illusion"), Liz Mitchell (Boney M.'s 1988 "Megamix"), Fab Morvan (Milli Vanilli's "Girl You Know It's True"), Taco ("Putting On the Ritz"), Jennifer Rush ("The Power of Love"), Sabrina ("Boys"), Spagna ("Call Me"), Amii Stewart ("Knock on Wood"), Yazz ("The Only Way Is Up") and many more. Includes special commentary by Academy Award winner Mel Brooks and Audrey Landers, star of Dallas.
The female vocalists who pioneered the disco genre in the '70s and early '80s were an extraordinarily talented group who dazzled the world with an exciting blend of elegance, soulful passion and gutsy fire. In this book of original interviews, 32 of these women tell their stories, explaining how they view their music, careers, connection to gay audiences, and their places in dance music history. Interviewed artists include: The Andrea True Connection; Claudja Barry; Pattie Brooks; Miquel Brown; Linda Clifford; Carol Douglas; Yvonne Elliman; Rochelle Fleming (First Choice); Gloria Gaynor; Debbie Jacobs-Rock; Madleen Kane; Evelyn "Champagne" King; Audrey Landers; Suzi Lane; Cynthia Manley (Boys Town Gang); Kelly Marie; Maxine Nightingale; Scherrie Payne; Wardell Piper; The Ritchie Family, 1975-1978: Gwendolyn Wesley, Cassandra Wooten and Cheryl Mason-Dorman; The Ritchie Family, 1978-1982: Theodosia "Dodie" Draher; Barbara Roy (Ecstasy Passion & Pain); Pamala Stanley; Evelyn Thomas; Jeanie Tracy; Anita Ward; Martha Wash; Carol Williams; Jessica Williams and Norma Jean Wright.
Joining the ranks of Please Kill Me and Can’t Stop Won’t Stop comes this definitive chronicle of one of the hottest trends in popular culture—electronic dance music—from the noted authority covering the scene. It is the sound of the millennial generation, the music “defining youth culture of the 2010s” (Rolling Stone). Rooted in American techno/house and ’90s rave culture, electronic dance music has evolved into the biggest moneymaker on the concert circuit. Music journalist Michaelangelo Matos has been covering this beat since its genesis, and in The Underground Is Massive, charts for the first time the birth and rise of this last great outlaw musical subculture. Drawing on a vast array of resources, including hundreds of interviews and a library of rare artifacts, from rave fanzines to online mailing-list archives, Matos reveals how EDM blossomed in tandem with the nascent Internet—message boards and chat lines connected partiers from town to town. In turn, these ravers, many early technology adopters, helped spearhead the information revolution. As tech was the tool, Ecstasy—(Molly, as it’s know today) an empathic drug that heightens sensory pleasure—was the narcotic fueling this alternative movement. Full of unique insights, lively details, entertaining stories, dozens of photos, and unforgettable misfits and stars—from early break-in parties to Skrillex and Daft Punk—The Underground Is Massive captures this fascinating trend in American pop culture history, a grassroots movement that would help define the future of music and the modern tech world we live in.
One of Oprah Daily's 20 Favorite Books of 2021 • Selected as one of Pitchfork's Best Music Books of the Year “One of the best books of its kind in decades.” —The Wall Street Journal An epic achievement and a huge delight, the entire history of popular music over the past fifty years refracted through the big genres that have defined and dominated it: rock, R&B, country, punk, hip-hop, dance music, and pop Kelefa Sanneh, one of the essential voices of our time on music and culture, has made a deep study of how popular music unites and divides us, charting the way genres become communities. In Major Labels, Sanneh distills a career’s worth of knowledge about music and musicians into a brilliant and omnivorous reckoning with popular music—as an art form (actually, a bunch of art forms), as a cultural and economic force, and as a tool that we use to build our identities. He explains the history of slow jams, the genius of Shania Twain, and why rappers are always getting in trouble. Sanneh shows how these genres have been defined by the tension between mainstream and outsider, between authenticity and phoniness, between good and bad, right and wrong. Throughout, race is a powerful touchstone: just as there have always been Black audiences and white audiences, with more or less overlap depending on the moment, there has been Black music and white music, constantly mixing and separating. Sanneh debunks cherished myths, reappraises beloved heroes, and upends familiar ideas of musical greatness, arguing that sometimes, the best popular music isn’t transcendent. Songs express our grudges as well as our hopes, and they are motivated by greed as well as idealism; music is a powerful tool for human connection, but also for human antagonism. This is a book about the music everyone loves, the music everyone hates, and the decades-long argument over which is which. The opposite of a modest proposal, Major Labels pays in full.
Essays look at the characteristics, development, and artists of the bubblegum pop music genre, from the Archies and the Cowsills in the 1960s to Tiffany in the 1980s and Britney Spears in the 1990s.
Electronic music is now ubiquitous, from mainstream pop hits to the furthest reaches of the avant garde. But how did we get here? In Mars by 1980, David Stubbs charts the evolution of synthesised tones, from the earliest mechanical experiments in the late nineteenth century, through the musique concrete of the Futurists and radical composers such as Pierre Schaeffer and Karl Stockhausen, to the gradual absorption of electronic instrumentation into the mainstream, be it through the BBC Radiophonic Workshop, grandiose prog rock or the DIY approach of electronica, house and techno.Stubbs tells a tale of mavericks and future dreamers, malfunctioning devices and sonic mayhem. But above all, he describes an essential story of authenticity: is this music? Mars by 1980 is the definitive account that answers this question.
In these essays, dancers and scholars from around the world carefully consider the transformation of an improvised folk form from North Africa and the Middle East into a popular global dance practice. They explore the differences between the solo improvisational forms of North Africa and the Middle East, often referred to as raqs sharki, which are part of family celebrations, and the numerous globalized versions of this dance form, belly dance, derived from the movement vocabulary of North Africa and the Middle East but with a variety of performance styles distinct from its site of origin. Local versions of belly dance have grown and changed along with the role that dance plays in the community. The global evolution of belly dance is an inspiring example of the interplay of imagination, the internet and the social forces of local communities. All royalties are being donated to Women for Women International, an organization dedicated to supporting women survivors of war through economic, health, and social education programs. The contributors are proud to provide continuing sponsorship to such a worthwhile and necessary cause.
Decoded is a book like no other: a collection of lyrics and their meanings that together tell the story of a culture, an art form, a moment in history, and one of the most provocative and successful artists of our time. Praise for Decoded “Compelling . . . provocative, evocative . . . Part autobiography, part lavishly illustrated commentary on the author’s own work, Decoded gives the reader a harrowing portrait of the rough worlds Jay-Z navigated in his youth, while at the same time deconstructing his lyrics.”—Michiko Kakutani, The New York Times “One of a handful of books that just about any hip hop fan should own.”—The New Yorker “Elegantly designed, incisively written . . . an impressive leap by a man who has never been known for small steps.”—Los Angeles Times “A riveting exploration of Jay-Z’s journey . . . So thoroughly engrossing, it reads like a good piece of cultural journalism.”—The Boston Globe “Shawn Carter’s most honest airing of the experiences he drew on to create the mythic figure of Jay-Z . . . The scenes he recounts along the way are fascinating.”—Entertainment Weekly “Hip-hop’s renaissance man drops a classic. . . . Heartfelt, passionate and slick.”—Kirkus Reviews (starred review)
