From the concert stage to the dressing room, from the recording studio to the digital realm, SPIN surveys the modern musical landscape and the culture around it with authoritative reporting, provocative interviews, and a discerning critical ear. With dynamic photography, bold graphic design, and informed irreverence, the pages of SPIN pulsate with the energy of today's most innovative sounds. Whether covering what's new or what's next, SPIN is your monthly VIP pass to all that rocks.
Follows the fortunes of the Austin Ice Bats as they wander across Texas, living on junk food and beer, practicing in deserted malls, and navigating slushy ice in too-warm arenas. Writer Jason Cohen joined the team in the locker room between periods, suffered through every bus ride, as he came to know life in desert-style hockey.
During the 1980s, the geography of minor-league professional hockey changed radically, moving from its roots in the Canadian Maritime provinces, New England and the Midwestern states into the American south. In addition to cities like Dallas, Charlotte, Norfolk and Oklahoma City, which had long traditions of minor-league hockey, unlikely places such as Biloxi, Baton Rouge, Little Rock and Augusta hosted teams. Over an 18-year period, minor-league hockey was played in 72 different southern cities, and at one point there were more minor-league teams in Texas than in all of Canada, making Texas the place where many players learned their hockey skills. Hockey Night in Dixie examines this phenomenon with a historical overview of the period, including interviews with people involved in the founding and early years of each of the 13 leagues. There are also in-depth portraits of four teams, one from each of the four lower minor leagues that played during the 2005–06 season. These portraits feature interviews with owners, coaches, players, officials, fans and reporters. Amply illustrated with photographs, Hockey Night in Dixie paints a vivid picture of this extraordinary development in minor-league sports.
Ever wonder who wrangles the animals during a movie shoot? What it takes to be a brewmaster? How that play-by-play announcer got his job? What it is like to be a secret shopper? The new.
An enormous red cow and a 20-foot-tall cowboy have long welcomed all who arrive at the Cowtown Rodeo and Flea Market. In the 1920s, Amos Howard Harris was auctioning automobiles in a livestock town. Realizing he needed to appeal to the locals, he and his son began hosting weekly livestock auctions and inviting local merchants to attend and sell their goods. The idea was a success. In 1929, the Harris family and Cowtown helped revive the local annual fair and rodeo, which continued to exist until World War II. With the popularity of the auction and the growth of the midway market, the operation moved to a larger location in 1940. Then, 15 years later, Cowtown hosted its first full rodeo season. Today, it is the longest continually running weekly professional rodeo in the country. It remains a Harris family business and a South Jersey tradition, attracting visitors from around the world.
Sounds, Ecologies, Musics poses exciting challenges and provides fresh opportunities for scholars, scientists, environmental activists, musicians, and listeners to consider music and sound from ecological standpoints. Authors in Part I examine the natural and built environment and how music and sound are woven into it, how the environment enables music and sound, and how the natural and cultural production of music and sound in turn impact the environment. In Part II, contributors consider music and sound in relation to ecological knowledges that appear to conflict with, yet may be viewed as complementary to, Western science: traditional and Indigenous ecological and environmental knowledges. Part III features multidisciplinary and interdisciplinary approaches by scholars, scientists, and practitioners who probe the ecological imaginary regarding the complex ideas and contested keywords that characterize ecomusicology: sound, music, culture, society, environment, and nature. A common theme across the book is the idea of diverse ecologies. Once confined to the natural sciences, the word "ecology" is common today in the social sciences, humanities, and arts - yet its diverse uses have become imprecise and confusing. Engaging the conflicting and complementary meanings of "ecology" requires embracing a both/and approach. Diverse ecologies are illustrated in the methodological, terminological, and topical variety of the chapters as well as the contributors' choice of sources and their disciplinary backgrounds. In times of mounting human and planetary crises, Sounds, Ecologies, Musics challenges disciplinarity and broadens the interdisciplinary field of ecomusicologies. These theoretical and practical studies expand sonic, scholarly, and political activism from the diversity-equity-inclusion agenda of social justice to embrace the more diverse and inclusive agenda of ecocentric ecojustice.
