The Society Scandal of the Season... Lady Adelaide Compton had prepared herself to say goodbye forever to Detective Inspector Devenand Hunter. It would be a welcome relief not to get mixed up in any more murders, even if it meant never working alongside the handsome detective again...wouldn't it? But then Addie's prim and proper mother, Constance, the Dowager Marchioness of Broughton, is accused of murdering her secret lover, and there can't be enough gentlemen detectives on hand to find the truth. The dead Duke of Rufford appeared to lead a blameless life, but appearances can be deceiving. And unless Addie and Dev work together, Constance will hang—which is no one's idea of a happy ending.
In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.
About the Book THE GREEN BOOK, VOL. 1: The Intertwined Musical and Historical Journey by People of Color in America provides a comprehensive exploration of the music that occurred alongside some of American history’s biggest events. This impressive and extensive guide spans from 1380 until 1959. This book's purpose is to share, illuminate, and stick to the positive achievements of the people who’ve helped to spread the message of music. That will include all the musicians, singers, and lyricists who helped the fans to appreciate the various styles of music that we have today. About the Author Raymond was a native of New York City and a product of schools in Brooklyn. He worked in all three levels of government. He has spent the past fifty five years gathering and exploring America’s musical journey. His primary motivation for writing this book was to seek out and amass a stream of verifiable truths. He is a fan of most styles of music, though he does struggle to find a love for hard rock and bluegrass at times. McNeil’s ultimate goal is to share his love of music and history and the ways in which they intertwine together throughout the years.
This comprehensive two-volume set brings together all aspects of the blues from performers and musical styles to record labels and cultural issues, including regional evolution and history. Organized in an accessible A-to-Z format, the Encyclopedia of the Blues is an essential reference resource for information on this unique American music genre. For a full list of entries, contributors, and more, visit the Encyclopedia of the Blues website.
A groundbreaking history of African Americans in the early recording industry, Lost Sounds examines the first three decades of sound recording in the United States, charting the surprising roles black artists played in the period leading up to the Jazz Age and the remarkably wide range of black music and culture they preserved. Drawing on more than thirty years of scholarship, Tim Brooks identifies key black recording artists and profiles forty audio pioneers. Brooks assesses the careers and recordings of George W. Johnson, Bert Williams, George Walker, Noble Sissle, Eubie Blake, the Fisk Jubilee Singers, W. C. Handy, James Reese Europe, Wilbur Sweatman, Harry T. Burleigh, Roland Hayes, Booker T. Washington, and boxing champion Jack Johnson, plus a host of lesser-known voices. Many of these pioneers struggled to be heard in an era of rampant discrimination. Their stories detail the forces––black and white––that gradually allowed African Americans to enter the mainstream entertainment industry. Lost Sounds includes Brooks's selected discography of CD reissues and an appendix by Dick Spottswood describing early recordings by black artists in the Caribbean and South America.
From the beginning of the American Occupation in 1945 to the post-bubble period of the early 1990s, popular music provided Japanese listeners with a much-needed release, channeling their desires, fears, and frustrations into a pleasurable and fluid art. Pop music allowed Japanese artists and audiences to assume various identities, reflecting the country's uncomfortable position under American hegemony and its uncertainty within ever-shifting geopolitical realities. In the first English-language study of this phenomenon, Michael K. Bourdaghs considers genres as diverse as boogie-woogie, rockabilly, enka, 1960s rock and roll, 1970s new music, folk, and techno-pop. Reading these forms and their cultural import through music, literary, and cultural theory, he introduces readers to the sensual moods and meanings of modern Japan. As he unpacks the complexities of popular music production and consumption, Bourdaghs interprets Japan as it worked through (or tried to forget) its imperial past. These efforts grew even murkier as Japanese pop migrated to the nation's former colonies. In postwar Japan, pop music both accelerated and protested the commodification of everyday life, challenged and reproduced gender hierarchies, and insisted on the uniqueness of a national culture, even as it participated in an increasingly integrated global marketplace. Each chapter in Sayonara Amerika, Sayonara Nippon examines a single genre through a particular theoretical lens: the relation of music to liberation; the influence of cultural mapping on musical appreciation; the role of translation in transmitting musical genres around the globe; the place of noise in music and its relation to historical change; the tenuous connection between ideologies of authenticity and imitation; the link between commercial success and artistic integrity; and the function of melodrama. Bourdaghs concludes with a look at recent Japanese pop music culture.
