amaican dancehall has long been one of the most vital and influential cultural and artistic forces within contemporary global music. Wake the Town and Tell the People presents, for the first time, a lively, nuanced, and comprehensive view of this musical and cultural phenomenon: its growth and historical role within Jamaican society, its economy of star making, its technology of production, its performative practices, and its capacity to channel political beliefs through popular culture in ways that are urgent, tangible, and lasting.Norman C. Stolzoff brings a fan’s enthusiasm to his broad perspective on dancehall, providing extensive interviews, original photographs, and anthropological analysis from eighteen months of fieldwork in Kingston. Stolzoff argues that this enormously popular musical genre expresses deep conflicts within Jamaican society, not only along lines of class, race, gender, sexuality, and religion but also between different factions struggling to gain control of the island nation’s political culture. Dancehall culture thus remains a key arena where the future of this volatile nation is shaped. As his argument unfolds, Stolzoff traces the history of Jamaican music from its roots in the late eighteenth century to 1945, from the addition of sound systems and technology during the mid-forties to early sixties, and finally through the post-independence years from the early sixties to the present. Wake the Town and Tell the People offers a general introduction for those interested in dancehall music and culture. For the fan or musicologist, it will serve as a comprehensive reference book.

544 page English/German Edition. In 2002 Christian Wolff was a guest composer at the Huddersfield Contemporary Music Festival and during the course of the festival he was interviewed by Christopher Fox and by James Gardner. Fox's interview took place before an audience in the Lawrence Batley Theatre on 25 November; Gardner's interview was recorded in private in the George Hotel, Huddersfield on 27 November, and edited excerpts from that recording were subsequently used in a programme produced by Radio New Zealand. The conversation presented here has been compiled by James Gardner from his transcriptions of the two interviews and presents a wide-ranging discussion of Wolff's musical preoccupations across every phase of his compositional career, from the early piano pieces of the 1950s, to his involvement with indeterminacy in the 1960s, to the political concerns evident in his music after 1970, to the works of the last three decades in which indeterminate and determinate methods of composition are combined.

On Late Style examines the work produced by great artists -Beethoven, Thomas Mann, Jean Genet among them - at the end of their lives. Said makes it clear that, rather than the resolution of a lifetime's artistic endeavour, most of the late works discussed are rife with contradiction and almost impenetrable complexity. He helps us see how, though these works often stood in direct contrast to the tastes of society, they were, just as often, announcements of what was to come in the artist's discipline - works of true artistic genius.

Comprises scholarly engagements with the various outputs of the prolific Berlin based German artist Ulrike Ottinger born in Constance in 1942 to a Jewish mother and a non-Jewish father both of whom were protected from the Nazis by the paternal grandmother. The book consists of thirteen contributors, one commentator and 5 interviews. 20 b&w; illus.

From her childhood in Detroit to her professional career in New York City, American composer Lucia Dlugoszewski (1925–2000) lived a life of relentless creativity as a poet and writer, composer for dance, theater, and film, and, eventually, choreographer. Forging her own path after briefly studying with John Cage and Edgard Varèse, Dlugoszewski tackled the musical issues of her time. She expanded sonic resources, invented instruments, brought new focus to timbre and texture, collaborated with artists across disciplines, and incorporated spiritual, psychological, and philosophical influences into her work. Remembered today almost solely as the musical director for the Erick Hawkins Dance Company, Dlugoszewski's compositional output, writings on aesthetics, creative relationships, and graphic poetry deserve careful examination on their own terms within the history of American experimental music.

'John Cage is probably the most influential composer of the mid-twentieth century...But one doesn't need to think of Cage in the context of history. What matters is that in his autonomous Now, he's a force in our lives which we cannot negate.' The Guardian Why does the letter 'M' stand alone as the title of this book by the author of Silence and For the Birds? The dictionary gives the definition of 'M' as the 13th letter of the alphabet, the symbol for 1000, and if you think they fit, they do. Or you may find clues in Cage's topics, words beginning with M that figure among the author's concerns: including music, mesostics, Marcel Duchamp and making matters worse. From Buckminster Fuller to Chairman Mao, from Merce Cunningham to mushrooms - here are some of the most poetic, visually rich and syntactically free texts that John Cage ever produced. 'M is a visually stunning production. Here is one of the important artistic statements of our time.' The Sunday Times

Archive Books, 2021 published in February 2021 English edition 13 x 20 cm (softcover) 264 pages   ISBN : 978-3-948212-11-7 EAN : 9783948212117A collection of essays, librettos, lyrics, memories, photos, personal anecdotes by musicians, visual artists, researchers and archivers that pays homage to the work and life of African-American composer, musician, performer, activist Julius Eastman.   The book investigates his legacy beyond the predominantly Western musicological format of the tonal or harmonic and the framework of what is today understood as minimalist music. By trying to complicate, deny or expatiate on the notions of the harmonic, tonal hierarchy, the triadic, or even the tonal centre, Eastman's compositions explore strategies and technologies of attaining the atonal. One might be tempted to see Eastman in the legacy of Bartok, Schoenberg, Berg and others, but here too, it is worth shifting the geography of minimal tendencies and minimalism in music. It is worth listening and reading Eastman's music within the scope of what Oluwaseyi Kehinde describes as the application of chromatic forms such as polytonality, atonality, dissonance as the fulcrum in analysing some elements of African music such as melody, harmony, instruments and instrumentation.   This publication constructs a non-linear genealogy of Eastman's practice and his cultural, political and social relevance, while situating his work within a broader rhizomatic relation of musical epistemologies and practices.   ---   Julius Eastman (1940-1990) was an American composer, pianist, vocalist, and dancer whose work fell under minimalism. He was among the first composers to combine minimalist processes with elements of pop music.   There was some for John Cage, then came Christian Wolff, and finally Morton Feldman, from this school in New York. Only Julius Eastman remained outside the game, the last figure, the most solitary and enigmatic—undoubtedly also one of the most powerful. In the 1970s and 1980s, Eastman was one of the very few African-Americans to gain recognition in the New York avant-garde music scene. He was politically committed, a figure of queer culture and a solar and solitary poet whose melancholy influenced his genius as well as his tragic destiny: suffering from various addictions, declared missing, actually homeless. During Winter of 1981-82, he got deported from his apartment by the police, who destroyed most of what he owned—including scores and recordings. He was found dead in 1990, on the streets of Buffalo, after years of vagrancy.   ---   Edited by: Federica Bueti, Antonia Alampi, Bonaventure Soh Bejeng Ndikung. Contributions by Antonia Alampi, Rocco Di Pietro, Kodwo Eshun, Federica Bueti, Sean Griffin, Sumanth Gopinath, Jean-Christophe Marti, Josh Kun, Elaine Mitchener, Malak Helmy, Bonaventure Soh Bejeng Ndikung, Marie Jane Leach, George E. Lewis, Berno Odo Polzer, Pungwe, Christine Rusiniak.   ---

An account of an album about Albania by British experimental musicians made in the eighties. Also involving stories about the Albanian Society, William Bland, A. L. lloyd, RCPB ML, and Cornelius Cardew.From Scratch is a story of Albanian Summer: An Entertainment, an LP album released by Practical Music in London in 1984. The album was composed by Dave Smith, musician and a member of The Scratch Orchestra, and performed by Janet Sherbourne and Jan Steele, improvised and classical musicians. Through interviews, archival materials, and hard-to-find essays the publication contextualizes the background of British experimental musicians’ interest in socialist Albania. It includes new interviews with Dave Smith and Jan Steele, three essays by Smith on Albanian music and culture, an essay by Gavin Bryars on Smith’s music, discussions on the influence of A.L. Lloyd and Cornelius Cardew, and the role of the Albanian Society in the UK.The book will introduce new insight into the leftist internationalist background of British experimental music influenced by the work of Cardew.Apart from the musical internationalism, the book also includes a section of nine abstract slogans depicting the political and artistic contradictions of socialist Albania; annotated bibliography of books published in different languages on Albania; the collection of images taken from the biweekly Zëri i Rinisë (The Voice of Youth) published in 1984 and 1985.Designed by Ott Kagovere, the book is edited and co-published by Pykë-Presje, a collective from Prizren, Kosovo.The book is commissioned by Manifesta 14 Prishtina.

The pearls of the Gulf have stoked the imagination and desire of people around the world for centuries their magnificence matched only by the courage of the divers who found them. "Nahma : A Gulf Polyphony / نهمة: تعدد الغناء الخليجي" aims to honor the memory of these valiant free-divers, their culture and their music by the means of a transmedia object including: A 240 pages art book (Arabic – English) featuring the contributions from artist, writers and experts in this tremendously rich theme such as Monira al Qadiri, Talin Hazbar, Toufik Kerbage or Talal Mattar.

The Grass is Green in the Fields for You TGIGITFFY is proud to present Punk is Dad by Jamie Johns; an engaging, powerful and important text now released in an open edition. Originally released in 2011 as a beautifully produced edition of 35 by Oso Press of Los Angeles, USA we're now able to deliver a near-facsimile edition with a wider distribution. Original and appropriated images and texts that convey gendered dialogues in punk and noise-related media. Fold-out of Dorothy single cover. To quote a dear friend and collaborator "It is embarrassing to talk about PUNK IS DAD because Jamie's presentation is so succinct you end up using twice as many words as her only to clomp and lurch around its perfection. I will just say that this zine is sharply vindicating for people who love punk but also think about its contradictions, its recuperation, and its deep possibility so undermined by the alienating force of male punk attitude. And if you haven't really thought about these things so much, but you love punk, it will turn your body to a skeleton. ”

'Tweenty–Nine Thousand Nights: A Communist Life is an unusual chronicle of the personal journey of Nan Berger through her writings, intelligence reports and visual images. From a wealthy middle class Northern family, Berger was drawn to the Communist Party in the 1930s because of her horror of fascism. Shocked by the tactics of the British police at an anti- fascist meeting, she became a lifelong campaigner for Civil Liberties. World War Two brought her into the civil service and she was awarded an OBE in 1948 for her work in the Ministry of Fuel. Nevertheless in the changed post-war world she found herself regarded as lacking qualifications. Through the Communist Party and the National Assembly of Women, Nan Berger became an early critic of gender inequality, writing Woman Fancy or Free? with Joan Maizels. This intriguing exploration of documents from one woman’s life conveys the many unexpected byways of left political commitment in the Twentieth Century, bringing to the surface a wider social history.’ ­– Sheila Rowbotham ‘Nan Berger is no Rosa Luxemburg or La Pasionaria but a conventional Englishwoman with not much in her head, from a respectable Tory home in Southport. Joining the Communist Party emancipates and educates her, opening her eyes to the world’s suffering and inequalities. With its collage of documents, MI5 surveillance reports and contemporary photographs, this is a vivid account of the transforming power of progressive politics in one woman’s life.’ – Alison Light Commissioned for Beyond Words, Ruth Ewan has unearthed an unpublished manuscript of Nan Berger (1914–1998) – international activist, writer and editor, and lifelong member of the Communist Party. Now a forgotten figure she gained brief public recognition for her work in the Ministry of Transport, resolving the coal crisis in the winter of 1947–48 for which she was awarded an OBE. Her autobiography is unfinished, consisting of contemporary notes alongside more detailed accounts of parts of her life: the anti-fascist struggles of the 1930s, pre-war USA, post-war life in Poland, China and her activities with the National Council of Civil Liberties and the anti-apartheid struggle. The gaps are filled by Ruth Ewan with archival material that ranges from MI5 surveillance files, family photographs, archived journals and publications, that presents evidence of an extraordinary life of radical politics and compassion for others. Ruth Ewan is an artist based in Glasgow, and is known for creating context specific artworks. She works with found material, history, collaborators and participants to realise her projects, which are often grounded in focused research into hidden social and political histories.

Published by Public Bath Press, paperback + CD, 244 pp, 2019 "The acclaimed collection by Seiichi Yamamoto with all new art, photography and a new CD of remixed and new music by Omoide Hatoba and Suido Megane Satsujin Jiken." - Publisher Public Bath Press "Of course, Seiichi Yamomoto is famous as the visionary guitarist of The Boredoms, Omoide Hatoba, Rashinban, Live Under The Sky, Most, Para, Novo Tono and many, many, more projects. His solo work is extensive. He is also proprietor of live house Namba Bears, home of the most interesting shows in Osaka. In the mid-1990s, when Boredoms mania was at its peak, Yamamoto-san was asked by Guitar Magazine to write a regular column. This book represents the best of that writing, with added poetry, fiction and art. "Less well known, at least overseas, is that he is also a fine artist and photographer, having been featured in several solo shows at galleries. "Yamamoto-san has an enigmatic, opaque way of speaking/writing that can feel simultaneously very warm and somehow off-putting. He is basically a very shy person who yet seems to spend most of his time on a stage in the spotlight. "Ginga is the Japanese word for Milky Way, but here it is written in katakana and not its customary kanji (meaning silver river) so who knows if it means anything. He asked me if Gitabarrio, the repeating title of his column, meant anything to me. I said that I could see Gita, the song of the blessed one, and with a stretch, guitar, coming from his own barrio??? He merely smiled. Now it's your turn."- Translator Kato David Hopkins

“This is the prize-winning history of the music known as Enka, one of the dominant forms of postwar popular music, that rearranged everyone’s understanding of the history of postwar pop. Love it or hate it, Enka is a necessary background for anyone hoping to understand the music of Japan. With a new introduction by the author and full color printing (unlike the Japanese original), this is a must-have for your collection.”

Published by Public Bath Press, paperback & CD, 312 pp, 2017 The English translation of legendary folk singer Mikmai Kan's autobiography is now available. The book comes with a CD of Mikami live in Sapporo in February of 2017. The book is a complete translation of Folk ni Ikiru, with additional autobiographical writing and interview material added. Clive Bell writes in The Wire 412: "Hopkins has done a great job with a wild text. He has fleshed out the story by including extracts from Mikami's 1973 writings, plus an interview reviewing the ten records he made in the 1970s when Columbia tried repeatedly (and failed) to make him a star... The lasting impression is Mikami's passion in everything he tackles, and his thoughts about his spiritual and artistic path as he approaches his 70th birthday: 'In order to keep your essence pure, you have to become dirtier than the thing that tries to foul your pure essence'."

Issue 3 of the ongoing zine dedicated to researching the importance of Coil. A5, perfect bound, 72 pages. Contents Singularities of Art and Nature by John Coulthart “There’s a Man Laying Down in a Grave Somewhere” Poem for Jhonn Balance by Joseph Breitman "Shadows only exist when the spotlight is on" An Interview with Mead McLean “In Perpetual Motion”: The Coil Manifesto as Theory in Practice by Nick Soulsby Coil’s Fano Concert by Kiefer Gorena Peter Christopherson Is Alive And Well And Living In Parentheses! by Nick Hudson

36 pages printed in Englandstaple bound14cm x 20cm

The final iteration of Rainer's dance rant A Truncated History of the Universe for Dummies, accompanied by texts offering a real-time account of Rainer's creative process. Choreographer and filmmaker Yvonne Rainer has long investigated the ways in which movement can be a political act in and of itself—on the stage, on the screen, or at the lectern. In Revisions, Rainer pushes her interest in embodied activism to a new arena: what she calls the “dance rant.” This volume includes the final iteration of Rainer's latest dance rant, entitled A Truncated History of the Universe for Dummies. This performance piece evolved in live presentations in Dublin, Stockholm, and New York before being expanded and adapted in written form here. In this now-completed work, Rainer mobilizes her rage and bafflement at contemporary political events through the guise of Apollo, Leader of the Muses. Revisions also includes a compilation of emails and diary entries that provide a real-time account of Rainer's process of creating and workshopping a dance. “Pedagogical Vaudeville 3” reveals Rainer's consistent interest in reworking and reconsidering material across multiple mediums, formats, and contexts, and offers a unique glimpse at the working methods of one of this century's preeminent dance artists. Bookended with an introduction by artist and scholar Gregg Bordowitz and an analysis of Rainer's AG Indexical with a Little Help from H. M. by dance historian Anna Staniczenko, these texts serve not only as a revision of the conventional understanding of five decades of Rainer's production, but also as a timely manual for performance as an act of resistance.

January 2023, English/German14×21 cm, 224 pages, 88 color ill., softcover with dust jacket Edited by SERGIO EDELSZTEIN, FANNI FETZER Texts by SERGIO EDELSZTEIN, FANNI FETZER, JEAN-PIERRE REHMRoee Rosen’s film Kafka for Kids is set as the pilot episode for a TV series that perversely aims to make Kafka’s tale “Metamorphosis” palpable for toddlers. In its title, the film Kafka for Kids implies that the intellectual great of modern literature will finally be presented in a way that is generally understandable. Roee Rosen wants to present Franz Kafka, of all people, with his contorted thought constructions, in a way that is even accessible to kids! But unfortunately, that’s not how things turn out: the star writer of the educated middle class is not simplified, but his story becomes much more complex, corresponding to reality, for reality is more complicated than we like to represent using biaxial graphs. Featuring the original script of the movie, readers are invited to dive into a magical story, followed by essays that give a deeper insight in the literary aspects of Roee Rosen’s oeuvre. A stowaway on the journey, Rosen playfully and with wonderful self-irony, does not negate the complexity of the present, but takes it to the next level by exploring how all things are interlinked. Rosen neither doubts the complexity of our reality, nor does he oversimplify to a fault.