36 pagesprinted in Englandstaple bound14cm x 20cm Between 1976 and 1981 Rock Against Racism and the youth of Britain unleashed the explosive rebel chemistry of Punk and Reggae bands in a five year festival of multi culturalism. Under the slogan ‘Love Music, Hate Racism’, Rock Against Racism took on the orthodoxy through 5 Carnivals, and over 500 gigs throughout the UK. In those five years the National Front went from a serious electoral threat into political oblivion.

36 pages printed in Englandstaple bound14cm x 20cm

36 pagesprinted and manufactured in Englandstaple bound14cm x 20cm I often think back and thank my lucky stars that I just happened to arrive in Manchester in 1988. I’d enrolled on a Photography Course at Manchester Polytechnic and while still only 22, I was ready for a new chapter in my life after leaving behind my past in Birmingham. I had no idea that I was about to walk into the global phenomenon that the media called “MADCHESTER”. The Years of 1989–91 in Manchester saw an incredible explosion of creativity across many art forms and it certainly wasn’t just the music scene that benefitted. If you’re thinking Madchester only meant Happy Mondays & the Stone Roses then think again. There was also the poets, comedians, designers, entrepreneurs, journalists, DJs, photographers, — artists of all descriptions, as well as all round chancers that helped give the city an incredible buzz and ensuring the rest of the world was looking on with envy. As a Photographer I was perfectly set up to cover what was developing. I’d set up my Photo studio and darkroom where I was living, which at the time was a squat in one of the four big crescents which dominated the district of Hulme. Squatting in Hulme was really convenient, not only did it mean all my money could go on photography but also meant I was walking distance to the centre of Manchester, where all the fun was. I couldn’t help but get caught up in all the general mayhem, momentum and energy that these years provided. I became determined as much as possible to document what was going on around me.

Including images of The Roxy, Sunsplash, the Marquee, The Tunnel NYC, Rock Against Racism, Notting Hill Carnival, Exploited, Empire Ballroom, Wetlands, Gossips, Glastonbury. David Corio began his freelance photography career in 1978 after leaving art school at the age of 18. Moving to London he began taking portraits and going to concerts and clubs across the capital for personal projects and as assignments for New Musical Express, Time Out, The Face and Black Echoes. He worked at London listings magazine City Limits in the early 1980’s helping to write the music listings and editing their Nightclub section. He moved to New York in 1992 for 16 years continuing to shoot musicians, nightlife and the arts for the New York Times, The Times and various reggae and hip hop record labels and magazines. From daytime bhangra shows at Leicester Square’s Empire Ballroom to the first hip hop club in Soho’s ‘Gossips’ and the first Jungle Club in NYC, this collection of Fans and Clubbers, taken over an 18 year period shows many different musical genres in their infancy - their energy and excitement still fresh and raw. David Corio’s photographs are held by the National Portrait Gallery, The Victoria & Albert Museum, The ICA and The Photographer’s Gallery, London and the National Museum of African American History and Culture, Washington DC and the Institute of Contemporary Photography, NYC.

36 pagesprinted and manufactured in Englandstaple bound14cm x 20cm

36 pagesprinted in Englandstaple bound14cm x 20cm

Including images of:Madonna Lookalike Competition, Scala Allnighter, Elton John, Jim Thirlwell Portobello, Spider Stacey The Pogues, REM, Martin Degville, The Ace Brixton, The Tube —Muriel Gray, Jools Holland, Paula Yates, Mike Monroe, Valley of the Dolls, Babysitters, Marionette at Alice In Wonderland, Gossips, Donington Monsters Of Rock, Kensington Market, Ja

Sounding Fragilities enacts a polyphony of writing on contemporary composition, music and performing arts in relation to music theatre. Co-edited by a theatre and performance scholar and by a composer and artistic researcher, this anthology considers its field of investigation through the lens of positionalities. Irene Lehmann and Pia Palme invite readers into intimate encounters with an artist’s practice, feminist and queer perspectives, and personal explorations into aspects of musicology, theatre studies, technology and ecology. By presenting female* composers who write with/through/about their own practice, Sounding Fragilities is a remarkable contribution to an interdisciplinary debate around the agency of artistic research. With this synthesis, the editors evaluate how moving beyond the binary of art and science reveals the rich yet fragile territories of artistic knowledge-production and literacy in music theatre. Sounding Fragilities. An Anthology brings together essays, discussions and interventions on contemporary music, dance and music theatre to offer a polyphony of new approaches to listening, watching, composing and performing. Artistic and academic researchers present reflections and insights into the fragilities of artistic materials, collaborations and the communities that build around live performances. Challenging the idea of isolated composers, choreographers, audience members and academic researchers, they stress instead the interconnectedness of these positions as indispensable elements of thriving performance and research. This feature of all live performance is envisaged by several of the book’s contributors as linked to political, democratic thought and ecological or feminist thinking. Sounding out the relationality, brittleness, fragility, transitoriness, and beauty of live performance, this anthology stresses the urgency of coming together and interacting as a foundation for human and political relations; an urgency intensified by the current overlapping crises in politics, health and ecology.

One of the most original, amazing stories I've ever read' - Mary GaitskillFrom iconoclastic writer and musician Adele Bertei comes a wholly original hero's journey that wages war on the cliché of the “misery memoir.” Set in a 1960s and ’70s American neighborhood rife with poverty and violence, fatherless Irish mothers and Italian mobsters, and women crucified into madness by misogyny, Bertei speaks through her electrically alive avatar Maddie Twist to flip the victim script. Through her unshakable belief in imagination, poetry, music, and community, she transforms trauma into survival. The immediacy of Maddie’s voice is a revelation, providing insight into long-enduring systemic problems without the scrim of adult analysis. In an age of lies and obfuscation, Twist is a sharp yet tender arrow to the heart of naked truth.Bertei reveals what it's like to be a queer teen at a time when discovery could be fatal. Maddie peers deeply into the American psyche, refusing to consent to the systems of harm. Along the way we encounter an unforgettable schizophrenic mother, Catholic saints, West Side Story and Oliver!, poet killers, the abyss of rape, girl-gangsters and faux-pimps, teenage lesbian sex, racial tensions and misconceived divides, a drag family known as the Holy Maudlins, Vietnam vets in dark and light, cabaret, true family, rock and roll. And the ultimate saving grace: love.A compelling personal history of queer culture from a working-class view and a glimpse into worlds yet unseen, Twist is good medicine: for readers who've experienced similar traumas, for teens caught in the foster care system, for the formerly incarcerated looking for hope, for writers grappling with how to tell their own stories. Most of all, it’s for everyone seeking transportive experiences in art and on the page.

The design, history, and cultural impact of turntables and vinyl technology: the twin powerhouses of the 'vinyl revival' phenomenon Interest in turntables and records is enjoying a renaissance as analog natives and new converts find their enduring style and extraordinary sound inimitable. Revolution, a follow-up to Phaidon's beloved Hi-Fi: The History of High-End Audio Design, explores the design and cultural impact of the turntable, the component at the center of the 'vinyl revival'. An essential book for audiophiles, collectors, and design fans, Revolution showcases the fascinating history of turntables and vinyl technology from the 1950s to today's cutting-edge designs. Written by Schwartz, author of Hi-Fi: The History of High-End Audio Design, who is an audio design expert and passionate about analog music, this book includes 300 illustrations from the world of turntables, from affordable to high-end, and everything in between. An essential addition to the bookshelf for analog natives and those new to the vinyl revival as well as music and design lovers.

A new edition as part of the Faber Greatest Hits – books that have taken writing about music in new and exciting directions for the twenty-first century. InThe Dark Stuff, Nick Kent profiles twenty-two of the most gifted and self-destructive talents in rock history. From Brian Wilson to Syd Barrett, the Rolling Stones to Neil Young, Iggy Pop to Lou Reed, he offers intimate portraits that are unimaginable in the world of today's market driven music business.

On the Circulation of Blood was a slowly moving artwork that progressed in a sporadic and circumlocutory fashion through Folkestone during the five months of the Creative Folkestone Triennial 2021. Conceived and curated by artist Sam Belinfante, the work drew on Folkestone’s history as a fishing community, the piece involved moving and dragging large-scale nets across the town, and hanging them on structures erected at two important sites in Folkstone’s collective past and present: its windswept seaside Amphitheatre, and the historical ‘Drying Grounds’ outside St Peter’s School. The moving and draping of these nets culminated in a set of performances that brought together community groups with artists and musicians. This anthology brings together the work of six composers who created duets for voice and/or percussion for On The Circulation of Blood. It includes an introduction by Sam Belinfante, album liner notes by artist, composer and performer Neil Luck, as well as documentary photography of the performances.

The book arrives as signed and numbered 24 page staple bound booklet, printed in black and white on Keaykolour 100% recycled paper. Printed by Aldgate Press. Thanks to Max Bondi for his advice. Written during a bout of illness that prevented Foster from playing and performing music, Kneel to Heal is the first illustrated chapbook from musician Josephine Foster and a grateful offering to the restorative power of nature. Across 24 pages, Foster muses upon the simple joys of just being in the world, her figures traversing a landscape of words and imagery that is both playful and deeply felt. There is an uncluttered simplicity to Foster's art, at once charming and profound; a sense of calm and openness reflective of her feeling during its making "of being drawn profoundly into and toward silence" Conjuring the easy fluidity of Shel Silverstein, or the dreamlike, transportive scenes of Marc Chagal, Foster's brushwork digs deep into the soil whilst looking up to the stars. There are no weighty proclamations, no authoritative conclusions, just a shared wonder and a sense of time unfurling alongside the book's creation that offers solace both in its giving and its receiving. The joys of the natural world may be fleeting but Foster seems to suggest that there is no cause for despondency in this, merely an acceptance that this is how reality is. Nevertheless, "what emerges from the mystery.. and that real reality.. will heal".

In the early 1960s, pianist Horace Tapscott gave up a successful career in Lionel Hampton's band and returned to his home in Los Angeles to found the Pan Afrikan Peoples Arkestra, a community arts group that focused on providing community-oriented jazz and jazz training. Over the course of almost forty years, the Arkestra, together with the related Union of God's Musicians and Artists Ascension collective, was at the forefront of the vital community-based arts movement in Black Los Angeles. Some three hundred artists-musicians, vocalists, poets, playwrights, painters, sculptors, and graphic artists-passed through these organizations, many ultimately remaining within the community and others moving on to achieve international fame.In The Dark Tree, Steven L. Isoardi draws on one hundred in-depth interviews with the Arkestra's participants to tell the history of the important and largely overlooked community arts movement of Black Los Angeles. This revised and updated edition brings the story of the Arkestra up to date, as its ethos and aesthetic remain vital forces in jazz and popular music to this day.

In Breaks in the Air John Klaess tells the story of rap’s emergence on New York City’s airwaves by examining how artists and broadcasters adapted hip hop’s performance culture to radio. Initially, artists and DJs brought their live practice to radio by buying time on low-bandwidth community stations and building new communities around their shows. Later, stations owned by New York’s African American elite, such as WBLS, reluctantly began airing rap even as they pursued a sound rooted in respectability, urban sophistication, and polish. At the same time, large commercial stations like WRKS programmed rap once it became clear that the music attracted a demographic that was valuable to advertisers. Moving between intimate portraits of single radio shows and broader examinations of the legal, financial, cultural, and political forces that indelibly shaped the sound of rap radio, Klaess shows how early rap radio provides a lens through which to better understand the development of rap music as well as the intertwined histories of sounds, institutions, communities, and legal formations that converged in the post-Civil Rights era.

A history of 1960s activist art group Black Mask. With Up Against the Real, Nadja Millner-Larsen offers the first comprehensive study of the group Black Mask and its acrimonious relationship to the New York art world of the 1960s. Cited as pioneers of now-common protest aesthetics, the group’s members employed incendiary modes of direct action against racism, colonialism, and the museum system. They shut down the Museum of Modern Art, fired blanks during a poetry reading, stormed the Pentagon in an antiwar protest, sprayed cow’s blood at the secretary of state, and dumped garbage into the fountain at Lincoln Center. Black Mask published a Dadaist broadside until 1968, when it changed its name to Up Against the Wall Motherfucker (after line in a poem by Amiri Baraka) and came to classify itself as “a street gang with analysis.” American activist Abbie Hoffman described the group as “the middle-class nightmare . . . an anti-media phenomenon simply because their name could not be printed.” Up Against the Real examines how and why the group ultimately rejected art in favor of what its members deemed “real” political action. Exploring this notorious example of cultural activism that rose from the ruins of the avant-garde, Millner-Larsen makes a critical intervention in our understanding of political art.

Melodrama, biography, cold war thriller, drug memoir, essay in fragments, mystery – Fassbinder Thousands of Mirrors is cult critic Ian Penman’s long awaited first original book, a kaleidoscopic study of the late West German filmmaker Rainer Werner Fassbinder (1945–1982). Written quickly under a self-imposed deadline in the spirit of Fassbinder himself, who would often get films made in a matter of weeks or months, Fassbinder Thousands of Mirrors presents the filmmaker as a pivotal figure in the late 1970s moment between late modernism and the advent of postmodernism and the digital revolution. Compelling, beautifully written and genuinely moving, echoing the fragmentary and reflective works of writers like Barthes and Cioran, this is a story that has everything: sex, drugs, art, the city, cinema and revolution.

This year marks the golden anniversary of the Art Ensemble of Chicago, the flagship band of the Association for the Advancement of Creative Musicians. Formed in 1966 and flourishing until 2010, the Art Ensemble distinguished itself by its unique performance practices members played hundreds of instruments on stage, recited poetry, performed theatrical sketches, and wore face paint, masks, lab coats, and traditional African and Asian dress. The group, which built a global audience and toured across six continents, presented their work as experimental performance art, in opposition to the jazz industry's traditionalist aesthetics. In Message to Our Folks, Paul Steinbeck combines musical analysis and historical inquiry to give us the definitive study of the Art Ensemble. In the book, he proposes a new theory of group improvisation that explains how the band members were able to improvise together in so many different styles while also drawing on an extensive repertoire of notated compositions. Steinbeck examines the multimedia dimensions of the Art Ensemble's performances and the ways in which their distinctive model of social relations kept the group performing together for four decades. Message to Our Folks is a striking and valuable contribution to our understanding of one of the world's premier musical groups.