As defined by Wikipedia, beach music—also known as Carolina beach musi and, to a lesser extent, beach pop—is a regional genre that developed from various musical styles of the forties, fifties, and sixties. These styles ranged frombig-band swing instrumentals to the more raucous sounds of blues/ jump blues, jazz, doo-wop, boogie, rhythm and blues, reggae, rockabilly, and old-time roc k and roll. Beach music is closely associated with the style of the swing dance known as the shag or the Carolina shag, which is also the official state dance of both North Carolina and South Carolina. Recordings with a 4/4 blues shuffle rhythmic structure and moderate-to-fast tempo are the most popular music for the shag, and the vast majority of the music in this genre fit that description.
St. Croix, US Virgin Islands, a Caribbean island, had a large number of black tradesmen who operated their own shops in its towns. These men passed on vital technical skills to their sons and apprentices, so those colonial crafts persisted during the Danish era. A few trades have continued for over a hundred years of American rule. Two of the tradesmen featured in this book, Peter G. Thurland Sr. and Alphonso Forbes, participated as musicians in the transfer ceremony of the Danish West Indies to the United States in the town of Christiansted, St. Croix, on March 31, 1917, while one tradesman, Carlos H. McGregor, observed the event. The tradesmen documented in this publication include a blacksmith, mason, shoemaker, tailor, two goldsmiths, and two joiners. They started out as young apprentices and went on to master a trade and operate their own workshop or business. These native black men contributed to the economic, social, and political life of St. Croix through periods of prosperity and financial hardships. These tradesmen were respected by people in the community and are a vital part of the island’s history and culture.
(Book). Here is the story of an often overlooked, one-of-a-kind rock 'n' roll musician and the historic times he lived in. In spite of numerous opportunities for success, he became a tragedy. Jerry Nolan came out of New York in the 1970s as part of two of the most influential and infamous bands of the time, the proto-punk New York Dolls and Johnny Thunders' Heartbreakers. Jerry had what it took to be a star, but his battles with heroin continually stymied his career and ultimately ended his life. Despite this, he is remembered as a cross between a Martin Scorsese film character and jazz legend Gene Krupa: a stylish, urban, wisecracking, trendsetting raconteur, who was also a powerhouse drummer. Stranded in the Jungle: Jerry Nolan's Wild Ride A Tale of Drugs, Fashion, the New York Dolls, and Punk Rock tells Jerry's story through extensive research and interviews with those closest to him: bandmates, friends, lovers, and family members, including new interviews with members of Rock and Roll Hall of Fame bands the Sex Pistols, the Ramones, Talking Heads, and Blondie. It gives firsthand accounts of not only Jerry's life and struggles but the earliest history of punk rock in both New York and London, highlighting his notorious and incendiary musical partner, Johnny Thunders.
With roots in Appalachia, the Mississippi Delta, New Orleans, the Piedmont, Memphis, and the prairies of Texas and the American West, the musical genre called Americana can prove difficult to define. Nevertheless, this burgeoning trend in American popular music continues to expand and develop, winning new audiences and engendering fresh, innovative artists at an exponential rate. As Lee Zimmerman illustrates in Americana Music: Voices, Visionaries, and Pioneers of an Honest Sound, “Americana” covers a gamut of sounds and styles. In its strictest sense, it is a blanket term for bluegrass, country, mountain music, rockabilly, and the blues. By a broader definition, it can encompass roots rock, country rock, singer/songwriters, R&B, and their various combinations. Bob Dylan, Hank Williams, Carl Perkins, and Tom Petty can all lay valid claims as purveyors of Americana, but so can Elvis Costello, Solomon Burke, and Jason Isbell. Americana is new and old, classic and contemporary, trendy and traditional. Mining the firsthand insights of those whose stories help shape the sound—people such as Ralph Stanley, John McEuen (Nitty Gritty Dirt Band), Chris Hillman (Byrds, Flying Burrito Brothers), Paul Cotton and Rusty Young (Poco), Shawn Colvin, Kinky Friedman, David Bromberg, the Avett Brothers, Amanda Shires, Ruthie Foster, and many more—Americana Music provides a history of how Americana originated, how it reached a broader audience in the ’60s and ’70s with the merging of rock and country, and how it evolved its overwhelmingly populist appeal as it entered the new millennium.
A symbol of Trinidadian culture, the steelband has made an extraordinary transformation since its origins-from junk metal to steel orchestra, and from disparaged underclass pastime to Trinidad and Tobago's national instrument. Now, Shannon Dudley gives the first discerning look at the musical thinking that ignited this transformation, and the way it articulates with Afro-Trinidadian tradition, carnival, colonial authority, and nationalist politics. Music from behind the Bridge tells the story of the steelband from the point of view of musicians who overcame disadvantages of poverty and prejudice with their extraordinary ambition. Literally referring to the poor neighborhoods nestled in the hills bordering Port of Spain to the East, "Behind the Bridge" is also a metaphor for conditions of social disadvantage and cultural resistance that shaped the steelband movement in the various Afro-Trinidadian communities where it first took root. The book further explores the implications of the steelband's "nationalization" in post-independence Trinidad and Tobago, and contemporary steelband musicians' preoccupation with the formally adjudicated annual Panorama competition. In discussing the intersection of musical thinking, festivity, and politics, this book connects important questions about the history of the steelband to general questions about the relation between popular culture and nationalism.