Titlebook: Sounds and the City; Popular Music, Place Brett Lashua (Carnegie Faculty, Senior Lecturer),K Book 2014 Palgrave Macmillan, a division of Ma

责问

大暴雨

救护车

Intersecting Rhythms: The Spatial Production of Local Canadian Heavy Metal and Urban Aboriginal Hip radoxical flows of globalized and technological music have sustained and inspired local communities while exposing them to social, economic, and competitive pressures. The focus on globalizing flows and local-global intersections often leaves invisible the specific and material everyday lives of loc

Phenothiazines

Reconstruction’s Soundtrackly hard hit, first by wind and rain, then by a devastating storm surge that overwhelmed an inadequately maintained levee system and quickly flooded 80 per cent of the city. The days after the storm were terrifying, chaotic, and often deadly for those who were unable, or chose not, to leave the city

resuscitation

We’re Going to Graceland: Globalization and the Reimagining of Memphisd the birthplace of rock and roll. Variations of the music of the Mississippi Delta and the Mid-South, first performed by rural migrants on Beale Street, in juke joints, bars, and Pentecostal churches, then pressed into vinyl, became global popular music through record sales, radio broadcasts, and j

infinite

荒唐

ILEUM

Intersecting Rhythms: The Spatial Production of Local Canadian Heavy Metal and Urban Aboriginal Hip h difference (Merrifield, 2013), and glide past the friction of the worldly encounter (Tsing, 2005) that is filled with desires for the fruits of globalization which overlooks how existing everyday life practices are (re)shaped by globalization.

cogitate

We’re Going to Graceland: Globalization and the Reimagining of Memphisllowed by Isaac Hayes, Otis Redding, Steve Cropper, and Booker T. Jones at Stax Records, as well as Beale Street blues artists such as B. B. King, has transfixed global listeners and transformed popular culture (Rushing, 2009).

Chronic