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

As 1979 turned into 1980 I found myself working at Granada TV in Manchester as a programme researcher and occasional presenter for the regional arts review programme Celebration. I was also trying to keep alive my photographic practice. One of my TV colleagues was Granada Reports presenter Tony Wilson (p.18) who at that time was busy setting up Factory Records with Alan Erasmus. Previously, while working for What’s On — Celebration’s predecessor in the arts slot — I had photographed a Factory Night at the Russell Club in Hulme, hosted by Tony Wilson and promoter Alan Wise (p.29), which featured Buzzcocks (p.16) and John Cooper Clarke (cover). Tony liked what I’d done and began inviting me along to gigs and recording sessions to take more photographs of his artists and bands: Ian Curtis (p.9) and Bernard Sumner (p.8) of Joy Division, Vini Reilly of The Durutti Column (p.3), and A Certain Ratio too (pp.4,15). The handwritten page reproduced here (p.30), is from a spiral-bound notebook I kept on my desk at the time. It records Tony’s request (written in red felt tip) that I photograph Joy Division’s recording session with producer Martin Hannett (pp.6,12) at Pennine Sound Studio in Oldham on Tuesday 8 January 1980. Although it seems not to have been the most absorbing of nights for drummer Stephen Morris (p.10), they would record Love Will Tear Us Apart (a version later used on the B-side of the 7” single FAC 23). I also photographed Joy Division on stage (pp.20-27), at the New Osbourne Club in Miles Platting, a gig where Jon Savage (p.14) — now famous for his writing, broadcasting and music journalism, in particular his 1991 book England’s Dreaming, Sex Pistols and Punk Rock — was DJing. Four decades on, Jon has been instrumental in curating the Factory exhibition Use Hearing Protection, a show which includes some of my photographs and runs at Manchester’s Science and Industry Museum from 19 June 2021 – 3 January 2022. Daniel Meadows The Daniel Meadows Archive is in the Bodleian Library at Oxford University.

British-born photographer Janette Beckman began her career at the dawn of punk rock working for music magazines The Face and Melody Maker. She shot bands including the Clash, the Specials, Boy George and the Jam as well as three Police album covers. Drawn to the underground hip-hop scene, she moved to NYC in 1983 and photographed pioneers such as Run DMC, Slick Rick, Salt-N-Pepa, Grand Master Flash, LL Cool J and more. Beckman has published four books : ‘Made in the UK, Music of Attitude 1977-1982’, ‘The Breaks Stylin’ and Profilin’1982-1990’ ‘El Hoyo Maravilla’ and in 2018 ‘The MashUp’ a collection of her Hip Hop photographs reinterpreted by legendary graffiti artists. Her work has been exhibited in galleries worldwide and is in the permanent collections of the Smithsonian National Museum of African American History and Culture, the Museum of the City of New York, Marseille Musée des Civilisations de l'Europe, and the Tokyo Nakamura Keith Haring Collection She lives and works in New York for clients including Levi’s and Dior.  

36 pagesprinted in Englandstaple bound14cm x 20cm Of Wu Tang and things…I’d say off the bat it’s the Ol' dirty bastard, asking me to destroy the negatives, that will never leave me. Meth showing me his new trick with eye and cap. U-god with a plaster on his face. The Rza in a bath tub at the Met hotel. Watching the entire Wu-Tang Clan getting passport pictures at Earl Court station. The Shows. The distinct smell of blunts and weed that hung in the air. Papa Wu inviting me on the coach and traveling from Putney to Kentish Town with a pit stop in Earls Court. Young dirty Bastard’s performance of Shimmy Shimmy Ya Shimmy Yam Shimmy yah. From the first encounter to my last, the Wu have never failed to disappoint. The first time I met the Wu-Tang was in 1994, they were meant to be in a sound check, and were instead throwing rocks at passing trains, It was a hallmark of every encounter, a wild ride. The concert was scheduled for the Kentish Town Forum and word had gone around they where in London. In my hunt for them I went to the record company and my first encounter with the Wu-Tang began as they were coming out of the building on their way to Kentish Town to do their soundcheck. I heard them before I saw them, so my camera was ready. I managed to get on the coach and rolled with them while they listened to deep soul music. Their passion for the life of Hip Hop is undeniable and our hook ups were built on the premise that I was documenting Hip Hop through my photography. On the second occasion I was working for MixMag and the shoot was scheduled in a photographic studio. I would share the time slot with Time Out who were running a cover story. On that occasion, I had hoped to complete my Wu collection, I didn't. The Rza didn't appear. The third time I encountered the Wu it was just the Rza and he was in full Bobby Digital mode and that meant his iconography was masked by a conceptual identity. The fourth was Cappadona in Brixton but the last time was in Los Angeles and there I met Ol Dirty’s son. He came through to host my show in LA. On the opening night we held a block party in the car park of Melrose where the RZA rolled through and spent the whole night holding court. We exchanged words as I toured the gallery giving him the details of all the times we’d met. We had a PlayStation with the Wu Tang game on it. Young Dirty smashed it. I took one shot that night, just one. It’s been 25 years in the making. What you have here a rarified glimpse at the lead images and contact sheets of seeking out members of the Wu-Tang Clan and putting their mythos on blast. I got one shot. This was the last time we held a cipher.

Different Voices: Irish Music and Music in Ireland provides new insight into contemporary music in Ireland. Through twelve interviews with Irish or Ireland-based composers ranging in age from 26 to 80, Different Voices delves into the compositional and stylistic eclecticism of Irish music. In the Introduction, Benjamin Dwyer overviews music in Ireland from 1700 to the present, exploring how significant historical and socio-political factors such as English colonialism, Irish nationalism, religious and state censorship and globalization have shaped the trajectory of Irish music. The interviews raise themes central to the study of Irish music such as the relationship between European and ethnic music traditions, music styles and practices, the notion of „Irish“ identity, music“s role in society, the role of politics, particularly feminism, and the reception of contemporary music in current Irish and international media. Different Voices: Irish Music and Music in Ireland breaks new ground in the study of contemporary music from Ireland, an important aspect of European culture still largely unexplored.  

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.

n the 1970s, microbiologist Lynn Margulis and atmospheric chemist James Lovelock developed the Gaia theory. Embracing the circular logic of life and engineering systems, the Gaia theory states that Earth is a self-regulating complex system in which life interacts with and eventually becomes its own environment Gaia describes a living Earth: a body in the form of a planet. For billions of years, life has created an environment conducive to its continuation, influencing the physical attributes of Earth on a planetary scale. An idea with precedents in natural science and philosophy for millennia, Gaia resonates with the ancient magico-religious understanding that all is one: as above, so below.  Fusing science, mathematics, philosophy, ecology and mythology, Gaia and Philosophy, with a new introduction by Dorion Sagan, challenges Western anthropocentrism to propose a symbiotic planet. In its striking philosophical conclusion, the revolutionary Gaia paradigm holds important implications not only for understanding life's past but for shaping its future. 

The only book to consider Oi! as a distinct genre within punk rock, What Have We Got? is the story of a musical movement that became a national concern in the eighties and still divides opinion today. Drawing on new interviews with Sham 69, Angelic Upstarts, Cockney Rejects, Crown Court, Lion’s Law, The Templars and many more, Simon Spence considers the genre’s inception and noble intentions, how it fell into infamy, and where it lies now. With a growing and formidable audience in the US, Europe, Asia, South America and the UK, Oi! is as alive as it has ever been, and without the far-right associations that plagued its past.

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.

At a time when sales of vinyl records have hit a 25-year high, and analog technologies are providing the kind of extraordinary audio experiences that our increasingly digital world has started to remove, Hi-Fi is essential reading. This unique book explores just how, when, and why the world fell in love with the look, feel, and sound of top-of-the-line audio equipment. Hi-Fi traces this fascinating evolution from the 1950s to today (and tomorrow), taking readers right up to the current renaissance of all things analog and the emergence of cutting-edge designs for die-hard audiophiles. - Format: HardbackSize: 270 × 205 mm (10 5/8 × 8 1/8 in)Pages: 272 ppIllustrations: 300 illustrations

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.

From the very beginning, the blues has had a close connection with the LGBTQ community. There is a long and decorated history of so-called ‘dirty blues’ songs, stretching back beyond the earliest attempts to capture the blues on record. The 1920s and 30s saw the release of dozens of raunchy, bawdy blues recordings aimed at a knowing LGBTQ audience. Queer Blues tells the story of the pioneering LGBTQ composers and entertainers that wrote, performed and recorded these wonderfully outlandish, life-affirming songs and chronicles, including: Bessie Smith, Ma Rainey, Josephine Baker to Frankie ‘Half-Pint’ Jaxon and many more. This is the definitive account of the LGBTQ trailblazers of early blues and a fascinating consideration of the intersection between music and LGBTQ history, from the award-winning Darryl W. Bullock.

Hold Tight is the book that kick started the 'Grime Library'. Bursting into bookshops in July 2017 to rave reviews and a sold out event at Rough Trade East,Hold Tightpaved the way for Grime-related books such as Wiley'sEskiboy(Penguin 2017), Dan Hancox's Inner City Pressure(4th Estate 2018), and DJ Target's Grime Kids (Trapeze 2018, now being made into a television series). This new edition of Hold Tightfeatures new chapters for 2018, a brand new introduction from Boakye and a brand new cover. Celebrating over sixty key songs that make up Grime's DNA, Jeffrey Boakye explores the meaning of the music and why it has such resonance in the UK. Boakye also examines the representation of masculinity in the music and the media that covers it. Both a love letter to Grime and an investigation into life as a black man in Britain today,Hold Tightis insightful, very funny and stacked with sentences you'll want to pull up and read again and again. --- Influx Press, 2018

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 office was littered with discarded press releases and several scrawny men were using vinyl albums as frisbees…” An anthology of conversations and essays, memories and commentary from the heyday of British pop music writing. In its heyday, from the 1960s to the 1980s, the UK music press was the forging ground for a new critical culture, where readers could encounter anything from comics and cult films to new musical forms and radical underground politics. It created an off-mainstream collective cultural commons improvised through a networked subculture of rival weeklies, monthlies, and fanzines, including such titles as NME, Melody Maker, Sounds , Record Mirror, Black Echoes, Black Music, Let It Rock, Street Life, Zigzag, and Smash Hits. This anthology of conversations and essays, memories and commentary explores how this uncharted space first came about, who put it together, what it achieved, and where it went. Along the way, it unearths the many surprising worlds explored by this network of young anarchists, dreamers, and agitators who dared to take pop culture seriously, and considers what remains of their critical legacy. Contributors Valerie Wilmer, Charles Shaar Murray, Richard Williams, Penny Reel, John Ingham, Jon Savage, Cynthia Rose, Paul Morley, David Toop, Bob Stanley, Barney Hoskyns, Jonathon Green, Simon Frith, Paul Gilroy, and many others With cover and illustrations by legendary comics artist Savage Pencil.

Essays that explore the connections between time, representation, and identity within hip-hop culture. “This book, edited by Roy Christopher, is a moment. It is the deconstructed sample, the researched lyrical metaphors, the aha moment on the way to hip-hop enlightenment. Hip-hop permeates our world, and yet it is continually misunderstood. Hip-hop's intersections with Afrofuturism and science fiction provide fascinating touchpoints that enable us to see our todays and tomorrows. This book can be, for the curious, a window into a hip-hop-infused Alter Destiny—a journey whose spaceship you embarked on some time ago. Are you engaging this work from the gaze of the future? Are you the data thief sailing into the past to U-turn to the now? Or are you the unborn child prepping to build the next universe? No, you're the superhero. Enjoy the journey.”—from the introduction by Ytasha L. Womack Through essays by some of hip-hop's most interesting thinkers, theorists, journalists, writers, emcees, and DJs, Boogie Down Predictions embarks on a quest to understand the connections between time, representation, and identity within hip-hop culture and what that means for the culture at large. Introduced by Ytasha L. Womack, author of Afrofuturism: The World of Black Sci-Fi and Fantasy Culture, this book explores these temporalities, possible pasts, and further futures from a diverse, multilayered, interdisciplinary perspective.