A collection of essays on music and life by the famed classical pianist and composer Stephen Hough is one of the world’s leading pianists, winning global acclaim and numerous awards, both for his concerts and his recordings. He is also a writer, composer, and painter, and has been described by The Economist as one of “Twenty Living Polymaths.” Hough writes informally and engagingly about music and the life of a musician, from the broader aspects of what it is to walk out onto a stage or to make a recording, to specialist tips from deep inside the practice room: how to trill, how to pedal, how to practice. He also writes vividly about people he’s known, places he’s traveled to, books he’s read, paintings he’s seen; and he touches on more controversial subjects, such as assisted suicide and abortion. Even religion is there—the possibility of the existence of God, problems with some biblical texts, and the challenges involved in being a gay Catholic. Rough Ideas is an illuminating, constantly surprising introduction to the life and mind of one of our great cultural figures.

Deborah Digges's third and best book of poems has been hailed by The New Yorker as "an outstanding collection, " and by Mark Doty as "so exhilarating that even its darkest notes shine with a strange joy." Her subjects range from the graffiti with which a street gang mourns a dead comrade to aples"three red, one golden, like a flower."

Beautifully written and deeply compassionate, Rough Music is a novel of one family at two defining points in time. Seamlessly alternating between the present day and a summer thirty years past, its twin stories unfold at a cottage along the eastern coast of England. Will Pagett receives an unexpected gift on his fortieth birthday, two weeks at a perfect beach house in Cornwall. Seeking some distance from the married man with whom he's having an affair, he invites his aging mother and father to share his holiday, knowing the sun and sea will be a welcome change for. But the cottage and the stretch of sand before it seem somehow familiar and memories of a summer long ago begin to surface. Thirty-two years earlier. A young married couple and their eight year-old son begin two idyllic weeks at a beach house in Cornwall. But the sudden arrival of unknown American relatives has devastating consequences, turning what was to be a moment of reconciliation into an act of betrayal that will cast a lengthy shadow. As Patrick Gale masterfully unspools these parallel stories, we see their subtle and surprising reflections in each other and discover how the forgotten dramas of childhood are reenacted throughout our lives. Deftly navigating the terrain between humor and tragedy, Patrick Gale has written an unforgettable novel about the lies that adults tell and the small acts of treason that children can commit. Rough Music gracefully illuminates the merciful tricks of memory and the courage with which we continue to assert our belief in love and happiness.

The Rough Guide to World Music is the unchallenged work on sounds from around the globe. This third edition is even more comprehensive than ever- updated and expanded including playlists for all countries and new chapters on Bangladesh, Burma, Corsica, French chanson, Malta, Slovenia and New zealand. Volume 2: Europe, Asia and the Pacific has full coverage of genres from Balkan brass to Bollywood song and from fado and flamenco to Filipino fusion. The guide includes articles on more than 60 countries from Albania to Wales and Afghanistan to Vietnam written by expert contributors, focusing on popular and roots music. You'll find discographies for each article, with biographical notes on thousands of musicians and reviews of their best CDs. The Rough Guide to World Music is packed with playlists of the greatest tracks from each country for your iPod and MP3 player.

The poems in this collection from Fiona Sampson offer a woman's perspective on the problems of identity, grief, loneliness and ill-health. "Rough music" is an old English custom of public scapegoating. In this book of disturbing musical echoes, brilliant renewals of carol, charm, folksong and ballad explore violence, loss and belonging.

Riot and revelry have been mainstays of English and European history writing for more than a generation, but they have had a more checkered influence on American scholarship. Despite considerable attention from "new left" historians during the 1970s and early 1980s, and more recently from cultural and "public sphere" historians in the mid-1990s, the idea of America as a colony and nation deeply infused with a culture of public performance has not been widely demonstrated the way it has been in Britain, France, and Italy. In this important volume, leading American historians demonstrate that early America was in fact an integral part of a broader transatlantic tradition of popular disturbance and celebration. The first half of the collection focuses on "rough music" and "skimmington"--forms of protest whereby communities publicly regulated the moral order. The second half considers the use of parades and public celebrations to create national unity and overcome divisions in the young republic. Contributors include Roger D. Abrahams, Susan Branson, Thomas J. Humphrey, Susan E. Klepp, Brendan McConville, William D. Piersen, Steven J. Stewart, and Len Travers. Together the essays in this volume offer the best introduction to the full range of protest and celebration in America from the Revolution to the Civil War.

Percussion is an attempt—in the author’s words—to make sense of "senseless beating," to grasp how rhythm makes sense in music and society. Both a scholar and a former professional drummer, John Mowitt forges a striking encounter between cultural studies and new musicology that seeks to lay out the "percussive field" through which beating—specifically the backbeat that defines early rock-and-roll—comes to matter for raced, urban subjects. For Mowitt, percussion is both an experience of embodiment—making contact in and on the skin—and a provocation for critical theory itself. In delimiting the percussive field, he plays drumming off against the musicological account of the beat, the sociological account of shock and the psychoanalytical account of fantasy. In the process he touches on such topics as the separation of slaves and drums in the era of the slave trade, the migration of rural blacks to urban centers of the North, the practice and politics of "rough music," the links between interpellation and possession, the general strike, beating fantasies, and the concept of the "skin ego." Percussion makes a fresh and provocative contribution to cultural studies, new musicology, the history of the body and critical race theory. It will be of interest to students of cultural studies and critical theory as well as readers with a serious interest in the history of music, rock-and-roll and drumming.

Shortlisted for the 2015 Katharine Briggs Award This is a study of law, wrongdoing and justice as conceived in the minds of the ordinary people of England and Wales from the later eighteenth century to the First World War. Official justice was to become increasingly centralised with declining traditional courts, emerging professional policing and a new prison estate. However, popular concepts of what was, or should be, contained within the law were often at variance with its formal written content. Communities continued to hold mock courts, stage shaming processions and burn effigies of wrongdoers. The author investigates those justice rituals, the actors, the victims and the offences that occasioned them. He also considers the role such practices played in resistive communities trying to preserve their identity and assert their independence. Finally, whilst documenting the decline of popular justice traditions this book demonstrates that they were nevertheless important in bequeathing a powerful set of symbols and practices to the nascent labour movement. This book will be of interest to scholars and students of legal history and criminal justice as well as social and cultural history in what could be considered a very long nineteenth century. Stephen Banks is an associate professor in criminal law, criminal justice and legal history at the University of Reading, co-director of the Forum for Legal and Historical Research and author of A Polite Exchange of Bullets: The Duel and the English Gentleman, 1750-1850 (The Boydell Press, 2010).

Following his two classics, Ask the Fellows Who Cut the Hay and The Horse in the Furrow, renowned oral historian George Ewart Evans continues his study of the vanishing customs, working habits and rich language of the farming communities of East Anglia with The Pattern Under the Plough (Faber, 1966). Although based on East Anglia, this book was and remains of wider interest, for - as the author pointed out at the time - similar changes were occurring in North America, and also happening with remarkable speed in Africa. In chronicling the old culture George Ewart Evans has taken its two chief aspects, the home and the farm. He describes the house with its fascinating constructional details, the magic invoked for its protection, the mystique of the hearth, the link of the bees with the people of the house, and some of their fears and pre-occupations. Among the chapters on the farm is one of Evans's most original pieces of research: the description of the secret horse societies. Beautifully illustrated by David Gentleman, this book is important not only for the material it reveals about the past but for the implications for present-day society. 'As real (and as valuable) as the evidence unearthed by the spadework of archaeology.' Observer

The “meticulously researched, elegantly argued and deeply humane” sequel to the landmark volume of social history, The Making of the English Working Class (The New York Times Book Review). This remarkable study investigates the gradual disappearance of a range of cultural customs against the backdrop of the great upheavals of the eighteenth century. As villagers were subjected to a legal system increasingly hostile to custom, they tried both to resist and to preserve tradition, becoming, as E. P. Thompson explains, “rebellious, but rebellious in defense of custom.” Although some historians have written of riotous peasants of England and Wales as if they were mainly a problem for magistrates and governments, for Thompson it is the rulers, landowners, and governments who were a problem for the people, whose exuberant culture preceded the formation of working-class institutions and consciousness. Essential reading for all those intrigued by English history, Customs in Common has a special relevance today, as traditional economies are being replaced by market economies throughout the world. The rich scholarship and depth of insight in Thompson’s work offer many clues to understanding contemporary changes around the globe. “[This] long-awaited collection . . . is a signal contribution . . . [from] the person most responsible for inspiring the revival of American labor history during the past thirty years.” —The Nation “This book signals the return to historical writing of one of the most eloquent, powerful and independent voices of our time. At his best he is capable of a passionate, sardonic eloquence which is unequalled.” —The Observer