Award winning title-2nd place in the 2014 Burt Award for Caribbean Literature.#12 in Amazon Hot New Releases - Teen and Young Adult Performing Arts Fiction - in its first month of releaseFeatured in Essence Magazine February 2016There are no missteps in this tender coming-of-age romance, only an enthusiasm for love and life that reverberates triumphantly, as both Shaka and Zahara battle their demons with hope's persistent chorus.-CaribbeanBeat Magazine."Musical Youth is a beautifully crafted novel with the leitmotiv of music running throughout it. This is a powerful and credible story of young love between two likeable heroes.-Burt Award for Caribbean literature.Musical Youth is a compelling read because Hillhouse has managed to make readers really care about the characters and their struggles.-Trinidad Guardian.Music, Discovery, Love. Can one summer make the difference of a lifetime?Zahara is a loner. She's brilliant on the guitar but in everyday life she doesn't really fit in. Then she meets Shaka, himself a musical genius and the first boy who really gets her. They discover that they share a special bond, their passion for music, and Zahara finds herself a part, not just of Shaka's life, but also that of his boys, the Lion Crew. When they all get roles in a summer musical, Zahara, Shaka, and the rest of the Lion Crew use the opportunity to work on a secret project. But the Crew gets much more than they bargained for when they uncover a dark secret linking Shaka and Zahara's families and they're forced to confront some uncomfortable truths about class, colour, and relationships on the Caribbean island of Antigua.

Combining a critical evaluation of recent work on youth, music and local identity with original ethnographic work, this book provides a wide-ranging study of music and style-centered youth cultures in a local context. Detailed studies of dance music, rap, bhangra and progressive rock examine how these musical styles become part of daily life in different urban settings. In addition, the book features exploration of white hip hop culture in Britain, the socio-cultural significance of local pub venues and the increasing popularity of "tribute" bands.

Music has always been central to the cultures that young people create, follow, and embrace. In the 1960s, young hippie kids sang along about peace with the likes of Bob Dylan and Joan Baez and tried to change the world. In the 1970s, many young people ended up coming home in body bags from Vietnam, and the music scene changed, embracing punk and bands like The Sex Pistols. In Sells Like Teen Spirit, Ryan Moore tells the story of how music and youth culture have changed along with the economic, political, and cultural transformations of American society in the last four decades. By attending concerts, hanging out in dance clubs and after-hour bars, and examining the do-it-yourself music scene, Moore gives a riveting, first-hand account of the sights, sounds, and smells of “teen spirit.” Moore traces the histories of punk, hardcore, heavy metal, glam, thrash, alternative rock, grunge, and riot grrrl music, and relates them to wider social changes that have taken place. Alongside the thirty images of concert photos, zines, flyers, and album covers in the book, Moore offers original interpretations of the music of a wide range of bands including Black Sabbath, Black Flag, Metallica, Nirvana, and Sleater-Kinney. Written in a lively, engaging, and witty style, Sells Like Teen Spirit suggests a more hopeful attitude about the ways that music can be used as a counter to an overly commercialized culture, showcasing recent musical innovations by youth that emphasize democratic participation and creative self-expression—even at the cost of potential copyright infringement.

Music and Youth Culture offers a groundbreaking account of how music interacts with young people's everyday lives. Drawing on interviews with and observations of youth groups together with archival research, it explores young people's enactment of music tastes and performances, and how these are articulated through narratives and literacies. An extensive review of the field reveals an unhealthy emphasis on committed, fanatical, spectacular youth music cultures such as rock or punk. On the contrary, this book argues that ideas about youth subcultures and club cultures no longer apply to today's young generation. Rather, archival findings show that the music and dance cultures of youth in 1930s and 1940s Britain share more in common with youth today than the countercultures and subcultures of the 1960s and 1970s. By focusing on the relationship between music and social interactions, the book addresses questions that are scarcely considered by studies stuck in the youth cultural worlds of subcultures, club cultures and post-subcultures: What are the main influences on young people's music tastes? How do young people use music to express identities and emotions? To what extent can today's youth and their music seem radical and progressive? And how is the 'special relationship' between music and youth culture played out in everyday leisure, education and work places?

In this pioneering study, Hisham Aidi—an expert on globalization and social movements—takes us into the musical subcultures that have emerged among Muslim youth worldwide over the last decade. He shows how music—primarily hip-hop, but also rock, reggae, Gnawa and Andalusian—has come to express a shared Muslim consciousness in face of War on Terror policies. This remarkable phenomenon extends from the banlieues of Paris to the favelas of Rio de Janeiro, from the park jams of the South Bronx to the Sufi rock bands of Pakistan. The United States and other Western governments have even tapped into these trends, using hip hop and Sufi music to de-radicalize Muslim youth abroad. Aidi situates these developments in a broader historical context, tracing longstanding connections between Islam and African-American music. Thoroughly researched, beautifully written, Rebel Music takes the pulse of a revolutionary soundtrack that spans the globe.

Gabe has always identified as a boy, but he was born with a girl’s body. With his new public access radio show gaining popularity, Gabe struggles with romance, friendships, and parents. His entire future is threatened when several violent guys find out that Gabe the DJ is also Elizabeth from school.

Youth and Rock in the Soviet Bloc explores the rise of youth as consumers of popular culture and the globalization of popular music in Russia and Eastern Europe. This collection of essays challenges assumptions that Communist leaders and Western-influenced youth cultures were inimically hostile to one another. While initially banning Western cultural trends like jazz and rock-and-roll, Communist leaders accommodated elements of rock and pop music to develop their own socialist popular music. They promoted organized forms of leisure to turn young people away from excesses of style perceived to be Western. Popular song and officially sponsored rock and pop bands formed a socialist beat that young people listened and danced to. Young people attracted to the music and subcultures of the capitalist West still shared the values and behaviors of their peers in Communist youth organizations. Despite problems providing youth with consumer goods, leaders of Soviet bloc states fostered a socialist alternative to the modernity the capitalist West promised. Underground rock musicians thus shared assumptions about culture that Communist leaders had instilled. Still, competing with influences from the capitalist West had its limits. State-sponsored rock festivals and rock bands encouraged a spirit of rebellion among young people. Official perceptions of what constituted culture limited options for accommodating rock and pop music and Western youth cultures. Youth countercultures that originated in the capitalist West, like hippies and punks, challenged the legitimacy of Communist youth organizations and their sponsors. Government media and police organs wound up creating oppositional identities among youth gangs. Failing to provide enough Western cultural goods to provincial cities helped fuel resentment over the Soviet Union’s capital, Moscow, and encourage support for breakaway nationalist movements that led to the Soviet Union’s collapse in 1991. Despite the Cold War, in both the Soviet bloc and in the capitalist West, political elites responded to perceived threats posed by youth cultures and music in similar manners. Young people participated in a global youth culture while expressing their own local views of the world.