Phil Ford – författare

Hipness has been an indelible part of America''s intellectual and cultural landscape since the 1940s. But the question What is hip? remains a kind of cultural koan, equally intriguing and elusive. In Dig, Phil Ford argues that while hipsters have always used clothing, hairstyle, gesture, and slang to mark their distance from consensus culture, music has consistently been the primary means of resistance, the royal road to hip. Hipness suggests a particular kind of alienation from society--alienation due not to any specific political wrong but to something more radical, a clash of perception and consciousness. From the vantage of hipness, the dominant culture constitutes a system bent on excluding creativity, self-awareness, and self-expression. The hipster''s project is thus to define himself against this system, to resist being stamped in its uniform, squarish mold. Ford explores radio shows, films, novels, poems, essays, jokes, and political manifestos, but argues that music more than any other form of expression has shaped the alienated hipster''s identity. Indeed, for many avant-garde subcultures music is their raison d''?tre. Hip intellectuals conceived of sound itself as a way of challenging meaning--that which is cognitive and abstract, timeless and placeless--with experience--that which is embodied, concrete and anchored in place and time. Through Charlie Parker''s "Ornithology," Ken Nordine''s "Sound Museum," Bob Dylan''s "Ballad of a Thin Man," and a range of other illuminating examples, Ford shows why and how music came to be at the center of hipness. Shedding new light on an enigmatic concept, Dig is essential reading for students and scholars of popular music and culture, as well as anyone fascinated by the counterculture movement of the mid-twentieth-century.Publication of this book was supported by the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

Hipsters have always used clothing, hairstyle, gesture, and slang to mark their distance from consensus culture, yet it is music that has always been the privileged means of cultural disaffiliation, the royal road to hip.Hipness in postwar America became an indelible part of the nation's intellectual and cultural landscape, and during the past half century, hip sensibility has structured self-understanding and self-representation, thought and art, in various recognizable ways. Although hipness is a famously elusive and changeable quality, what remains recognizable throughout its history in American intellectual life is a particular conception of the individual's alienation from society-alienation due not to any specific political wrong but to something more radical, a clash of perception and consciousness. The dominant culture thus constitutes a system bent on foreclosing the creativity, self-awareness, and self-expression by which people might find satisfaction in their lives. The hipster's project is to imagine this system and define himself against it; his task is to resist being stamped in its uniform, squarish mold. Culture then becomes the primary medium of hip resistance rather than political action as such, and this resistance is manifested in aesthetic creation, be that artworks or the very self. Music has stood consistently at the center of the evolving and alienated hipster's self-structuring: every hip subculture at least tags along with some kind of music (as the musically ungifted Beats did with jazz), and for many subcultures music is their raison d'être. In Dig, author Phil Ford argues that hipness is in fact wedded to music at an altogether deeper level. In hip culture it is sound itself, and the faculty of hearing, that is the privileged part of the sensory experience. Ford's discussion of songs and albums in context of the social and political world illustrates how hip intellectuals conceived of sound as a way of challenging meaning - that which is cognitive and abstract, timeless and placeless - with experience - that which is embodied, concrete and anchored in place and time. Through Charlie Parker's "Ornithology," Ken Nordine's "Sound Museum," Bob Dylan's "Ballad of a Thin Man," and a string of other lucid and illuminating examples, Ford shows why and how music became a central facet of hipness and the counterculture. Shedding new light on an elusive and enigmatic culture, Dig is essential reading for students and scholars of popular music and culture, as well as anyone fascinated by the counterculture movement of the mid-twentieth-century.

Hipness has been an indelible part of America''s intellectual and cultural landscape since the 1940s. But the question What is hip? remains a kind of cultural koan, equally intriguing and elusive. In Dig, Phil Ford argues that while hipsters have always used clothing, hairstyle, gesture, and slang to mark their distance from consensus culture, music has consistently been the primary means of resistance, the royal road to hip. Hipness suggests a particular kind of alienation from society--alienation due not to any specific political wrong but to something more radical, a clash of perception and consciousness. From the vantage of hipness, the dominant culture constitutes a system bent on excluding creativity, self-awareness, and self-expression. The hipster''s project is thus to define himself against this system, to resist being stamped in its uniform, squarish mold. Ford explores radio shows, films, novels, poems, essays, jokes, and political manifestos, but argues that music more than any other form of expression has shaped the alienated hipster''s identity. Indeed, for many avant-garde subcultures music is their raison d''?tre. Hip intellectuals conceived of sound itself as a way of challenging meaning--that which is cognitive and abstract, timeless and placeless--with experience--that which is embodied, concrete and anchored in place and time. Through Charlie Parker''s "Ornithology," Ken Nordine''s "Sound Museum," Bob Dylan''s "Ballad of a Thin Man," and a range of other illuminating examples, Ford shows why and how music came to be at the center of hipness. Shedding new light on an enigmatic concept, Dig is essential reading for students and scholars of popular music and culture, as well as anyone fascinated by the counterculture movement of the mid-twentieth-century.Publication of this book was supported by the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

'If you're going to be anyone in Cardiff, you're going to be at SkyPoint!'SkyPoint is the latest high-rise addition to the ever-developing Cardiff skyline. It's the most high-tech, avant-garde apartment block in the city. And it's where Rhys Williams is hoping to find a new home for himself and Gwen. Gwen's more concerned by the money behind the tower block - Besnik Lucca, a name she knows from her days in uniform.When Torchwood discover that residents have been going missing from the tower block, one of the team gets her dream assignment. Soon SkyPoint's latest newly married tenants are moving in. And Toshiko Sato finally gets to make a home with Owen Harper.Then something comes out of the wall...Featuring Captain Jack Harkness as played by John Barrowman, with Gwen Cooper, Owen Harper, Toshiko Sato and Ianto Jones as played by Eve Myles, Burn Gorman, Naoki Mori and Gareth David-Lloyd, in the hit science fiction series created by Russell T Davies for BBC Television.

"Water is patient... water just waits. Water always wins!"November 21st 2059, and Bowie Base One - the first human colony on Mars - is destined for destruction in a nuclear explosion. This tragedy is a fixed point in history. The Laws of Time dictate that it cannot - must never - be changed.The Doctor arrives just as a viral life-form escapes from the Martian ice into the base's water supply. A single drop can transform a human into a terrifying monster with the power to infect others. History records that the threat is destroyed along with the base and every human in it. But as his darkest hour comes calling, the Doctor resolves to break the rules as he never has before...

Ford has offered rhymespoetry and song lyricsand reasonshort points to consider, plus a thought-provoking essayin this collection of works to stir emotions within those who crack the cover. Nothing is intended to be pretentious; it is just a sharing of actual and fictional moments in time where emotion continues to live. Fords travels and broad-minded thinking become apparent with the turning of each page. Find a moment, sit down with this book, and let it take you to these places.

Gamble with the Sun is a collection of short stories and stage and screen plays. Fords earlier works of the Changes trilogy, The Root Cause Analysis of a Balanced Leader, and Cool Blue Emotion: Rhymes and Reason, show us the broad spectrum of Fords imagination. Gamble with the Sun takes us there again. As each story unfolds, Ford takes us on a ride to unexpected surprises and across a myriad of emotions. Youll enjoy the ride all the while asking whats next?

"Water is patient... water just waits. Water always wins!"November 21st 2059, and Bowie Base One - the first human colony on Mars - is destined for destruction in a nuclear explosion. This tragedy is a fixed point in history. The Laws of Time dictate that it cannot - must never - be changed.The Doctor arrives just as a viral life-form escapes from the Martian ice into the base's water supply. A single drop can transform a human into a terrifying monster with the power to infect others. History records that the threat is destroyed along with the base and every human in it. But as his darkest hour comes calling, the Doctor resolves to break the rules as he never has before...