Wilfrid Mellers is a composer, musician and author. Honorary Fellow of Downing College, Cambridge. This is his classic book on Beethoven.

The Beatles are known for cheeky punchlines, but understanding their humor goes beyond laughing at John Lennon’s memorable “rattle your jewelry” dig at the Royal Variety Performance in 1963. From the beginning, the Beatles’ music was full of wordplay and winks, guided by comedic influences ranging from rhythm and blues, British radio, and the Liverpool pub scene. Gifted with timing and deadpan wit, the band habitually relied on irony, sarcasm, and nonsense. Early jokes revealed an aptitude for improvisation and self-awareness, techniques honed throughout the 1960s and into solo careers. Experts in the art of play, including musical experimentation, the Beatles’ shared sense of humor is a key ingredient to their appeal during the 1960s— and to their endurance. The Beatles and Humour offers innovative takes on the serious art of Beatle fun, an instrument of social, political, and economic critique. Chapters also situate the band alongside British and non-British predecessors and collaborators, such as Billy Preston and Yoko Ono, uncovering diverse components and unexpected effects of the Beatles’ output.

Over the course of his long career, legendary bluesman William ""Big Bill"" Broonzy (1893@-1958) helped shape the trajectory of the genre, from its roots in the rural Mississippi River Delta, through its rise as a popular genre in the north, to its eventual international acclaim. Along the way, Broonzy adopted an evolving personal and professional identity, tailoring his self-presentation to the demands of the place and time. His remarkable professional fluidity mirrored the range of expectations from his audiences, whose ideas about race, national belonging, identity, and the blues were refracted through Broonzy as if through a prism. Kevin D. Greene argues that Broonzy's popular success testifies to his ability to navigate the cultural expectations of his different audiences. However, this constant reinvention came at a personal and professional cost. Using Broonzy's multifaceted career, Greene situates blues performance at the center of understanding African American self-presentation and racial identity in the first half of the twentieth century. Through Broonzy's life and times, Greene assesses major themes and events in African American history, including the Great Migration, urbanization, and black expatriate encounters with European culture consumers. Drawing on a range of historical source materials as well as oral histories and personal archives held by Broonzy's son, Greene perceptively interrogates how notions of race, gender, and audience reception continue to shape concepts of folk culture and musical authenticity.

Although David Bowie has famously characterized himself as a "leper messiah," a more appropriate moniker might be "rock god" someone whose influence has crossed numerous sub-genres of popular and classical music and can at times seem ubiquitous. By looking at key moments in his career (1972, 1977-79, 1980-83, and 1995-97) through several lenses--theories of sub-culture, gender/sexuality studies, theories of sound, post-colonial theory, and performance studies Waldrep will examine Bowie's work in terms not only of his auditory output but his many reinterpretations of it via music videos, concert tours, television appearances, and occasional movie roles. Future Nostalgia will look at all aspects of Bowie's career--musical recordings, live concerts, music videos, film performances, and television appearance--in an attempt to trace Bowie's contribution to the performative paradigms that constitute contemporary rock music.

One of Lawrence Welk's most beloved entertainers, an Emmy Award winner and a Las Vegas headliner, Roberta Linn captured the hearts of fans nationwide. Her inspiring story unfolds in the pages of "Not Now, Lord, I've Got Too Much to Do."Born in a small Iowa town to a farmer's daughter and a minor league baseball player, Roberta discovered her talent for performing at a young age. She played in film productions and worked with big names stars like Shirley Temple, Cary Grant, and Clark Gable. At the age of thirteen, she fabricated her true age and enlisted in the Women's Army Corps, entertaining the troops of World War II.From 1950 to 1955, Roberta became Lawrence Welk's first television 'Champagne Lady," and she was displayed on magazine covers around the country. But the harshness of celebrity life finally took its toll, and Roberta's ill health led to a medicine-induced coma in 1958. Her amazing recovery reinforced her faith, and she continued to find success in her career. Both moving and uplifting, "Not Now, Lord, I've Got Too Much to Do" showcases the triumph of one of the most popular entertainers of Hollywood's golden age.

Jacques-Timothe Boucher Sieur de Montbrun (anglicized to Demonbreun soon thereafter), born 1747 in Quebec, set the bar for country music's stories of cheating, gambling, drinking, and being the boss more than two centuries before anybody thought of supporting the storyline with a 1-4-5-4 chord progression and a fiddle. Lightly called a "fur trader," he came to the city to make his fortune and fame, much like songwriters today. Looking back, it would be easy to call Demonbreun, the son of French Canadian near-royalty and brother to two nuns, a spoiled child who did what he wanted, a classic-case misogynist and polygamist, a conceited adventurer. He was a man who conned the Spanish governor out of a war, carried on graceful correspondence with Thomas Jefferson and Alexander Hamilton, owned several slaves, may have served as a spy, and was a decorated veteran. He fought in the Revolutionary War, extraordinarily so it seems, given the number of land grants he received across Kentucky and Tennessee. He's also known around Nashville as the guy who lived in a cave. Author Elizabeth Elkins sorts through the legends and nails down the facts in order to present the true story of "Nashville's First Citizen.

Over the past 30 years, musicologists have produced a remarkable new body of research literature focusing on the lives and careers of women composers in their socio-historical contexts. But detailed analysis and discussion of the works created by these composers are still extremely rare. This is particularly true in the domain of music theory, where scholarly work continues to focus almost exclusively on male composers. Moreover, while the number of performances, broadcasts, and recordings of women's compositions has unquestionably grown, they remain significantly underrepresented in comparison to music by male composers. Addressing these deficits is not simply a matter of rectifying a scholarly gender imbalance: the lack of knowledge surrounding the music of women composers means that scholars, performers, and the general public remain unfamiliar with a large body of exciting repertoire. Analytical Essays on Music by Women Composers: Concert Music from 1960-2000 is the first to appear in an exciting a four volume series devoted to the work of women composers across Western art music history. Each chapter, many by leading music theorists, opens with a brief biographical sketch of the composer before presenting an in-depth critical-analytic exploration of a single representative composition, linking analytical observations with questions of meaning and sociohistorical context. Chapters are grouped thematically by analytical approach into three sections, each of which places the analytical methods used in the essays that follow into the context of late twentieth-century ideas and trends. Featuring rich analyses and detailed study by the most reputed music theorists in the field, along with brief biographical sketches for each composer, this collection brings to the fore the essential repertoire of a range of important composers, many of whom otherwise stand outside the standard canon.

The national bestseller celebrated as "the ultimate Johnny Cash biography....Rock writer great Robert Hilburn goes deep." "-- Rolling Stone"
In this, the definitive biography of an American legend, Robert Hilburn conveys the unvarnished truth about a musical superstar. Johnny Cash's extraordinary career stretched from his days at Sun Records with Elvis Presley and Jerry Lee Lewis to the remarkable creative last hurrah, at age 69, that resulted in the brave, moving "Hurt" video.
As music critic for the "Los Angeles Times, "Hilburn knew Cash throughout his life: he was the only music journalist at the legendary Folsom Prison concert in 1968, and he interviewed both Cash and his wife June Carter just months before their deaths. Drawing upon a trove of never-before-seen material from the singer's inner circle, Hilburn creates an utterly compelling, deeply human portrait of a towering figure in country music, a seminal influence in rock, and an icon of American popular culture. Hilburn's reporting shows the astonishing highs and deep lows that marked the journey of a man of great faith and humbling addiction who throughout his life strove to use his music to lift people's spirits.