This volume explores the nature, philosophies and genres of indigenous African popular music, focusing on how indigenous African popular music artistes are seen as prophets and philosophers, and how indigenous African popular music depicts the world. Indigenous African popular music has long been under-appreciated in communication scholarship. However, understanding the nature and philosophies of indigenous African popular music reveals an untapped diversity which only be unraveled by knowledge of the myriad cultural backgrounds from which its genres originate. Indigenous African popular musicians have become repositories of indigenous cultural traditions and cosmologies.With a particular focus on scholarship from Nigeria, Zimbabwe and South Africa, this volume explores the work of these pioneering artists and their proteges who are resiliently sustaining, recreating and popularising indigenous popular music in their respective African communities, and at the same time propagating the communal views about African philosophies and the temporal and spiritual worlds in which they exist.

Widespread distribution of recorded music via digital networks affects more than just business models and marketing strategies; it also alters the way we understand recordings, scenes and histories of popular music culture. This Is Not a Remix uncovers the analog roots of digital practices and brings the long history of copies and piracy into contact with contemporary controversies about the reproduction, use and circulation of recordings on the internet. Borschke examines the innovations that have sprung from the use of recording formats in grassroots music scenes, from the vinyl, tape and acetate that early disco DJs used to create remixes to the mp3 blogs and vinyl revivalists of the 21st century. This is Not A Remix challenges claims that 'remix culture' is a substantially new set of innovations and highlights the continuities and contradictions of the Internet era. Through an historical focus on copy as a property and practice, This Is Not a Remix focuses on questions about the materiality of media, its use and the aesthetic dimensions of reproduction and circulation in digital networks. Through a close look at sometimes illicit forms of composition-including remixes, edits, mashup, bootlegs and playlists-Borschke ponders how and why ideals of authenticity persist in networked cultures where copies and copying are ubiquitous and seemingly at odds with romantic constructions of authorship. By teasing out unspoken assumptions about media and culture, this book offers fresh perspectives on the cultural politics of intellectual property in the digital era and poses questions about the promises, possibilities and challenges of network visibility and mobility.

The American Song Book, Volume I: The Tin Pan Alley Era is the first in a projected five-volume series of books that will reprint original sheet music, including covers, of songs that constitute the enduring standards of Irving Berlin, Jerome Kern, the Gershwins, and other lyricists and composers of what has been called the "Golden Age" of American popular music. These songs have done what popular songs are not supposed to do-stayed popular. They have been reinterpreted year after year, generation after generation, by jazz artists such as Charlie Parker and Art Tatum, Ella Fitzgerald and Louis Armstrong. In the 1950s, Frank Sinatra began recording albums of these standards and was soon followed by such singers as Tony Bennet, Doris Day, Willie Nelson, and Linda Ronstadt. In more recent years, these songs have been reinterpreted by Rod Stewart, Harry Connick, Jr., Carly Simon, Lady GaGa, K.D. Laing, Paul McCartney, and, most recently, Bob Dylan. As such, these songs constitute the closest thing America has to a repertory of enduring classical music. In addition to reprinting the sheet music for these classic songs, authors Philip Furia and Laurie Patterson place these songs in historical context with essays about the sheet-music publishing industry known as Tin Pan Alley, the emergence of American musical comedy on Broadway, and the "talkie" revolution that made possible the Hollywood musical. The authors also provide biographical sketches of songwriters, performers, and impresarios such as Florenz Ziegfeld. In addition, they analyze the lyrical and musical artistry of each song and relate anecdotes, sometimes amusing, sometimes poignant, about how the songs were created. The American Songbook is a book that can be read for enjoyment on its own or be propped on the piano to be played and sung.

From 1940 to 1990, new machines and devices radically changed listening to music. Small and large single records, new kinds of jukeboxes and loudspeaker systems not only made it possible to playback music in a different way, they also evidence a fundamental transformation of music and listening itself. Taking the media and machines through which listening took place during this period, Listening Devices develops a new history of listening.Although these devices were (and often still are) easily accessible, up to now we have no concept of them. To address this gap, this volume proposes the term "listening device." In conjunction with this concept, the book develops an original and fruitful method for exploring listening as a historical subject that has been increasingly organized in relation to technology. Case studies of four listening devices are the points of departure for the analysis, which leads the reader down unfamiliar paths, traversing the popular sound worlds of 1950s rock 'n' roll culture and the disco and club culture of the 1970s and 1980s. Despite all the characteristics specific to the different listening devices, they can nevertheless be compared because of the fundamental similarities they share: they model and manage listening, they actively mediate between the listener and the music heard, and it is this mediation that brings both listener and the music listened to into being. Ultimately, however, the intention is that the listening devices themselves should not be heard so that the music they playback can be heard. Thus, they take the history of listening to its very limits and confront it with its "other"-a history of non-listening. The book proposes "listening device" as a key concept for sound studies, popular music studies, musicology, and media studies. With this conceptual key, a new, productive understanding of past music and sound cultures of the pre-digital era can be unlocked, and, not least, of the listening culture of the digital present.

Willie Nelson shares his life story in this "heartfelt" bestselling memoir of true love, wild times, best friends, and barrooms (Washington Post).

"Unvarnished. Funny. Leaving no stone unturned." . . . So say the publishers about this book I've written. What I say is that this is the story of my life, told as clear as a Texas sky and in the same rhythm that I lived it.

It's a story of restlessness and the purity of the moment and living right. Of my childhood in Abbott, Texas, to the Pacific Northwest, from Nashville to Hawaii and all the way back again. Of selling vacuum cleaners and encyclopedias while hosting radio shows and writing song after song, hoping to strike gold.

It's a story of true love, wild times, best friends, and barrooms, with a musical sound track ripping right through it. My life gets lived on the road, at home, and on the road again, tried and true, and I've written it all down from my heart to yours." - Willie Nelson

Streisand: A Biography is much more than the story of the world's greatest living performer, how she got there, and why she remains at the top after three decades, it is also, in Anne Edward's sure hands, a compelling chronicle of a woman's fight to validate her appearance, her talent, and her right to love and be loved. Time and time again Streisand has demonstrated the ability to reinvent herself to keep pace with the continuing changes in musical taste. This updated edition of Edwards's pioneering biography chronicles her public life as a political activist as well as her private life as Mrs. James Brolin.

Popular music, today, has supposedly collapsed into a 'retromania' which, according to leading critic Simon Reynolds, has brought a 'slow and steady fading of the artistic imperative to be original.' Meanwhile, in the estimation of philosopher Alain Badiou, a significant political event will always require 'the dictatorial power of a creation ex nihilo'. Everywhere, it seems, at least amongst commentators of a certain age and type, pessimism prevails with regards to the predominant aesthetic preferences of the twenty first century: popular music, supposedly, is in a rut. Yet when, if ever, did the political engagement kindled by popular music amount to more than it does today? The sixties? The punk explosion of the late 1970s? Despite an on-going fixation upon these periods in much rock journalism and academic writing, this book demonstrates that the utilisation of popular music to promote political causes, on the one hand, and the expression of dissent through the medium of 'popular song', on the other hand, remain widely in practice today. This is not to argue, however, for complacency with regards to the need for expressions of political dissent through popular culture. Rather, the book looks carefully at actual usages of popular music in political processes, as well as expressions of political feeling through song, and argues that there is much to encourage us to think that the demand for radical change remains in circulation. The question is, though, how necessary is it for politically-motivated popular music to offer aesthetic novelty?

Is there such a thing today as music that's meaningfully new? In our contemporary era of remixing and retro styles, cynics and romantics alike cry "It's all been done before" while record labels and media outlets proclaim that everything is new. Coded into our daily conversations about popular music, newness as an artistic and cultural value is too often taken for granted. Nothing Has Been Done Before instigates a fresh debate about newness in American pop, rock 'n' roll, rap, folk, and R&B made since the turn of the millennium. Utilizing an interdisciplinary approach that combines music criticism, philosophy, and the literary essay, Robert Loss follows the stories of a diverse cast of musicians who seek the new by wrestling with the past, navigating the market, and speaking politically. The transgressions of Bob Dylan's "Love and Theft". The pop spectacle of Katy Perry's 2015 Super Bowl halftime show. Protest songs against the war in Iraq. Nothing Has Been Done Before argues that performance heard in a historical context always creates a possibility for newness, whether it's Kendrick Lamar's multi-layered To Pimp a Butterfly, the Afrofuturist visions of Janelle Monae, or even a Guided By Voices tribute concert in a local dive bar. Provocative and engaging, Nothing Has Been Done Before challenges nothing less than how we hear and think about popular music-its power and its potential.

The global icon, award-winning singer, songwriter, producer, actress, mother, daughter, sister, storyteller and artist finally tells the unfiltered story of her life in The Meaning of Mariah Carey. It took me a lifetime to have the courage and the clarity to write my memoir. I want to tell the story of the moments - the ups and downs, the triumphs and traumas, the debacles and the dreams - that contributed to the person I am today. Though there have been countless stories about me throughout my career and very public personal life, it's been impossible to communicate the complexities and depths of my experience in any single magazine article or a ten-minute television interview. And even then, my words were filtered through someone else's lens, largely satisfying someone else's assignment to define me. This book is composed of my memories, my mishaps, my struggles, my survival and my songs. Unfiltered. I went deep into my childhood and gave the scared little girl inside of me a big voice. I let the abandoned and ambitious adolescent have her say, and the betrayed and triumphant woman I became tell her side. Writing this memoir was incredibly hard, humbling and healing. My sincere hope is that you are moved to a new understanding, not only about me, but also about the resilience of the human spirit. Love, Mariah

When Rodgers and Hart's Pal Joey opened at the Barrymore on Christmas day, 1940, it flew in the face of musical comedy convention. The characters and situation were depraved. The setting was caustically realistic. Its female lead was frankly sexual and yet not purely comic. A narratively-driven dream ballet closed the first act, begging audiences to take seriously the inner life and desires of a confirmed heel. Pal Joey: The History of a Heel presents a behind-the-scenes look at the genesis, influence, and significance of this classic musical comedy. Although the show appears on many top-ten lists surveying the Golden Age, it is a controversial classic; its legacy is tied both to the fashionable scandal that it provoked, and, retrospectively, to the uncommon attention it paid to characterization and narrative cohesion. Through an archive-driven investigation of the show and its music, author Julianne Lindberg offers insight into the historical moment during which Joey was born, and to the process of genre classification, canon formation, and the ensuing critical debates related to musical and theatrical maturity. More broadly, the book argues that the critique and commentary on class and gender conventions in Pal Joey reveals a uniquely American concern over status, class mobility, and progressive gender roles in the pre-war era.

This book provides an interdisciplinary focus on music, memory, and ageing by examining how they intersect outside of a formal therapeutic context or framework and by offering a counter-narrative to age as decline. It contributes to the development of qualitative research methodologies by utilizing and reflecting on methods for studying music, memory, and ageing across diverse and interconnected contexts. Using the notion of inheritance to trouble its core themes of music, memory, ageing, and methodology, it examines different ways in which the concept of inheritance is understood but also how it commonly refers to the practice of passing on, and the connections this establishes across time and space. It confronts the ageist discourses that associate popular music predominantly with youth and that focus narrowly, and almost exclusively, on music's therapeutic function for older adults. By presenting research which examines various intersections of music and ageing outside of a therapeutic context or framework, the book brings a much-needed intervention.

- Applies a perspective rooted in popular music studies to understanding music in the parent-child relationship, offering a fresh take on the study of early childhood music - By bringing together popular music and early childhood, appeals across disciplines to popular music, media studies, and music education - Includes both case studies and broad analysis that draws together insights from across the literature, making this an engaging overview that can readily be used by students as well as researchers

This book examines the post-1960s era of popular music in the Anglo-Black Atlantic through the prism of historical theory and methods. By using a series of case studies, this book mobilizes historical theory and methods to underline different expressions of alternative music functioning within a mainstream musical industry. Each chapter highlights a particular theory or method while simultaneously weaving it through a genre of music expressing a notion of alternativity-an explicit positioning of one's expression outside and counter to the mainstream. Historical Theory and Methods through Popular Music seeks to fill a gap in current scholarship by offering a collection written specifically for the pedagogical and theoretical needs of those interested in the topic.

- Applies a perspective rooted in popular music studies to understanding music in the parent-child relationship, offering a fresh take on the study of early childhood music - By bringing together popular music and early childhood, appeals across disciplines to popular music, media studies, and music education - Includes both case studies and broad analysis that draws together insights from across the literature, making this an engaging overview that can readily be used by students as well as researchers

For decades, Germany has been shaped and reshaped by the sounds of popular music-whether viewed as uniquely German or an ideological invader from abroad. This collected volume brings together leading figures in the field of German Studies, popular music studies, and cultural studies at large to survey the sociopolitical impact of music on conceptions of the German state and national identity, gender and sexuality, and transnational cultural production and consumption, expanding on the ways in which sounds, technologies, media practices, and exchanges of popular music provide a unique glimpse into the cultural dynamics of postwar Germany.

You won't see no sad and teary eyes when I get my wings, and it's my time to flyJust call my friends and tell them there's a party, come on bySo just roll me up and smoke me when I die

In Roll Me Up and Smoke Me When I Die, Willie Nelson muses about his greatest influences and celebrates the family, friends, and colleagues who have blesses his remarkable journey. Willie riffs on music, wives, Texas, politics, horses, religion, marijuana, children, the environment, poker, hogs, Nashville, karma, and more. He shares the outlaw wisdom he has acquired over eight decades, along with favorite jokes and insights. Rare family pictures, beautiful artwork created by his son Micah Nelson, and lyrics to classic songs punctuate these charming and poignant memories.

At once a road journal and a fitting tribute to America's greatest traveling bard, Roll Me Up and Smoke Me When I Die--introduced by Kinky Friedman, another favorite son of Texas--is a deeply personal look into the heart and soul of one of the greatest artists of our time.

Popular World Music, Second Edition introduces students to popular music genres and artists from around the world. Andrew Shahriari discusses international music styles familiar to most students-Reggae, Salsa, K-Pop, and more-with a comprehensive listening-oriented introduction to mainstream musical culture. Each chapter focuses on specific music styles and their associated geographic origin, as well as best-known representative artists, such as Bob Marley, Carmen Miranda, ABBA, and Ladysmith Black Mambazo. The text assumes no prior musical knowledge and emphasizes listening as a pathway to learning about music and culture. The subject matter fulfills core, general education requirements found today in the university curriculum. The salient musical and cultural features associated with each example are discussed in detail to increase appreciation of the music, its history, and meaning to its primary audience. NEW to this edition Updates to content to reflect recent developments in resources and popular music trends. Contributing authors in additional areas, including Folk Metal, Chinese Ethnic Minority Rock, and Trinidadian Steel Drum and Soca. "Artist Spotlight" sections highlighting important artists, such as Mary J. Blige, Bob Marley, Tito Puente, Enya, Umm Kulthum and more. "Ad-lib Afterthought" sections and "Questions to Consider" to prompt further discussion of each chapter. Lots of new photos! Updated and additional website materials for students and instructors.

Made in Korea: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology, and musicology of contemporary Korean popular music. Each essay covers the major figures, styles, and social contexts of pop music in Korea, first presenting a general description of the history and background of popular music in Korea, followed by essays, written by leading scholars of Korean music, that are organized into thematic sections: History, Institution, Ideology; Genres and Styles; Artists; and Issues.

This book is the first comprehensive account of how Anglo-American popular music transformed Italian cultural life. Drawing on neglected archival materials, the author explores the rise of new musical tastes and social divisions in late twentieth century Italy. The book reconstructs the emergence of pop music magazines in Italy and offers the first in-depth investigation of the role of critics in global music cultures. It explores how class, gender, race and geographical location shaped the production and consumption of music magazines, as well as critics' struggle over notions of expertise, cultural value and cosmopolitanism. Globalization, Music and Cultures of Distinction provides an innovative framework for studying how globalization transforms cultural institutions and aesthetic hierarchies, thus breaking new ground for sociological and historical research. It will be essential reading for scholars and students interested in cultural sociology, popular music, globalization, media and cultural studies, social theory and contemporary Italy.

Eric Bogle has written many iconic songs that deal with the futility and waste of war. Two of these in particular, 'And the Band Played Waltzing Matilda' and 'No Man's Land (a.k.a. The Green Fields of France)', have been recorded numerous times in a dozen or more languages indicating the universality and power of their simple message. Bogle's other compositions about the First World War give a voice to the voiceless, prominence to the forgotten and personality to the anonymous as they interrogate the human experience, celebrate its spirit and empathise with its suffering. This book examines Eric Bogle's songs about the Great War within the geographies and socio-cultural contexts in which they were written and consumed. From Anzac Day in Australia and Turkey to the 'The Troubles' in Northern Ireland and from small Aboriginal communities in the Coorong to the influence of prime ministers and rock stars on a world stage, we are urged to contemplate the nature and importance of popular culture in shaping contemporary notions of history and national identity. It is entirely appropriate that we do so through the words of an artist who Melody Maker described as 'the most important songwriter of our time'.

Made in Ireland: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology and musicology of 20th- and 21st-century Irish popular music. The volume consists of essays by leading scholars in the field and covers the major figures, styles and social contexts of popular music in Ireland. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Irish popular music. The book is organized into three thematic sections: Music Industries and Historiographies, Roots and Routes and Scenes and Networks. The volume also includes a coda by Gerry Smyth, one of the most published authors on Irish popular music.

Made in Ireland: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology and musicology of 20th- and 21st-century Irish popular music. The volume consists of essays by leading scholars in the field and covers the major figures, styles and social contexts of popular music in Ireland. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Irish popular music. The book is organized into three thematic sections: Music Industries and Historiographies, Roots and Routes and Scenes and Networks. The volume also includes a coda by Gerry Smyth, one of the most published authors on Irish popular music.

Made in Germany: Studies in Popular Music serves as a comprehensive introduction to the history, sociology, and musicology of contemporary German popular music. Each essay, written by a leading scholar of German music, covers the major figures, styles, and social contexts of pop music in Germany and provides adequate context so readers understand why the figure or genre under discussion is of lasting significance. The book first presents a general description of the history and background of popular music in Germany, followed by essays organized into thematic sections: Historical Spotlights; Globally German; Also "Made in Germany"; Explicitly German; and Reluctantly German.

Made in Germany: Studies in Popular Music serves as a comprehensive introduction to the history, sociology, and musicology of contemporary German popular music. Each essay, written by a leading scholar of German music, covers the major figures, styles, and social contexts of pop music in Germany and provides adequate context so readers understand why the figure or genre under discussion is of lasting significance. The book first presents a general description of the history and background of popular music in Germany, followed by essays organized into thematic sections: Historical Spotlights; Globally German; Also "Made in Germany"; Explicitly German; and Reluctantly German.

All Along Bob Dylan: America and the World offers an important contribution to thinking about the artist and his work. Adding European and non-English speaking contexts to the vibrant field of Dylan studies, the volume covers a wide range of topics and methodologies while dealing with the inherently complex and varied material produced or associated with the iconic artist. The chapters, organized around three broad thematic sections (Geographies, Receptions and Perspectives), address the notions of audience, performance and identity, allowing to map out the structure of feeling and authenticity, both, in the case of the artist and his audience. Taking its cue from the collapse of the so-called high-/ low culture split following from the Nobel Prize, the book explores the argument that Dylan (and all popular music) can be interpreted as literature and offers discussions in the context of literary traditions, or visual culture and music. This contributes to a nuanced and complex portrayal of the seminal cultural phenomenon called Bob Dylan.