This thirtieth anniversary edition of Sound and Sentiment makes Steven Feld's landmark, field-defining book available to a new generation of scholars and students. A sensory ethnography set in the rain forest of Papua New Guinea, among the Kaluli people of Bosavi, Sound and Sentiment introduced the anthropology of sound, or the cultural study of sound. After it was first published in 1982, a second edition, incorporating additional field research and a new postscript, was released in 1990. The third edition includes all of the material from the first two editions, along with a substantial new introduction in which Feld discusses Bosavi's recent history and reflects on the challenges it poses for contemporary theory and representation.

On Jewish Music, partly a retrospective, is a collection of articles on the history of Jewish music and covers aspects of Jewish musical culture from the earliest days of musical activities in ancient Israel/Palestine through the centuries of the Diaspora to modern Israel. Especially stressed is the ethnic aspect of archaeological evidence from ancient Israel. Discussed are the place of iconography in renaissance Hebrew manuscripts, the art of klezmer music, musical life in the former Soviet Union, and the sociological aspects of musical life in modern Israel. The discussion is accompanied by illustrations of archaeological artifacts, Hebrew manuscript illuminations and music examples. The volume is accessible to interested readers and scholars alike.

With Fairport Convention and solo, Sandy Denny displayed one of contemporary music's finest voices; she also composed her own material, including "Who Knows Where The Time Goes"--a huge U.S. hit for Judy Collins--and sang on Led Zeppelin IV. However, Sandy tragically got caught in a spiral of drink and drugs and died at age 31 in 1978. Best-selling Dylan biographer Heylin draws on hours of new interviews to tell Sandy's story.

The volume presents current research in the field of Systematic Musicology at the Institute of Musicology, University of Hamburg. Internationally leading research like the unique 'Acoustic Camera' developed at the Institute or a real-time hardware implementation of Physical Modeling as well as important contributions to the field of Musical Neurocognition and Psychology, like Forensic Music Psychology, or the development of a Syllogistic Music Theory addresses hot topics in Systematic Musicology today. Der Band prasentiert die aktuelle Forschung der Systematischen Musikwissenschaft am Institut fur Musikwissenschaft, Universitat Hamburg. Bei der international fuhrenden Forschung, wie etwa der weltweit groessten 'Akustischen Kamera', welche am Institut entwickelt wurde, oder der Echtzeit-Hardware-Implementierung von physikalischer Modellierung wie auch bei wichtigen Beitragen auf den Gebieten der Musikalischen Neurokognition und Musikalischen Psychologie, z.B. der Forensischen Musikpsychologie oder der Entwicklung einer Syllogistischen Musiktheorie, handelt es sich um Schlusselthemen heutiger Musikwissenschaft.

This ethnographic journey into the New York salsa scene of the 1990s offers detailed accounts of musicians grappling with intercultural tensions and commercial pressures. The author, himself an accomplished salsa musican, examines the organisational structures, recording processes, rehearsing and gigging of salsa bands.

This book analyzes the process of composition, learning and performance of the Southern folk blues of black America. Never before has this musical form been examined so scrupulously. Evans traces the impact of commercialism, especially the phonograph record, on blues history, as well as the various local traditions that produce a given blues tune and text. The author has done extensive field work in Mississippi and provides here a structure for understanding not only the blues but almost any other oral literature from other cultures. This book won the University of Chicago Folklore Prize. All of the greatest blues singers - Robert Johnson, Tommy Johnson, Muddy Waters, Blink Willie McTell, Blind Lemon Jefferson - are discussed in relation to their predecessors and followers.

Started by the National Life and Accident Insurance Company in 1925, WSM became one of the most influential and exceptional radio stations in the history of broadcasting and country music. WSM gave Nashville the moniker "Music City USA" as well as a rich tradition of music, news, and broad-based entertainment. With the rise of country music broadcasting and recording between the 1920s and '50s, WSM, Nashville, and country music became inseparable, stemming from WSM's launch of the Grand Ole Opry, popular daily shows like Noontime Neighbors, and early morning artist-driven shows such as Hank Williams on Mother's Best Flour. Sparked by public outcry following a proposal to pull country music and the Opry from WSM-AM in 2002, Craig Havighurst scoured new and existing sources to document the station's profound effect on the character and self-image of Nashville. Introducing the reader to colorful artists and businessmen from the station's history, including Owen Bradley, Minnie Pearl, Jim Denny, Edwin Craig, and Dinah Shore, the volume invites the reader to reflect on the status of Nashville, radio, and country music in American culture.

In Music, Postcolonialism, and Gender, Leith Davis studies the construction of Irish national identity from the early eighteenth until the mid-nineteenth centuries, focusing in particular on how texts concerning Irish music, as well as the social settings within which those texts emerged, contributed to the imagining of Ireland as "the Land of Song." Through her considerations of Irish music collections by the Neals, Edward Bunting, and George Petrie; antiquarian tracts and translations by Joseph Cooper Walker, Charlotte Brooke, and James Hardiman; and lyrics and literary works by Sidney Owenson, Thomas Moore, Samuel Lover, and Dion Boucicault, Davis suggests that music served as an ideal means through which to address the ambiguous and ever-changing terms of the colonial relationship between Ireland and England. Davis also explores the gender issues so closely related to the discourses on both music and national identity during the time, and the influence of print culture and consumer capitalism on the representation of Irish music at home and abroad. She argues that the emergence of a mass market for culture reconfigured the gendered ambiguities already inherent in the discourses on Irish music and identity. Davis's book will appeal to scholars within Irish studies, postcolonial studies, gender studies, print culture, new British history, eighteenth- and nineteenth-century studies, and ethnomusicology.

In Music, Postcolonialism, and Gender, Leith Davis studies the construction of Irish national identity from the early eighteenth until the mid-nineteenth centuries, focusing in particular on how texts concerning Irish music, as well as the social settings within which those texts emerged, contributed to the imagining of Ireland as "the Land of Song." Through her considerations of Irish music collections by the Neals, Edward Bunting, and George Petrie; antiquarian tracts and translations by Joseph Cooper Walker, Charlotte Brooke, and James Hardiman; and lyrics and literary works by Sidney Owenson, Thomas Moore, Samuel Lover, and Dion Boucicault, Davis suggests that music served as an ideal means through which to address the ambiguous and ever-changing terms of the colonial relationship between Ireland and England. Davis also explores the gender issues so closely related to the discourses on both music and national identity during the time, and the influence of print culture and consumer capitalism on the representation of Irish music at home and abroad. She argues that the emergence of a mass market for culture reconfigured the gendered ambiguities already inherent in the discourses on Irish music and identity. Davis's book will appeal to scholars within Irish studies, postcolonial studies, gender studies, print culture, new British history, eighteenth- and nineteenth-century studies, and ethnomusicology.

Edith Fowke (1913-1996) was a renowned Canadian folklorist, folk song collector, researcher, writer, and teacher who during her long career recorded nearly two thousand songs. Awarded the Order of Canada in 1978 and named a Fellow of the Royal Society of Canada in 1983, Fowke's legacy is recognized by folk singers and scholars alike as the most comprehensive work in its field. Producing radio programs for the CBC throughout the 1950s and 1960s, she was responsible for discovering such eminent singers as LaRena Clark, Tom Brandon, and O. J. Abbott. O. J. Abbott was one of Fowke's most prolific singers, as she collected and recorded over 120 of his songs, 66 of them transcribed for this collection. The songs, mostly of Irish origin, were popular among settlers to the Ottawa valley and in the lumber camps of northern Ontario in the late 1800s. Born in England in 1872, Abbott worked throughout Ontario and Quebec in lumber camps before settling in Hull, Quebec. He recorded numerous records for the Folkways label and performed with such folk heroes as The Travellers, Ian and Sylvia, and Pete Seeger. Songs of the North Woods as sung by O.J. Abbott and collected by Edith Fowke includes a detailed musical analysis that outlines the meter, scale, and range of each song, an index that indicates where each song can be found on the original source tapes, and extensive field notes, interviews, and recording details.

Although his story has been told countless times--by performers from Ma Rainey, Cab Calloway, and the Isley Brothers to Ike and Tina Turner, James Brown, and Taj Mahal--no one seems to know who Stagolee really is. Stack Lee? Stagger Lee? He has gone by all these names in the ballad that has kept his exploits before us for over a century. Delving into a subculture of St. Louis known as "Deep Morgan," Cecil Brown emerges with the facts behind the legend to unfold the mystery of Stack Lee and the incident that led to murder in 1895. How the legend grew is a story in itself, and Brown tracks it through variants of the song "Stack Lee"--from early ragtime versions of the '20s, to Mississippi John Hurt's rendition in the '30s, to John Lomax's 1940s prison versions, to interpretations by Lloyd Price, James Brown, and Wilson Pickett, right up to the hip-hop renderings of the '90s. Drawing upon the works of James Baldwin, Richard Wright, and Ralph Ellison, Brown describes the powerful influence of a legend bigger than literature, one whose transformation reflects changing views of black musical forms, and African Americans' altered attitudes toward black male identity, gender, and police brutality. This book takes you to the heart of America, into the soul and circumstances of a legend that has conveyed a painful and elusive truth about our culture.

When Walt Whitman published ""Leaves of Grass"" in 1855, he dreamed of inspiring ""a race of singers"" who would celebrate the working class and realize the promise of American democracy. By examining how singers such as Woody Guthrie, Bob Dylan, and Bruce Springstein both embraced and reconfigured Whitman's vision, Bryan Garman shows that Whitman succeeded. In doing so, Garman celebrates the triumphs yet also exposes the limitations of Whitman's legacy. While Whitman's verse propounded notions of sexual freedom and renounced the competitiveness of capitalism, it also safeguarded the interests of the white workingman, often at the expense of women and people of colour. Garman describes how each of Whitman's successors adopted the mantle of the working-class hero while adapting the role to his own generation's concerns: Guthrie condemned racism in the 1930s, Dylan addressed race and war in the 1960s and Springstein explored sexism, racism and homophobia in the 1980s and 1990s. But as Garman points out, even the Boss, like his forebears, tends to represent solidarity in terms of white male bonding and homosocial allegiance. We can hear America singing in the voices of these artists, Garman says, but it is still the song of a white, male America.

Sad songs and love songs. For Vietnamese refugees who fled Vietnam after the 1975 takeover by the Viet Cong, the predominant music of choice falls into these two general categories rather than any particular musical genre. In fact, Adelaida Reyes discovers, music that exiles call "Vietnamese music" -- that is, music sung in Vietnamese and almost exclusively written before 1975 -- includes such varied influences as Western rock, French-derived valse, Latin chacha, tango, bolero, and paso doble.

The Vietnamese refugee experience calls attention to issues commonly raised by migration: the redefinition of group relations, the reformulation of identity, and the reconstruction of social and musical life in resettlement. Fifteen years ago, Adelaida Reyes began doing fieldwork on the musical activities of Vietnamese refugees. She entered the emotion-driven world of forced migrants through expressive culture; learned to see the lives of refugee-resettlers through the music they made and enjoyed; and, in turn, gained a deeper understanding of their music through knowledge of their lives.

In Songs of the Caged, Songs of the Free, Reyes brings history, politics, and decades of research to her study of four resettlement communities, including refugee centers in Palawan and Bataan; the early refugee community in New Jersey; and the largest of all Vietnamese communities -- Little Saigon, in southern California's Orange County.

Looking closely at diasporic Vietnamese in each location, Reyes demonstrates that expressive culture provides a valuable window into the refugee experience. Showing that Vietnamese immigrants deal with more than simply a new country and culture in these communities, Reyesconsiders such issues as ethnicity, socio-economic class, and differing generations. She considers in her study music of all kinds-performed and recorded, public and private -- and looks at music as listened to and performed by all age groups, including church music, club music, and music used in cultural festivals. Moving from traditional folk music to elite and modern music and from the recording industry to pirated tapes, Reyes looks at how Vietnamese in exile struggled, in different ways, to hold onto a part of their home culture and to assimilate into their new, most frequently American, culture.

Songs of the Caged, Songs of the Free will attract the attention of readers in Asian American studies, Asian studies, immigration studies, music, and ethnomusicology.

Over the past two decades, indigenous peoples in the Pacific region have increasingly used and adapted forms of popular music as an expression of their cultural identity. In Australia, Hawai'i, New Zealand, Papua New Guinea and New Caledonia this has resulted in new forms of syncretic or 'fusion' musics, such as Aboriginal Rock or 'Jawaiian' Reggae. This anthology provides the first survey of this cultural phenomenon and analyses the cultural politics of various forms of music and the media contexts in which they circulate.

Puerto Rican music in New York is given center stage in Ruth Glasser's original and lucid study. Exploring the relationship between the social history and forms of cultural expression of Puerto Ricans, she focuses on the years between the two world wars. Her material integrates the experiences of the mostly working-class Puerto Rican musicians who struggled to make a living during this period with those of their compatriots and the other ethnic groups with whom they shared the cultural landscape. Through recorded songs and live performances, Puerto Rican musicians were important representatives for the national consciousness of their compatriots on both sides of the ocean. Yet they also played with African-American and white jazz bands, Filipino or Italian-American orchestras, and with other Latinos. Glasser provides an understanding of the way musical subcultures could exist side by side or even as a part of the mainstream, and she demonstrates the complexities of cultural nationalism and cultural authenticity within the very practical realm of commercial music. Illuminating a neglected epoch of Puerto Rican life in America, Glasser shows how ethnic groups settling in the United States had choices that extended beyond either maintenance of their homeland traditions or assimilation into the dominant culture. Her knowledge of musical styles and performance enriches her analysis, and a discography offers a helpful addition to the text.

When We Were Good traces the many and varied cultural influences on the folk revival of the sixties from early nineteenth-century blackface minstrelsy; the Jewish entertainment and political cultures of New York in the 1930s; the Almanac singers and the wartime crises of the 1940s; the watershed record album Folkways Anthology of American Folk Music; and finally to the cold-war reactionism of the 1950s. This drove the folk-song movement, just as Pete Seeger and the Weavers were putting "On Top of Old Smokey" and "Goodnight, Irene" on the Hit Parade, into a children's underground of schools, summer camps, and colleges, planting the seeds of the folk revival to come. The book is not so much a history as a study of the cultural process itself, what the author calls the dreamwork of history. Cantwell shows how a body of music once enlisted on behalf of the labor movement, antifascism, New Deal recovery efforts, and many other progressive causes of the 1930s was refashioned as an instrument of self-discovery, even as it found a new politics and cultural style in the peace, civil rights, and beat movements. In Washington Square and the Newport Folk Festival, on college campuses and in concert halls across the country, the folk revival gave voice to the generational tidal wave of postwar youth, going back to the basics and trying to be very, very good. In this capacious analysis of the ideologies, traditions, and personalities that created an extraordinary moment in American popular culture, Cantwell explores the idea of folk at the deepest level. Taking up some of the more obdurate problems in cultural studies--racial identity, art and politics, regional allegiances, class differences--he shows how the folk revival was a search for authentic democracy, with compelling lessons for our own time.

For most of his adult life Severt Young Bear stood in the light-in the center ring at powwows and other gatherings of Lakota people. As founder and, for many years, lead singer of the Porcupine Singers, a traditional singing and drumming group, he also stood, figuratively, in the light of understanding the cherished Lakota heritage. Young Bear's own life in Brotherhood Community, Porcupine District of the Pine Ridge Sioux Reservation, is the linchpin of this narrative, which ranges across the landscape of Dakota culture, from the significance of names to the search for modern Lakota identity, from Lakota oral traditions to powwows and giveaways, from child-rearing practices to humor and leadership. "Music is at the center of Lakota life," says Young Bear; he describes in rich detail the origins and varieties of Lakota song and dance. A descendant of chiefs and of Wounded Knee survivors, he recounts his role in Wounded Knee II 1973 and his association with the AIM Song. A highly respected musician, teacher, and elder, Severt Young Bear performed with the Porcupine Singers throughout North America, taught at Oglala Lakota College, and served on the Oglala Sioux tribal council. He was music and dance consultant for the films Dances with Wolves and Thunder Heart. This book is the fruit of his long friendship and collaboration with R. D. Theisz, a fellow Porcupine Singer and professor of communications and education at Black Hills State University. Says Theisz, "We're trying to write this book so that Lakota people and our nonIndian friends can find better understanding ...so that those people waiting in the dark-perhaps we have a little of them in all of us-can approach the light."

Toelken's lively exploration of folksongs and their meanings looks closely at a number of folksong and ballad texts. He discusses riddle songs and other ambiguous folksongs, as well as the various "ballad commonplaces", treating them not as a fund of mindless cliches but as a reservoir of suggestive reference. The author ranges through metaphors such as weaving, plowing, plucking flowers, and walking in the dew, showing in each case how it contributes to meaning in vernacular song. Included are comparisons to German folksongs, medieval poetry, Italian folk lyrics, and a wide range of Euro-American vernacular expression. If morning dew and roses are metaphorical signifiers, he prompts us to ask, what might they say to the folk communities that sustain and share them? Toelken draws on both his published work and his extensive unpublished research on English-language and German-Austrian folksong. The German references he offers show that the nuances are not coincidental or unique to English ballad development but reflect a widespread northern European pattern of metaphoric expression.

Not so long ago, songs by the Andrews Sisters and Lawrence Welk blasted from phonographs, lilted over the radio, and dazzled television viewers across the country. Lending star quality to the ethnic music of Poles, Italians, Slovaks, Jews, and Scandinavians, luminaries like Frankie Yankovic, the Polka King, and 'Whoopee John' Wilfart became household names to millions of Americans. In this vivid and engaging book, Victor Greene uncovers a wonderful corner of American social history as he traces the popularization of old-time ethnic music from the turn of the century to the 1960s. Drawing on newspaper clippings, private collections, ethnic societies, photographs, recordings, and interviews with musicians and promoters, Greene chronicles the emergence of a new mass culture that drew heavily on the vivid color, music, and dance of ethnic communities. In this story of American ethnic music, with its countless entertainers performing never-forgotten tunes in hundreds of small cities around the country, Greene revises our notion of how many Americans experienced cultural life. In the polka belt, extending from Connecticut to Nebraska and from Texas up to Minnesota and the Dakotas, not only were polkas, laendlers, schottisches, and waltzes a musical passion, but they shone a scintillating new light on the American cultural landscape. Greene follows the fortunes of groups like the Gold Chain Bohemians, illuminating the development of an important segment of American popular music that fed the craze for international dance music. And even though old-time music declined in the 1960s, overtaken by rock and roll, a new Grammy for the polka was initiated in 1986. In its ebullience and vitality, the genre endures.

This is a welcome addition to recently published work on the popular musics which have emerged in many countries as a response to and as a result of the encounter of local musical traditions with Anglo-American pop/rock. . . . The empirical components make this an impressive book. . . . It is also quite unique. . . . The data collected is presented in a successful combination of quantitative information and 'windows' of text telling the story of different individual musicians, and tracing the influence on them of economics and politics, of local and foreign musicians. --Cambridge Journals "The book is a magnificent achievement and stands on par with the work by Wallis & Malm with which it inevitably must be compared. One looks forward to the companion volumes of the project. Of particular note is the research style that drew on 40 indigenous researchers from over 20 countries. This is a highly ambitious project in intercultural studies and stands as a landmark in intercultural cooperation." --Canadian Journal of Communication "Music at the Margins is the utopian experiment par excellence. . . . We are treated to an intriguing print montage of the current 'world music' landscape; this book's multicultural scholarship is a tour de force in cross-cultural dialogics. . . . The results of the studies help to set the agenda for further research in the field. . . . The book is an extremely ambitious project. . . . Music at the Margins . . . is a groundbreaking study of popular music in its international contexts. The book is a must for anyone interested in the subject." --Journal of Communication "Music at the Margins: Popular Music and Global Cultural Diversity fills an important scholarly gap by investigating the nature of the international recording industry and production of music by local performers working at the margins of that industry in a variety of national contexts. The authors report on cross-cultural research done by a large international team that "tests the cultural imperialism hypothesis" that a largely one-way flow of cultural texts is leading to worldwide cultural homogenization." --International Journal of Intercultural Relations "A very interesting, highly readable book about the global pop-music world, reflecting its complexity and its artistic, economic, cultural-social, and political involvement and influence. . . .Music at the Margins is a special book and will be relished by music fans, general readers, and students in music, sociology, economics and other courses." --Academic Library Book Review "One of the better books in the trend toward establishing legitimacy of popular culture studies through pseudoacademic trappings, this is a responsible attempt to collate and make sense of information and perceptions gleaned by researchers in more than 15 First-, Second-, and Third-World countries." --Choice "It inspires great respect for its authors. For someone who writes about popular music for a daily newspaper and magazines as well as academic settings, it has a lot of value and interest. The broad conceptual framework alone helps me think about what's happening with all aspects of pop culture, not just music. . . . Most important for me is the evidence the book provides of how the process of cultural production actually works at both individual and national levels." --Lynn Darroch, Mt. Hood Community College "An exhaustive academic account of the forces governing the international music industry. . . . Music at the Margins is an ambitious project encompassing many complex issues. . . . For anyone interested in the past, present and future of international popular music, it is an impressive and rewarding volume." --Tracking "An amazingly rich tour-de-force of contested territory: how meanings are negotiated between domination and diversity, cultural erosion and enrichment. Indispensable for students of mass media and popular culture, as well as of music." --George Gerbner, Annenberg School for Communication, University of Pennsylvania Popular music is a form of communication easily recognized and understood around the world. But as it spreads from culture to culture, is it becoming more homogenized? Or, conversely, is there a continuing and perhaps ever-increasing diversity of song styles and forms? Music at the Margins explores the debate surrounding popular music's spread, testing the more conventional "cultural imperialism" hypothesis as based on empirical findings from a study by the International Communication and Youth Culture Consortium. The primary focus is on how the process of popular music production is perceived by local musicians--people who are immersed in overlapping international, national, and local contexts of production. Discussions on theory, local case studies, and interview data are provided and integrated to show how societal influences are tempered by and interpreted through cultural and semiotic codes--as well as individual musicians' experiences and creative talents. Specific topics addressed include the rise of the international recording industry, music production in socialist or formerly socialist countries, censorship, and sociopolitical influences, to name but a few. Music at the Margins will appeal to a wide range of scholars and students in the fields of communication, popular culture, and sociology.

Mystic Seaports interpretation programs include a strong sea-music component represented by a staff of eight musicians. This book of chanteys, spiral-bound to open flat for music-stand or other placement, consists of 25 classic sea songs and some of their variants, accompanied by musical notations made by Marc Bernier and explanatory notes from Glenn Grasso. The notes cover some of the history of these songs, and explain how they are used at Mystic Seaport to accompany shipwork done by the Museum's Demonstration Squad. This attractive book is a perfect introduction to the chanteys deepwater sailormen sang as they did their work.

Born in the summer of 1912, Woody Guthrie remains one of the most significant figures in American folk music to this day. While most Americans know his iconic anthem "This Land Is Your Land", surprisingly few understand Guthrie's place in the greater context of American radicalism and protest in the 1930s and beyond. In Searching for Woody Guthrie, Ron Briley embarks on a chronological exploration of Guthrie's music in the vein of American radicalism and civil rights. Briley begins this journey with an overview of five key periods in Guthrie's life and, in the chapters that follow, analyses his political ideas through primary and secondary source materials. While numerous biographies on Woody Guthrie exist - including Guthrie's own 1943 autobiography - this book takes a different approach. Less biographical and more thematic in nature, Searching for Woody Guthrie centres around Guthrie's faith in the common working people of America, bringing together People's Daily World "Woody Sez" newspaper columns, Guthrie centennial secondary source texts, research in the Woody Guthrie Archives, and Briley's own personal reflections to present a narrative that is at once personal to the author and relatable to America's rural working class. Interlacing Guthrie's music with his own geographic and economic background, Briley presents an original and eloquent chronology of Guthrie's life and work in what amounts to a compelling new case for why that work, more than fifty years after Guthrie's death, continues to leave its mark.

Neil V. Rosenberg met the legendary Bill Monroe at the Brown County Jamboree. Rosenberg's subsequent experiences in Bean Blossom put his feet on the intertwined musical and scholarly paths that made him a preeminent scholar of bluegrass music. Rosenberg's memoir shines a light on the changing bluegrass scene of the early 1960s. Already a fan and aspiring musician, his appetite for banjo music quickly put him on the Jamboree stage. Rosenberg eventually played with Monroe and spent four months managing the Jamboree. Those heights gave him an eyewitness view of nothing less than bluegrass's emergence from the shadow of country music into its own distinct art form. As the likes of Bill Keith and Del McCoury played, Rosenberg watched Monroe begin to share a personal link to the music that tied audiences to its history and his life--and helped turn him into bluegrass's foundational figure. An intimate look at a transformative time, Bluegrass Generation tells the inside story of how an American musical tradition came to be.

Woody Guthrie, American Radical reclaims the politically radical profile of America's greatest balladeer. Although he achieved a host of national honors and adorns U.S. postage stamps, and although his song "This Land Is Your Land" is often considered the nation's second national anthem, Woody Guthrie committed his life to the radical struggle. Will Kaufman traces Guthrie's political awakening and activism throughout the Great Depression, World War II, the Cold War, the Korean War, the Civil Rights struggle, and the poison of McCarthyism. He examines Guthrie's role in the development of a workers' culture in the context of radical activism spearheaded by the Communist Party of the USA, the Popular Front, and the Congress of Industrial Organizations. Kaufman also establishes Guthrie's significance in the perpetuation of cultural front objectives into the era of the "New Left" and beyond, particularly through his influence on the American and international protest song movement. Utilizing a wealth of previously unseen archival materials such as letters, song lyrics, essays, personal reflections, photos, and other manuscripts, Woody Guthrie, American Radical introduces a heretofore unknown Woody Guthrie: the canny political strategist, fitful thinker, and cultural front activist practically buried in the general public's romantic celebration of the "Dust Bowl Troubadour." A portion of the royalties from the sales of this book will be donated to the Woody Guthrie Foundation.