While music lovers and music historians alike understand that folkmusic played an increasingly pivotal role in American labor and politicsduring the economic and social tumult of the Great Depression, how did thisrelationship come to be? Ronald D. Cohen sheds new light on the complexcultural history of folk music in America, detailing the musicians, governmentagencies, and record companies that had a lasting impact during the1930s and beyond. Covering myriad musical styles and performers, Cohennarrates a singular history that begins in nineteenth-century labor politicsand popular music culture, following the rise of unions and Communismto the subsequent Red Scare and increasing power of the Conservativemovement in American politics-with American folk and vernacular musiccentered throughout. Detailing the influence and achievements of such notablemusicians as Pete Seeger, Big Bill Broonzy, and Woody Guthrie, Cohenexplores the intersections of politics, economics, and race, using the rootsof American folk music to explore one of the United States' most troubledtimes. Becoming entangled with the ascending American left wing, folkmusic became synonymous with protest and sharing the troubles of real peoplethrough song.

This anthology hosts a collection of essays examining the role of comics as portals for historical and academic content, while keeping the approach on an international market verses the American one. Few resources currently exist showing the cross-disciplinary aspects of comics. Some of the chapters examine the use of Wonder Woman during World War II, the development and culture of French comics, and theories of Locke and Hobbs in regards to the state of nature and the bonds of community. More so, the continual use of comics for the retelling of classic tales and current events demonstrates that the genre has long passed the phase of for children's eyes only. Additionally, this anthology also weaves graphic novels into the dialogue with comics.

The first decades of the twentieth century were years of dramatic change in Zanzibar, a time when the social, economic, and political lives of island residents were in incredible flux, framed by the abolition of slavery, the introduction of colonialism, and a tide of urban migration. "Pastimes and Politics" explores the era from the perspective of the urban poor, highlighting the numerous and varied ways that recently freed slaves and other immigrants to town struggled to improve their individual and collective lives and to create a sense of community within this new environment. In this study Laura Fair explores a range of cultural and social practices that gave expression to slaves' ideas of emancipation, as well as how such ideas and practices were gendered.
"Pastimes and Politics" examines the ways in which various cultural practices, including taarab music, dress, football, ethnicity, and sexuality, changed during the early twentieth century in relation to islanders' changing social and political identities. Professor Fair argues that cultural changes were not merely reflections of social and political transformations. Rather, leisure and popular culture were critical practices through which the colonized and former slaves transformed themselves and the society in which they lived.
Methodologically innovative and clearly written, "Pastimes and Politics" is accessible to specialists and general readers alike. It is a book that should find wide use in courses on African history, urbanization, popular culture, gender studies, or emancipation.

The wonderful world of Oz is a magical place-and has been for generations of Americans since L. Frank Baum penned his enduring classic in 1900. With the 1939 movie starring Judy Garland, Oz was forever woven into our culture. Over the course of the twentieth century, Oz continued to capture the hearts of the American people-as well as people all over the world. This book documents that magical journey through beautiful photographs of the world's largest collection of Oz memorabilia. Whether it's first-edition covers, a munchkin costume, or the Wicked playbill, the iconic items on these pages tell the story of America's most beloved fairy tale. Come over the rainbow and see why there truly is no place like Oz.

Trance events have an uncanny ability to capture an era, and captivate an audience of travellers occupying the eternal theatre of the dance floor. As this book shows, the tendency within psytrance is to thwart the passage of time, to prolong the night, for those who adopt a liminal lifestyle. Amid the hustle and hubris of the psytrance carnival there is a peaceful repose that you sometimes catch when you've drifted into a sea of outstretched limbs, bodies swaying like a field of sunflowers in a light breeze. And you feel intense joy in this fleeting moment. You are the moment. You are inside the flow. You are all. Embodying the poetry of dance, you are living evidence that nothing lasts. And this is a deep revelation of the mystical function of trance. It is difficult to emerge from this little death, because one does not want the party to end. But it must end, even so that it can recommence - so that one can return to repeat the cycle. The result of fifteen years of research in over a dozen countries, this book applies a sharp lens on a little understood global dance culture that has mushroomed all over the world since its beginnings in the diverse psychedelic music scenes flourishing in Goa in the 1970s and 1980s. The paramount expression of this movement has been the festival, from small parties to major international events such as Portugal's Boom Festival, which promotes itself as a world-summit of visionary arts and trance, a "united tribe of the world". Via first-hand accounts of the scenes, events and music of psychedelic trance in Australia, Israel, Germany, Italy, the UK, the US, Turkey and other places, the book thoroughly documents this transnational movement with its diverse aesthetic roots, multiple national translations and internal controversies. As a multi-sited ethnography and an examination of the digital, chemical, cyber and media assemblage constituting psytrance, the book explores the integrated role that technology and spirituality have played in the formation of this visionary arts movement and shows how these event-cultures accommodate rites of risk and consciousness, a complex circumstance demanding revision of existing approaches to ritual, music and culture.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1978.

Dogs eat burritos, camels smoke cigarettes, and frogs drink beer. Welcome to the Century of the Consumer. In the 20th century, Americans were romanced by consumer culture, which in turn reflected the changing attitudes, priorities, and values of the country. This book compiles entries on 100 consumer products--ten per decade--that figured prominently in the rise of consumer culture in the United States, telling the story behind the century's most popular products, slogans, and symbols.

A unique format provides glimpses into American popular culture from each decade in the century. In addition to the history of advertising, economics, and the media, students will learn how perceptions of class, gender, and race were conveyed through advertising-and how those perceptions changed from 1900 to 2000. A-Z entries for each decade include bibliographic information on the product, as well as vivid illustrations showing the visual evolution of advertising icons and strategies throughout the century.

Tracing public and critical responses to TV from its pioneering days, this book gathers and gives context to the reactions of those who saw television's early broadcasts-from the privileged few who witnessed experimental and limited-schedule programming in the 1920s and 1930s, to those who bought TV sets and hoisted antennae in the post-World War II television boom, to still more who invested in color receivers and cable subscriptions in the 1960s. While the first two major sections of this study show the views of television's first broad public, the third section shows how social and media critics, literary and visual artists, and others have expressed their charmed or chagrinned responses to television in its earliest decades. Media-jaded Americans, especially younger ones, would be surprised to know how eagerly their forebears anticipated the arrival of television. Tracing public and critical responses to TV from its pioneering days, this book gathers and gives context to the reactions of those who saw television's early broadcasts-from the privileged few who witnessed experimental and limited-schedule programming in the 1920s and 1930s, to those who bought TV sets and hoisted antennae in the post-World War II television boom, to still more who invested in color receivers and cable subscriptions in the 1960s. Viewers' comments recall the excitement of owning the first TV receiver in the neighborhood, show the vexing challenges of reception, and record the pleasure that all young and many older watchers found in early network and local programs from the beginning to the fast-changing 1960s. While the first two major sections of this study show the views of television's first broad public, the third section shows how social and media critics, literary and visual artists, and others have expressed their charmed or chagrinned responses to television in its earliest decades.

Split into four sections, Seeing Fans analyzes the representations of fans in the mass media through a diverse range of perspectives. This collection opens with a preface by noted actor and fan Orlando Jones (Sleepy Hollow), whose recent work on fandom (appearing with Henry Jenkins at Comic Con and speaking at the Fan Studies Network symposium) bridges the worlds of academia and the media industry. Section one focuses on the representations of fans in documentaries and news reports and includes an interview with Roger Nygard, director of Trekkies and Trekkies 2. The second section then examines fictional representations of fans through analyses of television and film, featuring interviews with Emily Perkins of Supernatural, Robert Burnett, director of the film Free Enterprise, and Luminosity, a fan who has been interviewed in the New York Magazine for her exemplary work in fandom. Section three explores cultural perspectives on fan representations, and includes an interview with Laurent Malaquais, director of Bronies: The Extremely Unexpected Adult Fans of My Little Pony. Lastly, the final section looks at global perspectives on the ways fans have been represented and finishes with an interview with Jeanie Finlay, director of the music documentary Sound it Out. The collection then closes with an afterword by fan studies scholar Professor Matt Hills.

There has been a significant growth in initiatives involving theatre, drama and performance within a science communication context. Yet there is little scholarship exploring this phenomenon from a science communication perspective. Weitkamp and Almeida draw on their distinct experiences with theatre in the context of science communication to delve into initiatives created through dialogue between the arts and the sciences for the purpose of public engagement. Entering into the space where museums, universities and research centres operate, as well as the space of theatre practitioners, they explore the richness and plurality of this universe, combining theory and practice, as well as presenting context, knowledge gaps and new data. Acknowledging that the place of drama, theatre and performance within science communication is one which is uniquely influenced by local cultural practices, discourses and expectations, the authors take a global perspective. Firstly by analysing data from an international survey of practitioners and secondly by curating a collection of case studies on science-theatre projects undertaken around the world. The chapters illustrate the diversity of forms and content that comprises contemporary science-theatre in this context and characterise theatre produced within the scope of science communication, placing it more precisely in the broader context of science-theatre.

The media star has become a powerful, almost unparalleled, cultural sign, even as the star system has undergone radical transformation since the era of the Hollywood studio system. Today's film industry continues to market and promote its products through actors in ways that seek to capture the often elusive quality that a star can embody. Using contemporary stars such as Robert De Niro, Keanu Reeves, Arnold Schwarzenegger, and Dennis Hopper, this anthology of essays applies a variety of theoretical tools in its attempt to understand how we interpret stars, and how we can begin to understand their cultural significance.

Likewise, the study explores how the star system has become an increasingly complex phenomenon within society at large, extending its impact beyond the cinema into music, sports, and fashion. Many of the essays collected here consider this shift and examine how personae including the director (Sam Peckinpah), the royalty (Princess Diana) and even the digital star (Lara Croft) have captured the cultural imagination and have come to attain qualities as star-like as those of the silver screen.

"Goth Culture" explores Goths' expressive practices of dress, fashion, style and the body, in relation to issues of identity and representation.  The book shares vivid accounts of the author's experiences exploring gender and sexuality and doing fieldwork in the Gothic subculture. Through the voices of Goths from the UK, US and Germany, it draws the reader into the gender-bending and heavily gendered world of Goth. It reassesses the significance of the dress of both male and female Goths, examining these striking and often highly creative subcultural fashion displays. Using a wide range of methods and sources, from ethnography to critical examination of music, literature, social theory and different types of popular media, "Goth Culture" offers an original and accessible analysis of the fashion, media and counterculture of the Gothic world.

From Bruce Lee to Samurai Champloo, how Asian fictions fuse with African American creative sensibilities In this study, Crystal S. Anderson explores the cultural and political exchanges between African Americans, Asian Americans, and Asians over the last four decades. To do so, Anderson examines such cultural productions as novels (Frank Chin's Gunga Din Highway 1999], Ishmael Reed's Japanese by Spring 1992], and Paul Beatty's The White Boy Shuffle 1996]); films (Rush Hour 2 2001], Unleashed 2005], and The Matrix trilogy 1999-2003]); and Japanese animation (Samurai Champloo 2004]), all of which feature cross-cultural conversations. In exploring the ways in which writers and artists use this transferral, Anderson traces and tests the limits of how Afro-Asian cultural production interrogates conceptions of race, ethnic identity, politics, and transnational exchange. Ultimately, this book reads contemporary black/Asian cultural fusions through the recurrent themes established by the films of Bruce Lee, which were among the first--and certainly most popular--works to use this exchange explicitly. As a result of such films as Enter the Dragon (1973), The Chinese Connection (1972), and The Big Boss (1971), Lee emerges as both a cross-cultural hero and global cultural icon who resonates with the experiences of African American, Asian American, and Asian youth in the 1970s. Lee's films and iconic imagery prefigure themes that reflect cross-cultural negotiations with global culture in post-1990 Afro-Asian cultural production. Crystal S. Anderson, Elon, North Carolina, is an associate professor of English at Elon University. Her work has been published in African American Review, MELUS, Extrapolation, and Ethnic Studies Review.

Through a detailed study of the circulation of European silent film in Australasia in the early twentieth century, this book challenges the historical myopia that treats Hollywood films as having always dominated global film culture. Before World War I, European silent feature films were ubiquitous in Australia and New Zealand, teaching Antipodean audiences about Continental cultures and familiarizing them with glamorous European stars, from Asta Nielsen to Emil Jannings. After the rise of Hollywood and then the shift to sound film, this history-and its implications for cross-cultural exchange-was lost. Julie K. Allen recovers that history, with its flamboyant participants, transnational currents, innovative genres, and geopolitical complications, bringing it all vividly to life. Making ground-breaking use of digitized Australian and New Zealand newspapers, the author reconstructs the distribution and exhibition of European silent films in the Antipodes, along the way incorporating compelling biographical sketches of the ambitious pioneers of the Australasian cinema industry. She reveals the complexity and competitiveness of the early cinema market, in a region with high consumer demand and low domestic production, and frames the dramatic shift to almost exclusively American cinema programming during World War I, contextualizing the rise of the art film in the 1920s in competition with mainstream Hollywood productions.

The Bloomsbury Encyclopedia of Popular Music Volume 7 is one of five volumes within the 'Locations' strand of the series. This volume discusses the popular music of Europe in a historical, geographical, demographical, political, economic, and cultural context. It also examines the genres associated with the region, significant venues such as theatres, dance halls, clubs and bars, and notable performers and other practitioners such as producers, engineers, and technological innovators. The volume consists of over 100 entries written by more than 60 leading popular music scholars and practitioners, including Paolo Prato on Italy and Alf Bjoernberg on Sweden. This and all other volumes of the Encyclopedia are now available through an online version of the Encyclopedia: https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW. A general search function for the whole Encyclopedia is also available on this site. A subscription is required to access individual entries. Please see: https://www.bloomsburypopularmusic.com/for-librarians.

Reality programming-a broad title for unscripted shows that involve non-actors-is really an updated version of a classic television genre that had its first successes decades before The Real World or Survivor made their premieres. NBC launched Try and Do It, a show in which audience members attempted to complete tasks such as whistling with a mouthful of crackers, in 1949. In the 1950s Queen for a Day crowned the most down-trodden of its four contestants, draping her in a sable-trimmed robe and granting a previously declared wish. The wild success reality television has achieved of late has pushed the envelope of such programming ever further away from the genre's innocuous beginnings. The time is now ripe for a look back on how this genre has developed, what it reveals about us, and what has transformed it into one of the most powerful forms of entertainment on television today. Reality programming-a broad title for unscripted shows that involve non-actors-is really an updated version of a classic television genre that had its first successes decades before The Real World or Survivor made their premieres. NBC launched Try and Do It, a show in which audience members attempted to complete tasks such as whistling with a mouthful of crackers, in 1949. In the 1950s Queen for a Day crowned the most down-trodden of its four contestants at the end of each show, draping her in a sable-trimmed robe and granting a previously declared wish. The wild success reality television has achieved of late has pushed the envelope of such programming ever further away-from the genre's innocuous beginnings. The time is now ripe for a look back on how this genre has developed, what it reveals about us, and what has transformed it into one of the most powerful forms of entertainment on television today. Using interviews with network insiders, reality producers, and other experts, Richard Huff supplies fascinating insights into the diverse content and often erratic development of reality television programming, augmenting this information with illuminating general connections between the past and present forms these shows assume. From Queen for a Day through Extreme Makeover, from Cops to Fear Factor, the genre is placed before us in this exhaustive and many-sided account, an account that uncovers the foundations and the future potential of the compelling and dominating phenomenon that is reality television.

The Art of Darkness is a visually rich sourcebook featuring eclectic artworks that have been inspired and informed by the morbid, melancholic and macabre. Throughout history, artists have been obsessed with darkness - creating works that haunt and horrify, mesmerise and delight and play on our innermost fears. Gentileschi took revenge with paint in Judith Slaying Holofernes while Bosch depicted fearful visions of Hell that still beguile. Victorian Britain became strangely obsessed with the dead and in Norway Munch explored anxiety and fear in one of the most famous paintings in the world (The Scream, 1893). Today, the Chapman Brothers, Damien Hirst and Louise Bourgeois, as well as many lesser known artists working in the margins, are still drawn to all that is macabre. From Dreams & Nightmares to Matters of Mortality, Depravity & Destruction to Gods & Monsters - this book introduces sometimes disturbing and often beautiful artworks that indulge our greatest fears, uniting us as humans from century to century. But, while these themes might scare us - can't they also be heartening and beautiful? Exploring and examining the artworks with thoughtful and evocative text, S. Elizabeth offers insight into each artist's influences and inspirations, asking what comfort can be found in facing our demons? Why are we tempted by fear and the grotesque? And what does this tell us about the human mind? Of course, sometimes there is no good that can come from the sensibilities of darkness and the sickly shivers and sensations they evoke. These are uncomfortable feelings, and we must sit for a while with these shadows - from the safety of our armchairs. Artists covered include Pablo Picasso, Georgia O'Keeffe, Francisco de Goya, Leonora Carrington, John Everett Millais, Tracey Emin, Vincent van Gogh, Barbara Hepworth, Paul Cezanne and Salvador Dali, as well as scores more. With over 200 carefully curated artworks from across the centuries, The Art of Darkness examines all that is dark in a bid to haunt and hearten. This book is part of the Art in the Margins series, following up on The Art of the Occult, which investigates representations of the mystical, esoteric and occult in art from across different times and cultures.

Everyone knows the name Calamity Jane. Scores of dime novels and movie and TV Westerns have portrayed this original Wild West woman as an adventuresome, gun-toting hellion. Although Calamity Jane has probably been written about more than any other woman of the nineteenth-century American West, fiction and legend have largely obscured the facts of her life. This lively, concise, and exhaustively researched biography traces the real person from the Missouri farm where she was born in 1856 through the development of her notorious persona as a Wild West heroine.
Before Calamity Jane became a legend, she was Martha Canary, orphaned when she was only eleven years old. From a young age she traveled fearlessly, worked with men, smoked, chewed tobacco, and drank. By the time she arrived in the boomtown of Deadwood, South Dakota, in 1876, she had become Calamity Jane, and the real Martha Canary had disappeared under a landslide of purple prose.
Calamity became a hostess and dancer in Deadwood's saloons and theaters. She imbibed heavily, and she might have been a prostitute, but she had other qualities, as well, including those of an angel of mercy who ministered to the sick and the down-and-out. Journalists and dime novelists couldn't get enough of either version, nor, in the following century, could filmmakers.
Sorting through the stories, veteran western historian Richard W. Etulain's account begins with a biography that offers new information on Calamity's several "husbands" (including one she legally married), her two children, and a woman who claimed to be the daughter of Wild Bill Hickok and Calamity, a story Etulain discredits. In the second half of the book, Etulain traces the stories that have shaped Calamity Jane's reputation. Some Calamity portraits, he says, suggest that she aspired to a quiet life with a husband and family. As the 2004-2006 HBO series "Deadwood" makes clear, well more than a century after her first appearance as a heroine in the Deadwood Dick dime novels, Calamity Jane lives on--raunchy, unabashed, contradictory, and ambiguous as ever.""

Football has emerged as an important symbolic field through which various social, cultural, political, economic, and historical dimensions and antagonisms are negotiated. This volume covers a variety of themes illuminating the multiple ways that football impacts on people's everyday lives. Using anthropological research methods and data collected from ethnographic fieldwork, the contributors scrutinize not only the social fields of football fans and the specific socio-cultural contexts in which they are embedded, but also other actors beyond the pitch, and the possibilities for both agency and subversion. Taking into account processes of Europeanization, globalization, commercialization and migration, the collection offers fresh insights into fan identity formations and practices and highlights the importance of anthropology's self-reflexive and actor-centred perspective.

Ten songs, from ""Bill Bailey, Won't You Please Come Home"" (1902) to ""You Made Me Love You"" (1913), ignited the development of the classic pop ballad. In this exploration of how the style of the Great American Songbook evolved, Michael G. Garber unveils the complicated, often-hidden origins of these enduring, pioneering works. He riffs on colorful stories that amplify the rising of an American folk art composed by innovators both famous and obscure. Songwriters, and also the publishers, arrangers, and performers, achieved together a collective genius that moved hearts worldwide to song. These classic ballads originated all over the nation-Louisiana, Colorado, Illinois, Michigan-and then the Tin Pan Alley industry, centered in New York, made the tunes unforgettable sensations. From ragtime to bop, cabaret to radio, new styles of music and modes for its dissemination invented and reinvented the intimate, personal American love ballad, creating something both swinging and tender. Rendered by Frank Sinatra, Ella Fitzgerald, and a host of others, recordings and movies carried these songs across the globe. Using previously underexamined sources, Garber demonstrates how these songs shaped the music industry and the lives of ordinary Americans. Besides covering famous composers like Irving Berlin, this history also introduces such little-known figures as Maybelle Watson, who had to sue to get credit and royalties for creating the central content of the lyric for ""My Melancholy Baby."" African American Frank Williams contributed to the seminal ""Some of These Days"" but was forgotten for decades. The ten ballads explored here permanently transformed American popular song.

The Bloomsbury Encyclopedia of Popular Music Volume 6 is one of five volumes within the 'Locations' strand of the series. This volume discusses the popular music of African and the Middle East in a historical, geographical, demographical, political, economic, and cultural context. It also examines the genres associated with the region, significant venues such as theatres, dance halls, clubs and bars, and notable performers and other practitioners such as producers, engineers, and technological innovators. The volume consists of over 100 entries written by more than 60 leading popular music scholars and practitioners, including John Collins on Ghana, Moya Aliya Malamusi on Malawi, and, Motti Regev on Israel. This and all other volumes of the Encyclopedia are now available through an online version of the Encyclopedia: https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW. A general search function for the whole Encyclopedia is also available on this site. A subscription is required to access individual entries. Please see: https://www.bloomsburypopularmusic.com/for-librarians.

Dystopian States of America is a crucial resource that studies the impact of dystopian works on American society-including ways in which they reflect our deep and persistent fears about environmental calamities, authoritarian governments, invasive technologies, and human weakness. Dystopian States of America provides students and researchers with an illuminating resource for understanding the impact and relevance of dystopian and apocalyptic works in contemporary American culture. Through its wide survey of dystopian works in numerous forms and genres, the book encourages readers to connect with these works of fiction and understand how the catastrophically grim or disquieting worlds they portray offer insights into our own current situation. In addition to providing more than 150 encyclopedia articles on a large and representative sample of dystopian/apocalyptic narratives in fiction, film, television, and video games (including popular works that often escape critical inquiry), Dystopian States of America features a suite of critical essays on five themes-war, pandemics, totalitarianism, environmental calamity, and technological overreach-that serve as the foundation for most dystopian worlds of the imagination. These offerings complement one another, enabling readers to explore dystopian conceptions of America and the world from multiple perspectives and vantage points. Provides readers with an accessible, well-organized, and thorough introduction to dystopian/apocalyptic narratives, with a focus on the ways that these stories foster increased awareness of the world we live in now Casts a wide net to identify dystopian works in diverse genres and forms-from classic novels to video games-reaching beyond "serious" literature to appreciate the depth of this body of work and its impact Covers a wide survey of works-more than 150-in digestible and accessible encyclopedia entries, each contributed by an established scholar in literary studies, film studies, history, or an associated field Provides five extended scholarly essays on recurring subject themes in apocalyptic and dystopian works