Streaming Music examines how the Internet has become integrated in contemporary music use, by focusing on streaming as a practice and a technology for music consumption. The backdrop to this enquiry is the digitization of society and culture, where the music industry has undergone profound disruptions, and where music streaming has altered listening modes and meanings of music in everyday life. The objective of Streaming Music is to shed light on what these transformations mean for listeners, by looking at their adaptation in specific cultural contexts, but also by considering how online music platforms and streaming services guide music listeners in specific ways. Drawing on case studies from Moscow and Stockholm, and providing analysis of Spotify, VK and YouTube as popular but distinct sites for music, Streaming Music discusses, through a qualitative, cross-cultural, study, questions around music and value, music sharing, modes of engaging with music, and the way that contemporary music listening is increasingly part of mobile, automated and computational processes. Offering a nuanced perspective on these issues, it adds to research about music and digital media, shedding new light on music cultures as they appear today. As such, this volume will appeal to scholars of media, sociology and music with interests in digital technologies.

Streaming Music examines how the Internet has become integrated in contemporary music use, by focusing on streaming as a practice and a technology for music consumption. The backdrop to this enquiry is the digitization of society and culture, where the music industry has undergone profound disruptions, and where music streaming has altered listening modes and meanings of music in everyday life. The objective of Streaming Music is to shed light on what these transformations mean for listeners, by looking at their adaptation in specific cultural contexts, but also by considering how online music platforms and streaming services guide music listeners in specific ways. Drawing on case studies from Moscow and Stockholm, and providing analysis of Spotify, VK and YouTube as popular but distinct sites for music, Streaming Music discusses, through a qualitative, cross-cultural, study, questions around music and value, music sharing, modes of engaging with music, and the way that contemporary music listening is increasingly part of mobile, automated and computational processes. Offering a nuanced perspective on these issues, it adds to research about music and digital media, shedding new light on music cultures as they appear today. As such, this volume will appeal to scholars of media, sociology and music with interests in digital technologies.

In the sleepy town of Cooper's Grove, Agnes MacPherson is known as the Witch Woman because of her ability to see auras and spirits. For the most part, people come to her to ask the usual questions posed to a seer. But there is nothing usual about the haunting of Lucinda Mae Hawkins. Cooper's Grove is the story of Lucinda as told by Miss Aggie. A wrong side of the tracks girl, Lucinda meets spoiled, rich boy John Dawson in her sixteenth summer. An innocent, she is excited to be the object of his desire and of his jealousy. One thing leads to another and John is given no choice but to marry the girl he thought would be a mere dalliance. Despite his dismay, a side of John delights in the horror he knows his mother feels at the unsuitable match, and he revels in the knowledge that now he is the boss, the man of the family, and no one can tell him how to act or what to do, least of all his new bride. Billy Joe Dean has always had a crush on Lucinda and when John meets an early death, he steps in and courts the new widow, unaware that the spirit of her departed husband has no intention of relinquishing his hold on her. Spanning fifty years, Cooper's Grove is a ghost story, a love story and ultimately, a tale of redemption.

Someone is stalking star chef Emily Simonson. That someone wants her dead, but first, that someone wants her terrified. And that someone has figured out the perfect way to do it. Aspiring actresses who bear a resemblance to Emily are being murdered and before each murder, a warning is sent. But those warnings don't tell who, where or when. Who is next? And when will it be Emily's turn to die? CRAZY takes you into the mind of a fiendish killer who, fueled by Satanic fantasies and a mysterious Guardian, wreaks havoc in Hollywood. There's a lunatic on the loose. Who will be the final victim?

On what feels like the worst day of her life, instead of getting an expected marriage proposal, Decker Jones is dumped by her boyfriend of three years. Her heartbreak is tempered with joy when she receives the news that after ten long years of trying to get noticed, top literary agent Lillian Cardone has agreed to represent her, moving her a giant leap forward towards the dream of becoming a bestselling author. Albert Crawford is a career bank robber who is planning to retire to live the good life in Mexico after pulling one last job. Things go horribly wrong when a bank guard is killed. Three time loser Albert is arrested and sent to spend the rest of his life in prison. Two different people. Two different futures. Neither can imagine what the future holds.

What sorrow lurks in the minds of men suffering from a broken heart? Ain't No Sunshine knows How do men feel when they lose someone they love? Do they cry? Do they obsess? Do they call psychics? Under the protection of anonymity, thirty-eight men describe in detail how they've dealt with the pain of heartbreak. Whether it's because of divorce, betrayal, death or simply getting dumped, the raw honesty of these men may surprise you. Modern American society so often discourages men from admitting to emotional pain, especially when it comes to matters of the heart. From an early age men are taught to "suck it up." Women often think men have it easier when it comes to the pain of heartbreak. But is that really the case? Ain't No Sunshine provides an opportunity to unlock those mysteries in this informal collection of stories. Interviews with therapists, psychics and bartenders are included and provide informative insights into how men react to a broken heart. Love is never easy. Loss of love is always difficult. Here is proof that not only do men struggle, sometimes the struggle is more difficult than it is for women. Ain't No Sunshine is a rare glimpse into the elusive male psyche

WHAT DOES IT FEEL LIKE TO LOSE YOUR VIRGINITY? Seventy-two men and women answer that burning question. Hundreds of years of collective experience answer the questions every virgin has. THE VIRGIN DIARIES is a book about sex that really isn't about sex at all. Rather, it's about the feelings associated with that first time: wondering about it, worrying about it, the expectations, the surprises and the disappointments. Within these pages are the recollections of seventy-two people, young and old, gay and straight, who responded to the call for answers. This candid collection of stories provides a unique opportunity to be a fly on the wall. There is no commentary. The stories stand on their own, allowing the reader to form his or her own conclusions. Whether you are a virgin and desire to make an informed decision, a parent faced with "the talk" or are interested in reading detailed accounts of one of life's most personal experiences, THE VIRGIN DIARIES offers confidential insights and illustrates the commonalities we all share: our hopes, dreams, fears and insecurities. It shows that we are all human and therefore, all connected.

What does it mean, in a polarized political climate, that feminism was popular in mainstream popular music of the 2010s? Engaging with feminist theory and previous research about gender and music, this book investigates the meaning of current trends relating to gender, feminism and woman-identified artists in mediated popular music. The examples discussed throughout the book include Netflix documentaries by Beyoncé, Lady Gaga and Taylor Swift, the Swedish music industry #MeToo petition #närmusikentystnar, music streaming services’ gender equality work and the project Keychange striving to bring underrepresented genders to the stage. The volume discusses the media specificity of the different examples, introduces and explains feminist theories and concepts and analyzes the position of women, gender politics and feminisms in popular music.

What does it mean, in a polarized political climate, that feminism was popular in mainstream popular music of the 2010s? Engaging with feminist theory and previous research about gender and music, this book investigates the meaning of current trends relating to gender, feminism and woman-identified artists in mediated popular music. The examples discussed throughout the book include Netflix documentaries by Beyonce, Lady Gaga and Taylor Swift, the Swedish music industry #MeToo petition #narmusikentystnar, music streaming services' gender equality work and the project Keychange striving to bring underrepresented genders to the stage. The volume discusses the media specificity of the different examples, introduces and explains feminist theories and concepts and analyzes the position of women, gender politics and feminisms in popular music.