What are the influences on war correspondents as they report on news in war-torn countries? Originally published in 1995, Mark Pedelty explores the lives, work and culture of an international press corps. He writes about the reporters who covered El Salvador's civil war. Going beyond those specifics to look at the institutions, practices, myths, and rituals that pattern the work of journalists everywhere. He tells us the stories of war correspondents at work and at play, as they cover the news. The myth, developed in part from the movies we watch and from CNN, is that war is reported from the front lines. More often, it is reported from the front office as journalists sit around waiting for something "big" to happen. Pedelty looks at the context in which they construct their reports. "Unnamed" diplomats in the US Embassy feed stories to reporters, who are careful not to alienate these crucial sources by adding background information that might be perceived as ideological. Reporters are also constrained by the pens and preferences of editors who work to narrow the focus of news reporting, removing necessary context in the process. By examining how news stories are actually produced, Pedelty highlights the elusiveness of the goal of "objective" journalism. We see how the biases of war correspondents are connected to structures of power, and how these biases affect actual journalistic practices. Pedelty also explores alternative possibilities for war reporting, including emerging alternative international news services and ways to deepen reporters' understandings of the countries and problems they cover. Influenced by anthropology, communication studies, cultural studies, and sociology, this book will interest scholars and students in those fields, as well as journalists and anyone who watches, reads or listens to news.

What are the influences on war correspondents as they report on news in war-torn countries? Originally published in 1995, Mark Pedelty explores the lives, work and culture of an international press corps. He writes about the reporters who covered El Salvador's civil war. Going beyond those specifics to look at the institutions, practices, myths, and rituals that pattern the work of journalists everywhere. He tells us the stories of war correspondents at work and at play, as they cover the news. The myth, developed in part from the movies we watch and from CNN, is that war is reported from the front lines. More often, it is reported from the front office as journalists sit around waiting for something "big" to happen. Pedelty looks at the context in which they construct their reports. "Unnamed" diplomats in the US Embassy feed stories to reporters, who are careful not to alienate these crucial sources by adding background information that might be perceived as ideological. Reporters are also constrained by the pens and preferences of editors who work to narrow the focus of news reporting, removing necessary context in the process. By examining how news stories are actually produced, Pedelty highlights the elusiveness of the goal of "objective" journalism. We see how the biases of war correspondents are connected to structures of power, and how these biases affect actual journalistic practices. Pedelty also explores alternative possibilities for war reporting, including emerging alternative international news services and ways to deepen reporters' understandings of the countries and problems they cover. Influenced by anthropology, communication studies, cultural studies, and sociology, this book will interest scholars and students in those fields, as well as journalists and anyone who watches, reads or listens to news.

Political Rock features luminary figures in rock music that have stood out not only for their performances, but also for their politics. The book opens with a comparative, cultural history of artists who have played important roles in social movements. Individual chapters are devoted to The Clash and Fugazi, Billy Bragg, Bob Dylan, Rage Against the Machine, Pearl Jam, Sinead O'Connor, Peter Gabriel, Ani DiFranco, Bruce Cockburn, Steve Earle and Kim Gordon. These artists have been chosen for their status as rock musicians and connections to political moments, movements, and art. The artists and authors show that rock retains a critical strain, continuing a tradition of rock politics that matters to fans, activists, and movements alike.

Political Rock features luminary figures in rock music that have stood out not only for their performances, but also for their politics. The book opens with a comparative, cultural history of artists who have played important roles in social movements. Individual chapters are devoted to The Clash and Fugazi, Billy Bragg, Bob Dylan, Rage Against the Machine, Pearl Jam, Sinead O'Connor, Peter Gabriel, Ani DiFranco, Bruce Cockburn, Steve Earle and Kim Gordon. These artists have been chosen for their status as rock musicians and connections to political moments, movements, and art. The artists and authors show that rock retains a critical strain, continuing a tradition of rock politics that matters to fans, activists, and movements alike.

On the coast of Washington and British Columbia sit the misty forests and towering mountains of Cascadia. With archipelagos surrounding its shores and tidal surges of the Salish Sea trundling through the interior, this bioregion has long attracted loggers, fishing fleets, and land developers, each generation seeking successively harder to reach resources as old-growth stands, salmon stocks, and other natural endowments are depleted. Alongside encroaching developers and industrialists is the presence of a rich environmental movement that has historically built community through musical activism. From the Wobblies' Little Red Songbook (1909) to Woody Guthrie's Columbia River Songs (1941) on through to the Raging Grannies' formation in 1987, Cascadia's ecology has inspired legions of songwriters and musicians to advocate for preservation through music. In this book, Mark Pedelty explores Cascadia's vibrant eco-musical community in order to understand how environmentalist music imagines, and perhaps even creates, a more sustainable conception of place. Highlighting the music and environmental work of such various groups as Dana Lyons, the Raging Grannies, Idle No More, Towers and Trees, and Irthlingz, among others, Pedelty examines the divergent strategies—musical, organizational, and technological—used by each musical group to reach different audiences and to mobilize action. He concludes with a discussion of "applied ecomusicology," considering ways this book might be of use to activists and musicians at the community level.

On the Zocalo, the main square of Mexico City, Mexico's entire musical history is performed every day. "Mexica" percussionists drum and dance to the music of Aztec rituals on the open plaza. Inside the Metropolitan Cathedral, choristers sing colonial villancicos. Outside the National Palace, the Mexican army marching band plays the "Himno Nacional," a vestige of the nineteenth century. And all around the square, people listen to the contemporary sounds of pop, rock, and musica grupera. In all, some seven centuries of music maintain a living presence in the modern city.

This book offers an up-to-date, comprehensive history and ethnography of musical rituals in the world's largest city. Mark Pedelty details the dominant musical rites of the Aztec, colonial, national, revolutionary, modern, and contemporary eras, analyzing the role that musical ritual played in governance, resistance, and social change. His approach is twofold. Historical chapters describe the rituals and their functions, while ethnographic chapters explore how these musical forms continue to resonate in contemporary Mexican society. As a whole, the book provides a living record of cultural continuity, change, and vitality.

On the coast of Washington and British Columbia sit the misty forests and towering mountains of Cascadia. With archipelagos surrounding its shores and tidal surges of the Salish Sea trundling through the interior, this bioregion has long attracted loggers, fishing fleets, and land developers, each generation seeking successively harder to reach resources as old-growth stands, salmon stocks, and other natural endowments are depleted. Alongside encroaching developers and industrialists is the presence of a rich environmental movement that has historically built community through musical activism. From the Wobblies' Little Red Songbook (1909) to Woody Guthrie's Columbia River Songs (1941) on through to the Raging Grannies' formation in 1987, Cascadia's ecology has inspired legions of songwriters and musicians to advocate for preservation through music. In this book, Mark Pedelty explores Cascadia's vibrant eco-musical community in order to understand how environmentalist music imagines, and perhaps even creates, a more sustainable conception of place. Highlighting the music and environmental work of such various groups as Dana Lyons, the Raging Grannies, Idle No More, Towers and Trees, and Irthlingz, among others, Pedelty examines the divergent strategies-musical, organizational, and technological-used by each musical group to reach different audiences and to mobilize action. He concludes with a discussion of "applied ecomusicology," considering ways this book might be of use to activists and musicians at the community level.