The richness of Native American artis emphasized through discussions of basketry, wood and rock carvings, dance masks, and beadwork, alongside the contemporary vitality of paintings and installations by modern artists such as Robert Davidson, Emmi Whitehorse, and Alex Janvier. Authors Berlo and Philips fully incorporate substantivenew research and scholarship, and examine such issues as gender, representation, the colonial encounter, and contemporary arts. By encompassing both the sacred and secular, political and domestic, the ceremonial and commercial, Native North American Art shows the importance of the visual arts inmaintaining the integrity of spiritual, social, political, and economic systems within Native North American societies.

    Using well-chosen examples, insightful commentaries, and an engaging writing style, this text traces the development of jazz, blues, country, rock, Motown, hip-hop, and other popular styles, highlighting the contributions of diverse groups to the creation of distinctly American styles. It combines an in-depth treatment of the music itself--including discussions of stylistic elements and analyses of musical examples--with solid coverage of the music's attendant historical, social, and cultural circumstances. The authors incorporate strong pedagogy including numerous boxed inserts on significant individuals, recordings, and intriguing topics; coverage of early American popular music; and a rich illustration program. Detailed listening charts explain the most important elements of recordings discussed at length in the text. The charts are complemented by two in-text audio CDs and--new to this edition--an iMix published at iTunes, which makes most of the songs immediately available to students and instructors. Features of the Second Edition * Integrates full color throughout * Provides more coverage of women artists, with new material on women in rock 'n' roll in Chapter 8 and a box on Queen Latifah in Chapter 14 * Reorganizes the discussion of post-1970s music: disco is now included with mainstream 70s pop, while hip-hop is treated in two chapters (12 and 14) in order to emphasize its significance and diversity * Adds new material on the recent alternative country music explosion * Includes new developments in music technology in the thoroughly revised concluding chapter * Offers revised and more vivid visual elements, including more than 100 new photos (most in full color) and an illustrated timeline * Provides redesigned listening guides, enhanced by an iMix published at iTunes (accessible at www.oup.com/us/popmusic) * Supplemented by a Companion Website at www.oup.com/us/popmusic (containing both student and instructor resources) and an Instructor's Manual and a Computerized Test Bank on CD * FREE with the purchase of this book: a 6-month subscription to Grove Music Online (www.grovemusic.com)--a $180 value Remarkably accessible, American Popular Music, Second Edition, is ideal for courses in American Popular Music, the History of Popular Music, Popular Music in American Culture, and the History of Rock 'n' Roll. Its welcoming style and warm tone will captivate readers, encouraging them to become more critically aware listeners of popular music.

    president's daughter?Brimming with answers to popular questions like these, The Best Bar Trivia Book Ever arms you with the knowledge your team needs to annihilate your bar trivia competition. This must-have guide features hundreds of facts, covering everything from sports and pop culture to history and science, so that you're always ready to deliver the ultimate trivia smackdown. You'll also get all the ins and outs of your favorite event with information on important bar trivia rules, assembling a team, and claiming victories week after week.Whether you're new to the scene or want to dominate at your local bar, this book will help your team outsmart the competition every single week!

    Through rare interviews and with unique insight, Peter Guralnick tells the definitive story of the songs that inspired a generation and forever changed the sound of American music.

    It has been inspired by the scientific ferment that swept through Britain at the end of the 18th century, and which Holmes now radically redefines as 'the revolution of Romantic Science'.

    While paintings of Picasso and Jackson Pollock sell for a hundred million dollars or more, and lines from T. S. Eliot are quoted on the yearbook pages of alienated teenagers across the land, twentieth-century classical music still sends ripples of unease through audiences. At the same time, its influence can be felt everywhere. Atonal chords crop up in jazz. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalism has had a huge effect on rock, pop, and dance music from the Velvet Underground onward.The Rest Is Noise shows why twentieth-century composers felt compelled to create a famously bewildering variety of sounds, from the purest beauty to the purest noise. It tells of a remarkable array of maverick personalities who resisted the cult of the classical past, struggled against the indifference of a wide public, and defied the will of dictators. Whether they have charmed audiences with sweet sounds or battered them with dissonance, composers have always been exuberantly of the present, defying the stereotype of classical music as a dying art. The narrative goes from Vienna before the First World War to Paris in the twenties, from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies. We follow the rise of mass culture and mass politics, of dramatic new technologies, of hot and cold wars, of experiments, revolutions, riots, and friendships forged and broken. The end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.

    Drawing upon massive research in diaries, letters, memoirs, and oral histories, the author argues that the lives of antebellum southern women, enslaved and free, differed fundamentally from those of northern women and that it is not possible to understand antebellum southern women by applying models derived from New England sources.

    The author surveys criticisms of his work, accepting many such criticisms while challenging others, especially the view that the study of working-class racism implies a rejection of Marxism and radical politics.

    Its dazzling virtuosity and spectacular live concerts made it hugely popular with fans during the 1970s, who saw bands such as King Crimson, Emerson, Lake and Palmer, Yes, Genesis, Pink Floyd, and Jethro Tull bring a new level of depth and sophistication to rock. On the other hand, critics branded the elaborate concerts of these bands as self- indulgent and materialistic. They viewed progressive rock's classical/rock fusion attempts as elitist, a betrayal of rock's populist origins. In Rocking the Classics, the first comprehensive study of progressive rock history, Edward Macan draws together cultural theory, musicology, and music criticism, illuminating how progressive rock served as a vital expression of the counterculture of the late 1960s and 1970s. Beginning with a description of the cultural conditions which gave birth to the progressive rock style, he examines how the hippies' fondness for hallucinogens, their contempt for Establishment-approved pop music, and their fascination with the music, art, and literature of high culture contributed to this exciting new genre. Covering a decade of music, Macan traces progressive rock's development from the mid- to late-sixties, when psychedelic bands such as the Moody Blues, Procol Harum, the Nice, and Pink Floyd laid the foundation of the progressive rock style, and proceeds to the emergence of the mature progressive rock style marked by the 1969 release of King Crimson's album In the Court of the Crimson King. This golden age reached its artistic and commercial zenith between 1970 and 1975 in the music of bands such as Jethro Tull, Yes, Genesis, ELP, Gentle Giant, Van der Graaf Generator, and Curved Air. In turn, Macan explores the conventions that govern progressive rock, including the visual dimensions of album cover art and concerts, lyrics and conceptual themes, and the importance of combining music, visual motif, and verbal expression to convey a coherent artistic vision. He examines the cultural history of progressive rock, considering its roots in a bohemian English subculture and its meteoric rise in popularity among a legion of fans in North America and continental Europe. Finally, he addresses issues of critical reception, arguing that the critics' largely negative reaction to progressive rock says far more about their own ambivalence to the legacy of the counterculture than it does about the music itself. An exciting tour through an era of extravagant, mind-bending, and culturally explosive music, Rocking the Classics sheds new light on the largely misunderstood genre of progressive rock.

    DEMOCRACY FOR THE FEW is a provocative interpretation of American Government that you have likely not been exposed to in elementary school, high school, or other college courses, and certainly not in the mass media. This textbook shows how democracy is repeatedly violated by corporate oligopolies, but how popular forces have fought back and occasionally made gains in spite of the system. By focusing on the relationship between economic power and political power, discussing actual government practices and policies, conspiracies, propaganda, fraud, secrecy and other ploys of government and politics, this book stands apart in its analysis of how US Government works.

    And yet, while his music has retained the steadfast devotion of modern listeners, much remains unknown about the man who penned and played these timeless tunes. Few people alive today actually remember what Johnson was really like, and those who do have largely upheld their silence-until now.In Brother Robert, nonagenarian Annye Anderson sheds new light on a real-life figure largely obscured by his own legend: her kind and incredibly talented stepbrother, Robert Johnson. This book chronicles Johnson's unconventional path to stardom-from the harrowing story behind his illegitimate birth, to his first strum of the guitar on Anderson's father's knee, to the genre-defining recordings that would one day secure his legacy. Along the way, readers are gifted not only with Anderson's personal anecdotes, but with colorful recollections passed down to Anderson by members of their family-the people who knew Johnson best. Readers also learn about the contours of his working life in Memphis, never-before-disclosed details about his romantic history, and all of Johnson's favorite things, from foods and entertainers to brands of tobacco and pomade. Together, these stories don't just bring the mythologized Johnson back down to earth; they preserve both his memory and his integrity.For decades, Anderson and her family have ignored the tall tales of Johnson "selling his soul to the devil" and the speculative to fictionalized accounts of his life that passed for biography. Brother Robert is here to set the record straight. Featuring a foreword by Elijah Wald and a Q&A with Anderson, Lauterbach, Wald, and Peter Guralnick, this book paints a vivid portrait of an elusive figure who forever changed the musical landscape as we know it.

    How can such sublime work have been produced by a man who (when we can discern his personality at all) seems so ordinary, so opaque—and occasionally so intemperate? John Eliot Gardiner grew up passing one of the only two authentic portraits of Bach every morning and evening on the stairs of his parents’ house, where it hung for safety during World War II. He has been studying and performing Bach ever since, and is now regarded as one of the composer’s greatest living interpreters. The fruits of this lifetime’s immersion are distilled in this remarkable book, grounded in the most recent Bach scholarship but moving far beyond it, and explaining in wonderful detail the ideas on which Bach drew, how he worked, how his music is constructed, how it achieves its effects—and what it can tell us about Bach the man. Gardiner’s background as a historian has encouraged him to search for ways in which scholarship and performance can cooperate and fruitfully coalesce. This has entailed piecing together the few biographical shards, scrutinizing the music, and watching for those instances when Bach’s personality seems to penetrate the fabric of his notation. Gardiner’s aim is “to give the reader a sense of inhabiting the same experiences and sensations that Bach might have had in the act of music-making. This, I try to show, can help us arrive at a more human likeness discernible in the closely related processes of composing and performing his music.” It is very rare that such an accomplished performer of music should also be a considerable writer and thinker about it. John Eliot Gardiner takes us as deeply into Bach’s works and mind as perhaps words can. The result is a unique book about one of the greatest of all creative artists.

    She was the rarest of female psychopaths, a woman who engaged in wholesale slaughter, partly out of greed but mostly for the sheer joy of it. Between 1902 and 1908, she lured a succession of unsuspecting victims to her Indiana “murder farm.” Some were hired hands. Others were well-to-do bachelors. All of them vanished without a trace. When their bodies were dug up, they hadn’t merely been poisoned, like victims of other female killers. They’d been butchered.Hell’s Princess is a riveting account of one of the most sensational killing sprees in the annals of American crime: the shocking series of murders committed by the woman who came to be known as Lady Bluebeard. The only definitive book on this notorious case and the first to reveal previously unknown information about its subject, Harold Schechter’s gripping, suspenseful narrative has all the elements of a classic mystery—and all the gruesome twists of a nightmare.

    and the MGs. Soulsville, U.S.A. provides the first history of the groundbreaking label along with compelling biographies of the promoters, producers, and performers who made and sold the music. Over 45 photos.

    The company had been a fixture on the national opera scene--as the populist antithesis of the grand Metropolitan Opera, a nurturing home for young American talent, and a place where new, lively ideas shook up a venerable art form. But NYCO's demise represented more than the loss of a cherished organization: it was a harbinger of massive upheaval in the performing arts--and a warning about how cultural institutions would need to change in order to survive.Drawing on extensive research and reporting, Heidi Waleson, one of the foremost American opera critics, recounts the history of this scrappy company and reveals how, from the beginning, it precariously balanced an ambitious artistic program on fragile financial supports. Waleson also looks forward and considers some better-managed, more visionary opera companies that have taken City Opera's lessons to heart.Above all, Mad Scenes and Exit Arias is a story of money, ego, changes in institutional identity, competing forces of populism and elitism, and the ongoing debate about the role of the arts in society. It serves as a detailed case study not only for an American arts organization, but also for the sustainability and management of nonprofit organizations across the country.