220 Lyrics From The Eighties

Contained in this book are the lyrics to over 200 of the greatest songs of the 80's. Contents are an easy layout containing the Artist and their songs for easy searching. Grab a copy and I guarantee it will bring back the memories.

This blank lined jouranl is great gift idea for Mom on Christmas, Birthdays, and Mothers Day. 6"X9" 100 page blank lined journal.

The humorist asked his readers to share their least favorite tunes and chronicles the hilarious responses. When funnyman Dave Barry asked readers about their least favorite tunes, he thought he was penning just another installment of his weekly syndicated humor column. But the witty writer was flabbergasted by the response when over 10,000 readers voted. “I have never written a column that got a bigger response than the one announcing the Bad Song Survey,” Barry wrote. Based on the results of the survey, Dave Barry’s Book of Bad Songs is a compilation of some of the worst songs ever written. Dave Barry fans will relish his quirky take. Music buffs too will appreciate this humorous stroll through the world’s worst lyrics. The only thing wrong with this book is that readers will find themselves unable to stop mentally singing the greatest hits of Gary Puckett. Praise for Dave Barry’s Book of Bad Songs “Barry is his usual puckish self, but the real surprise here is how funny many of the survey respondents are.” —Kirkus Reviews “Who can resist such a book?” —Publishers Weekly

Assessment of the Beatles artistic achievement providing biographical, musical, and historical detail through a chronology of their songs.

This is the true story of a young Red Army soldier during the Second World War, told in his own words. Recruited into the army aged just seventeen, Sergei Drobyazko’s introduction to battle is a violent one: forced to retreat from his home city of Krasnodar after it is set ablaze by German forces. Later, Drobyazko is captured by the Germans and placed in a concentration camp, where prisoners are reduced to eating scavenged rubbish and bathing battle wounds in urine. After a daring escape from the camp, he enters service once more, rising to the rank of sergeant in an infantry regiment. During this time, he witnesses the execution of deserters and the routine ill-treatment of German prisoners of war by vengeful Soviet troops. After surviving an attack that decimates his detachment, Drobyazko is almost court-martialled. Seriously wounded in 1944, he retrains as a radio operator, but he never returns to the war front. In this gripping memoir, Drobyazko sets down his experience of the war as it unfolded around him. He claims to have consulted no historical sources and to have simply relied on his own memory, making this a deeply personal account. Translated into English for the first time, this unique account will be enjoyed by readers with an interest in military history.

A fascinating look at how the popular musical culture of Guangzhou expresses the city’s unique cosmopolitanism. Guangzhou is a large Chinese city like many others. With a booming economy and abundant job opportunities, it has become a magnet for rural citizens seeking better job prospects as well as global corporations hoping to gain a foothold in one of the world’s largest economies. This openness and energy have led to a thriving popular music scene that is every bit the equal of Beijing’s. But the musical culture of Guangzhou expresses the city’s unique cosmopolitanism. A port city that once played a key role in China’s maritime Silk Road, Guangzhou has long been an international hub. Now, new migrants to the city are incorporating diverse Chinese folk traditions into the musical tapestry. In Sonic Mobilities, ethnomusicologist Adam Kielman takes a deep dive into Guangzhou's music scene through two bands, Wanju Chuanzhang (Toy Captain) and Mabang (Caravan), that express ties to their rural homelands and small-town roots while forging new cosmopolitan musical connections. These bands make music that captures the intersection of the global and local that has come to define Guangzhou, for example by writing songs with a popular Jamaican reggae beat and lyrics in their distinct regional dialects mostly incomprehensible to their audiences. These bands create a sound both instantly recognizable and totally foreign, international and hyper-local. This juxtaposition, Kielman argues, is an apt expression of the demographic, geographic, and political shifts underway in Guangzhou and across the country. Bridging ethnomusicology, popular music studies, cultural geography, and media studies, Kielman examines the cultural dimensions of shifts in conceptualizations of self, space, publics, and state in a rapidly transforming the People’s Republic of China.