The Da Capo Companion To 20th Century Popular Music

Volumes 3 and 4 of the The Encyclopedia of More Great Popular Song Recordings provides the stories behind approximately 1,700 more of the greatest song recordings in the history of the music industry, from 1890 to today. In this masterful survey, all genres of popular music are covered, from pop, rock, soul, and country to jazz, blues, classic vocals, hip-hop, folk, gospel, and ethnic/world music. Collectors will find detailed discographical data—recording dates, record numbers, Billboard chart data, and personnel—while music lovers will appreciate the detailed commentaries and deep research on the songs, their recording, and the artists. Readers who revel in pop cultural history will savor each chapter as it plunges deeply into key events—in music, society, and the world—from each era of the past 125 years. Following in the wake of the first two volumes of his original Encyclopedia of Great Popular Song Recordings, this follow-up work covers not only more beloved classic performances in pop music history, but many lesser -known but exceptional recordings that—in the modern digital world of “long tail” listening, re-mastered recordings, and “lost but found” possibilities—Sullivan mines from modern recording history. The Encyclopedia of Great Popular Song Recordings, Volumes 3 and 4 lets the readers discover, and, through their playlist services, from such as iTunes toand Spotify, build a truly deepcomprehensive catalog of classic performances that deserve to be a part of every passionate music lover’s life. Sullivan organizes songs in chronological order, starting in 1890 and continuing all the way throughto the present to include modern gems from June 2016. In each chapter, Sullivanhe immerses readers, era by era, in the popular music recordings of the time, noting key events that occurred at the time to painting a comprehensive picture in music history of each periodfor each song. Moreover, Sullivan includes for context bulleted lists noting key events that occurred during the song’s recording

The function of print resources as instructional guides and descriptors of popular music pedagogy are addressed in this concise volume. Increasingly, public school teachers and college-level faculty members are introducing and utilizing music-related educational approaches in their classrooms. This book lists reports dealing with popular music resources as classroom teaching materials, and will stimulate further thought among students and teachers. It focuses on the growing spectrum of published scholarship available to instructors in specific teaching fields (art, geography, social studies, urban studies, and so on) as well as on the multitude of general resources (including biographical directories and encyclopedias of artist profiles). Building on two recent publications: Teaching with Popular Music Resources: A Bibliography of Interdisciplinary Instructional Approaches, Popular Music and Society, XXII, no. 2 (Summer 1998), and American Culture Interpreted through Popular Music: Interdisciplinary Teaching Approaches (Bowling Green State University Popular Press, 2000), this volume focuses on the growing spectrum of published scholarship that is available to instructors in specific teaching fields (art, geography, social studies, urban studies, and so on) as well as on the multitude of general resources (including biographical directories and encyclopedias of artist profiles).

Rock Music in American Popular Culture III: More Rock ’n’Roll Resources explores the fascinating world of rock music and examines how this medium functions as an expression of cultural and social identity. This nostalgic guide explores the meanings and messages behind some of the most popular rock ’n’roll songs that captured the American spirit, mirrored society, and reflected events in our history. Arranged by themes, Rock Music in American Popular Culture III examines a variety of social and cultural topics with related songs, such as: sex and censorship--“Only the Good Die Young” by Billy Joel and “Night Moves” by Bob Seger and The Silver Bullet Band holiday songs--“Rockin’Around the Christmas Tree” by Brenda Lee and “The Christmas Song” by Nat King Cole death--“Leader of the Pack” by The Shangri-Las and “The Unknown Soldier” by The Doors foolish behavior--“When a Man Loves a Woman” by Percy Sledge and “What Kind of Fool” by Barbra Streisand and Barry Gibb jobs and the workplace--“Don’t Stand So Close to Me” by The Police and “Dirty Laundry” by Don Henley military involvements--“Boogie Woogie Bugle Boy” by the Andrews Sisters and “War” by Edwin Starr novelty recordings--“The Purple People Eater” by Sheb Wooley and “Eat It” by Weird Al Yankovic letters and postal images--“P. S. I Love You” by The Beatles and “Return to Sender” by Elvis Presely In addition, a discography and a bibliography after each section give further examples of the themes and resources being discussed, as do extensive lists of print references at the end of the text.

Find free content and save on permission fees Millions of creative works—books, artwork, photos, songs, movies, and more—are available copyright-free in the public domain. Frozen for decades due to lengthened copyright terms, the public domain has finally begun to grow again as copyrights for older works expire. Since 2019, classics such as The Great Gatsby, Sherlock Holmes, and early Alfred Hitchcock films have all entered the U.S. public domain. The only book that helps you find and identify which creative works are protected by copyright and which are not, The Public Domain covers the rules for: • writings • music • art • photography • architecture • maps • choreography • movies • video • software • databases • collections The 10th edition is completely updated to include new public domain resources and the latest legal changes to copyright protection of songs, books, photos, and other creative works, as well as public domain rules outside the U.S. It also covers when works created with artificial intelligence (AI) are in the public domain.

Charles Mingus was one of the most innovative jazz musicians of the 20th Century, and ranks with Ives and Ellington as one of America's greatest composers. By temperament, he was a high-strung and sensitive romantic, a towering figure whose tempestuous personal life found powerfully coherent expression in the ever-shifting textures of his music. Now, acclaimed music critic Gene Santoro strips away the myths shrouding "Jazz's Angry Man," revealing Mingus as more complex than even his lovers and close friends knew. A pioneering bassist and composer, Mingus redefined jazz's terrain. He penned over 300 works spanning gutbucket gospel, Colombian cumbias, orchestral tone poems, multimedia performance, and chamber jazz. By the time he was 35, his growing body of music won increasing attention as it unfolded into one pioneering musical venture after another, from classical-meets-jazz extended pieces to spoken-word and dramatic performances and television and movie soundtracks. Though critics and musicians debated his musical merits and his personality, by the late 1950s he was widely recognized as a major jazz star, a bellwether whose combined grasp of tradition and feel for change poured his inventive creativity into new musical outlets. But Mingus got headlines less for his art than for his volatile and often provocative behavior, which drew fans who wanted to watch his temper suddenly flare onstage. Impromptu outbursts and speeches formed an integral part of his long-running jazz workshop, modeled partly on dramatic models like Orson Welles' Mercury Theatre. Keeping up with the organized chaos of Mingus's art demanded gymnastic improvisational skills and openness from his musicians-which is why some of them called it "the Sweatshop." He hired and fired musicians on the bandstand, attacked a few musicians physically and many more verbally, twice threw Lionel Hampton's drummer off the stage, and routinely harangued chattering audiences, once chasing a table of inattentive patrons out of the FIVE SPOT with a meat cleaver. But the musical and mental challenges this volcanic man set his bands also nurtured deep loyalties. Key sidemen stayed with him for years and even decades. In this biography, Santoro probes the sore spots in Mingus's easily wounded nature that helped make him so explosive: his bullying father, his interracial background, his vulnerability to women and distrust of men, his views of political and social issues, his overwhelming need for love and acceptance. Of black, white, and Asian descent, Mingus made race a central issue in his life as well as a crucial aspect of his music, becoming an outspoken (and often misunderstood) critic of racial injustice. Santoro gives us a vivid portrait of Mingus's development, from the racially mixed Watts where he mingled with artists and writers as well as mobsters, union toughs, and pimps to the artistic ferment of postwar Greenwich Village, where he absorbed and extended the radical improvisation flowing through the work of Allen Ginsberg, Jackson Pollock, and Charlie Parker. Indeed, unlike Most jazz biographers, Santoro examines Mingus's extra-musical influences--from Orson Welles to Langston Hughes, Farwell Taylor, and Timothy Leary--and illuminates his achievement in the broader cultural context it demands. Written in a lively, novelistic style, Myself When I Am Real draws on dozens of new interviews and previously untapped letters and archival materials to explore the intricate connections between this extraordinary man and the extraordinary music he made.

The Boomers are the generation that changed everything, from economics to politics to popular culture. This book examines the myriad ways and long-reaching consequences of the now fully "grown up" Baby Boomer generation on America. Once upon a time, the members of the Baby Boomer generation were young, idealistic, and hungry to change the world. And they did create sweeping, irreversible changes throughout American society—but probably not in the ways their younger selves imagined they would. Now that the Boomers are in their late-adult or retirement years, their tremendous legacy can clearly be perceived. In retrospect, the paths the members of this generation took to come to power—and how they came to terms with that power—are also apparent. This single-volume work supplies a broad yet detailed critical guide to the Boomer Generation, containing essays on key people, moments, and phenomena not only during the Boomers' 1960s heyday but also their extensive influences on American culture decades afterward. The contributors address key topics such as the rise of feminism; Civil Rights; the Vietnam War and the anti-war movement; the Beatles, the Grateful Dead, and rock 'n roll; gay rights; idealism, narcissism, and materialism; the influence of television on America, and vice versa; and the transition of Boomers from being "Yippies" to "Yuppies." This work is an ideal text for students in undergraduate or graduate courses in television studies, media studies, cultural studies, and American studies; and is highly appropriate as a supplemental text in literature, history, and philosophy surveys.

Contrary to popular belief, the roots of American country music do not lie solely on southern farms or in mountain hollows. Rather, much of this music recorded before World War II emerged from the bustling cities and towns of the Piedmont South. No group contributed more to the commercialization of early country music than southern factory workers. In Linthead Stomp, Patrick Huber explores the origins and development of this music in the Piedmont's mill villages. Huber offers vivid portraits of a colorful cast of Piedmont millhand musicians, including Fiddlin' John Carson, Charlie Poole, Dave McCarn, and the Dixon Brothers, and considers the impact that urban living, industrial work, and mass culture had on their lives and music. Drawing on a broad range of sources, including rare 78-rpm recordings and unpublished interviews, Huber reveals how the country music recorded between 1922 and 1942 was just as modern as the jazz music of the same era. Linthead Stomp celebrates the Piedmont millhand fiddlers, guitarists, and banjo pickers who combined the collective memories of the rural countryside with the upheavals of urban-industrial life to create a distinctive American music that spoke to the changing realities of the twentieth-century South.