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When first published, Marshall McLuhan's Understanding Media made history with its radical view of the effects of electronic communications upon man and life in the twentieth century.
Spanning 25 years of serious writing on hip-hop by noted scholars and mainstream journalists, this comprehensive anthology includes observations and critiques on groundbreaking hip-hop recordings.
In the early years of the Cold War, Western nations increasingly adopted strategies of public diplomacy involving popular music. While the diplomatic use of popular music was initially limited to such genres as jazz, the second half of the 20th century saw a growing presence of various popular genres in diplomatic contexts, including rock, pop, bluegrass, flamenco, funk, disco, and hip-hop, among others. This volume illuminates the interrelation of popular music and public diplomacy from a transnational and transdisciplinary angle. The contributions argue that, as popular music has been a crucial factor in international relations, its diplomatic use has substantially impacted the global musical landscape of the 20th and 21st centuries.
Rev. ed. of: Media and culture. 2nd ed. c2000. Includes bibliographical references (p. 575-582) and index.
From its earliest manifestations on the street corners of nineteenth-century Buenos Aires to its ascendancy as a global cultural form, tango has continually exceeded the confines of the dance floor or the music hall. In Tango Lessons, scholars from Latin America and the United States explore tango's enduring vitality. The interdisciplinary group of contributors—including specialists in dance, music, anthropology, linguistics, literature, film, and fine art—take up a broad range of topics. Among these are the productive tensions between tradition and experimentation in tango nuevo, representations of tango in film and contemporary art, and the role of tango in the imagination of Jorge Luis Borges. Taken together, the essays show that tango provides a kaleidoscopic perspective on Argentina's social, cultural, and intellectual history from the late nineteenth to the early twenty-first centuries. Contributors. Esteban Buch, Oscar Conde, Antonio Gómez, Morgan James Luker, Carolyn Merritt, Marilyn G. Miller, Fernando Rosenberg, Alejandro Susti
UNESCO pub. Monographic compilation of conference papers on cultural industry (mass media) trends and cultural policy issues - discusses the definition, production, distribution, internationalisation, impact of technological change and mass media on cultural change, value system, behaviour and attitudes, benefits, social implications, role of UNESCO and national level governments, place of artists and performers, etc., and includes case studies. References. Conference held in Montreal 1980 Jun 9 to 13.
"The Texas Folklore Society has been alive and kicking for over one hundred years now, and I don't really think there's any mystery as to what keeps the organization going strong. The secret to our longevity is simply the constant replenishment of our body of contributors. We are especially fortunate in recent years to have had papers given at our annual meetings by new members--young members, many of whom are college or even high school students. "These presentations are oftentimes given during sessions right alongside some of our oldest members. We've also had long-time members who've been around for years but had never yet given papers; thankfully, they finally took the opportunity to present their research, fulfilling the mission of the TFS: to collect, preserve, and present the lore of Texas and the Southwest. "You'll find in this book some of the best articles from those presentations. The first fruits of our youngest or newest members include Acayla Haile on the folklore of plants. Familiar and well-respected names like J. Rhett Rushing and Kenneth W. Davis discuss folklore about monsters and the classic 'widow's revenge' tale. These works--and the people who produced them--represent the secret behind the history of the Texas Folklore Society, as well as its future."--Kenneth L. Untiedt
"Collecting essays by fourteen expert contributors into a trans-oceanic celebration and critique, Mamadou Diouf and Ifeoma Kiddoe Nwankwo show how music, dance, and popular culture turn ways of remembering Africa into African ways of remembering. With a mix of Nuyorican, Cuban, Haitian, Kenyan, Senegalese, Trinidagonian, and Brazilian beats, Rhythms of the Afro-Atlantic World proves that the pleasures of poly-rhythm belong to the realm of the discursive as well as the sonic and the kinesthetic." ---Joseph Roach, Sterling Professor of Theater, Yale University "As necessary as it is brilliant, Rhythms of the Afro-Atlantic World dances across, beyond, and within the Black Atlantic Diaspora with the aplomb and skill befitting its editors and contributors." ---Mark Anthony Neal, author of Soul Babies: Black Popular Culture and the Post-Soul Aesthetic Along with linked modes of religiosity, music and dance have long occupied a central position in the ways in which Atlantic peoples have enacted, made sense of, and responded to their encounters with each other. This unique collection of essays connects nations from across the Atlantic---Senegal, Kenya, Trinidad, Cuba, Brazil, and the United States, among others---highlighting contemporary popular, folkloric, and religious music and dance. By tracking the continuous reframing, revision, and erasure of aural, oral, and corporeal traces, the contributors to Rhythms of the Afro-Atlantic World collectively argue that music and dance are the living evidence of a constant (re)composition and (re)mixing of local sounds and gestures. Rhythms of the Afro-Atlantic World distinguishes itself as a collection focusing on the circulation of cultural forms across the Atlantic world, tracing the paths trod by a range of music and dance forms within, across, or beyond the variety of locales that constitute the Atlantic world. The editors and contributors do so, however, without assuming that these paths have been either always in line with national, regional, or continental boundaries or always transnational, transgressive, and perfectly hybrid/syncretic. This collection seeks to reorient the discourse on cultural forms moving in the Atlantic world by being attentive to the specifics of the forms---their specific geneses, the specific uses to which they are put by their creators and consumers, and the specific ways in which they travel or churn in place. Mamadou Diouf is Leitner Family Professor of African Studies, Director of the Institute of African Studies, and Professor of History at Columbia University. Ifeoma Kiddoe Nwankwo is Associate Professor of English at Vanderbilt University. Jacket photograph by Elias Irizarry