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Popular music and its listeners are strongly associated with newness and youth. Young people can stay up late dancing to the latest hits and use cutting-edge technology for listening to and sharing fresh music. Many young people incorporate their devotion to new artists and styles into their own developing personalities. However, if popular music is a genre meant for the youthful, what are listeners to make of the widespread sampling of music from decades-old R&B tracks, sold-out anniversary tours by aging musicians, retrospective box sets of vintage recordings, museum exhibits, and performances by current pop stars invoking music and images of the past? In Same Old Song: The Enduring Past in Popular Music, John Paul Meyers argues that these phenomena are part of what he calls “historical consciousness in popular music.” These deep relationships with the past are an important but underexamined aspect of how musicians and listeners engage with this key cultural form. In chapters ranging across the landscape of twentieth- and twenty-first-century music, Meyers finds indications of historical consciousness at work in multiple genres. Rock music canonizes its history in tribute performances and museums. Jazz and pop musicians cover tunes from the “Great American Songbook.” Hip-hop and contemporary R&B singers invoke Black popular music from the 1960s and 1970s. Examining the work of influential artists like Ella Fitzgerald, Bob Dylan, Miles Davis, Kanye West, Prince, D’Angelo, and Janelle Monáe, Meyers argues that contemporary artists’ homage to the past is key for understanding how music-lovers make meaning of popular music in the present.
Aidan Callahan knows that potential is not what drives him when it comes to music. It's his passion, his ambition, and the love for the girl he meets at a college party his brother has to drag him to. He is young and very naive, blind to whatever downside there is to life. After gaining an audition of a lifetime, everything falls into place for Aidan. He peaks, he is at the top of the world and he has everything any man could ever wish for... Until his world collapses onto itself, destroying everything he was once grateful for and the life he once lived is no longer the same.
An illuminating history of the song for every kind of music lover Often today, the word ‘song’ is used to describe all music. A free-jazz improvisation, a Hindustani raga, a movement from a Beethoven symphony: apparently, they’re all songs. But they’re not. From Sia to Springsteen, Archie Roach to Amy Winehouse, a song is a specific musical form. It’s not so much that they all have verses and choruses – though most of them do – but that they are all relatively short and self-contained; they have beginnings, middles and ends; they often have a single point of view, message or story; and, crucially, they unite words and music. Thus, a Schubert song has more in common with a track by Joni Mitchell or Rihanna than with one of Schubert’s own symphonies. The Song Remains the Same traces these connections through seventy-five songs from different cultures and times: love songs, anthems, protest songs, lullabies, folk songs, jazz standards, lieder and pop hits; ‘When You Wish Upon a Star’ to ‘We Will Rock You’, ‘Jerusalem’ to ‘Jolene’. Unpicking their inner workings makes familiar songs strange again, explaining and restoring the wonder, joy (or possibly loathing) the reader experienced on first hearing. ‘As much about singing, musicianship and recording as it is about songwriting, this eclectic ride through a unique choice of songs (everyone will argue for alternatives) is cleverly curated and littered with intriguing details about the creators and their times, filled with loving cross-references to other songs and deft musical analysis. I defy anyone not to leap online to listen to the unfamiliar, or re-listen to old favourites in light of new detail. One of the best games in this book is figuring out why one song follows the other: there’s always an intelligent, often very funny, link.’ —Robyn Archer
On Repeat offers an in-depth inquiry into music's repetitive nature. Drawing on a diverse array of fields, it sheds light on a range of issues from repetition's use as a compositional tool to its role in characterizing our behavior as listeners, and considers related implications for repetition in language, learning, and communication.
This heartwarming picture book reassures children that a parent’s love never lets go—based on the poignant lyrics of JJ Heller’s beloved lullaby “Hand to Hold.” “May the living light inside you be the compass as you go / May you always know you have my hand to hold.” With delightful illustrations and an engaging rhyme scheme, this book offers the promise of security and love every child’s heart longs to know. From skipping stones and counting stars to climbing trees and telling stories, every moment is wrapped snugly in the certain warmth of a parent’s presence and God’s blessing. With poignancy and joy, this bedtime read captures the unconditional love parents want their children to know but so often fail to express amid the chaos of daily life.
For more than three decades, Joel and Ethan Coen have produced some of the most memorable and influential American roots music soundtracks in film history. From Raising Arizona (1987) to O Brother, Where Art Thou? (2000) to Inside Llewyn Davis (2013), the Coens, along with musical archivist and producer T-Bone Burnett, have curated half-forgotten yet unforgettable genres, artists and songs from America's cultural past for new audiences. This book is the first devoted to giving a full account of this rich cinematic legacy.
Alan Jay Lerner wrote the lyrics for some of the most beloved musicals in Broadway and Hollywood history. Most notably, with composer Frederick Loewe he created enduring hits such as My Fair Lady, Gigi, Camelot, and Brigadoon. In The Complete Lyrics of Alan Jay Lerner, editors and annotators Dominic McHugh and Amy Asch bring all of Lerner's lyrics together for the first time, including numerous draft or alternate versions and songs cut from the shows. Compiled from dozens of archival collections, this invaluable resource and authoritative reference includes both Lerner's classic works and numerous discoveries, including his unproduced MGM movie Huckleberry Finn, selections from his college musicals, and lyrics from three different versions of Paint Your Wagon. This collection also includes extensive material from Lerner's two most ambitious musicals: Love Life, to music by Kurt Weill, and 1600 Pennsylvania Avenue, which Lerner wrote with Leonard Bernstein.
The essays in this volume provide a succinct overview of Victor Burgin's multifaceted work during the last forty years--from its origins in debates within conceptual art to its present concern with everyday perception in the environment of global media.
"Wait..Gypsy didn't win the Tony for Best Musical?" That's a question that gets asked over and over again, every time a new Rose takes to the runway in the Broadway classic "Gypsy". In "Strippers, Showgirls and Sharks", the popular syndicated theatre critic Peter Filichia chronicles the history of the American musical by looking at those shows that did not win the Tony Award for Best Musical. It happens every spring: The American Theatre Wing bestows its annual awards. Only those shows that have reached Broadway are nominated and while all Tony Awards are created equal in height, width and depth, the universally acknowledged biggest prize is the Best Musical Tony. The envelope is opened. The winner is announced and, then, the screeching begins. "Oh no! They gave it to that?" Did the best musical always win the Best Musical prize? Were there other factors that kept a more deserving show from copping the prize? Peter Filichia answers all these questions and more in "Strippers, Showgirls and Sharks" as he looks at many of the 153 previous Best Musical Nominees that didn't win the big prize. What were the biggest omissions? "Gypsy" had the distinct displeasure of not being either the first or second choice of the committee. In 1959 when Ethel Merman and a variety of strippers took the stage, the Tony for Best Musical was a tie between "The Sound of Music" and "Fiorello". In 1971, Stephen Sondheim's "Follies" and its ghostly showgirls lost to a "groovy" re-tuning of "Two Gentlemen of Verona" that hasn't passed the test of time. And, in 1957, "West Side Story", its Jets and Sharks, were bested by the fine people of River City Iowa singing their Americana hearts out in "The Music Man". If you love Broadway, scratch your head on Tony Award night and still can't figure out how a show you loathed won the Tony for Best Musical, you will love riding through the years with Peter Filichia, one of America's most respected and popular theatre critics.