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Music is used to sell everything from cars to political candidates. How can words and melody so successfully manipulate us? This volume provides answers by examining the ways in which music of various genres, including folk, popular music, rock, and rap, is used to protest and to promote structures of political, commercial, and religious authority. Students, teachers, musicians, historians, policy makers, and fans of music and popular culture will find answers to questions such as: How does music help to build national identity, foster a sense of patriotism, and reflect changes in society? What role did music play in building socialism in Czechoslovakia and in Belarus’ 2020 democratic movement? What are the most important features of Ukrainian songs of resistance? The book highlights the role of music in the feminist movement by analysing the Riot Grrrl movement and the history of Olivia Records, as well as the use of music as propaganda in the education system and as “purity propaganda” in religion. Two chapters focus on famous American protest singers, Woody Gurthie and Phil Ochs, and one highlights an ex-socialist society’s response to David Bowie’s music.
Perris examines the past and present uses of music as a means for political and social change, overt or disguised. He presents evidence of music as propaganda ranging from Broadway to the official compositions of the totalitarian regimes of Nazi Germany, Soviet Russia, and Communist China, as well as from concert halls to the protest movements of the 1960s. Familiar classics are analyzed, as well as operas of nineteenth-century nationalist composers. Shostakovich, Henze, and Penderecki, as well as Bob Dylan and many rock and roll bands are shown as composers who were adversaries of the state, while others, consciously or not, reinforced the status quo of their particular era. The sensuous encroachment of music in Western religious services is compared and contrasted with the status and use of music in Eastern religions.
This volume investigates the relationships between music and propaganda in the twentieth-century. Music can be utilised to attribute and ascribe multivalent meanings. Due to its great evocative power, it has often been directly exploited by regimes and governments. In what ways does music convey the messages of propaganda? Which are the political and economical implications behind musical propaganda? Much has been written about the relationship between music and propaganda during the two world wars, but the post-war dimensions of the topic also require investigation.
The definitive guide to the world of contemporary and electronic music by the media's top music pundit 'An exhilarating history of pop - a brilliant and joyous book' Guardian 'A passionate, irresistible encouragement to listen more, and to listen better' Sunday Times Has pop burnt itself out? Inspired by the video for Kylie Minogue's hit single 'Can't Get You Out of My Head', acclaimed rock journalist Paul Morley is driving with Kylie towards a virtual city built of sound and ideas in search of the answer. Their journey bridges the various paradoxes of twentieth-century culture, as they encounter a succession of celebrities and geniuses - including Madonna, Kraftwerk, Wittgenstein and the ghost of Elvis Presley - and explore the iconic and the obscure, the mechanical and the digital, the avant-garde and the very nature of pop itself.
"Words on the Street" is an experienced insider's analysis of Wall Street language. This informative and entertaining exploration of marketplace rhetoric focuses on metaphors derived from the fascinating arenas of games, love, war, politics, religion, the fine arts, and natural physical science. This expose reviews that wordplay in the context of the American Dream. Armies of books describe marketplace structure and instruments, recount economic history, or unveil personalities and strategies of heroic (or scandalous) individuals and institutions. "Words on the Street" is different. It enlightens Wall Street professionals, Main Street audiences, policy makers, and academics regarding Wall Street talk and its implications. Wall Street and American Dream rhetoric reflect and shape marketplace perspectives and thereby influence quests to make, keep, and manage money. Therefore Wall Street propaganda has major financial consequences for both Wall Street insiders and Main Street. "Words" may change marketplace viewpoints, including dogmas related to investment. This cultural investigation shows how investors and other players are persuaded to venture into and stay within stock, interest rate, currency, and commodity arenas. The opportunity to make money is a very incomplete explanation. The book is extensively documented from financial sources and via references to literature, film, and music. This study of Wall Street's language and rhetorical methods benefits Wall Street professionals, Main Street residents, businesses, politicians, and regulators seeking insight on how and why Wall Street sermons attract and convince them. Enticed by the oratory of Wall Street and its allies, many millions of Main Street dwellers around the globe have marched into and remained within Wall Street, often to "invest." The recent worldwide economic crisis underlines the importance of Wall Street marketplaces, even for those who have not carried their own money directly to Wall Street tables. "Words on the Street" demolishes the scientific ambitions and claims, not only of Wall Street, but also of economics and other social "sciences." "Words" investigates and discredits the counterfeit science (alleged objectivity) of the influential armies of would-be Newtons, Einsteins, Darwins, and Fords roaming throughout Wall Street and economics. Its analysis of Wall Street language in the context of the American Dream will fascinate American history scholars and students. Finally, "Words" provides an innovative yet persuasive explanation of cultural reasoning and how it differs from scientific rationality. Leo Haviland has three decades of experience in the Wall Street trading environment. Leo has worked for Goldman Sachs, Sempra Energy Trading, and other institutions. In his research and sales career in stock, interest rate, foreign exchange, and commodity battlefields, he has dealt with numerous and diverse financial institutions and individuals. He is a graduate of the University of Chicago (Phi Beta Kappa) and the Cornell Law School.
'Political Messaging in Music and Entertainment Spaces across the Globe' uniquely expands the frontiers of political communication by simultaneously focusing on content (political messaging) and platform (music and entertainment). As a compendium of valuable research work, it provides rich insights into the construction of political messages and their dissemination outside of the traditional and mainstream structural, process and behavioral research focus in the discipline. Researchers, teachers, students and other interested parties in political communication, political science, journalism and mass communication, sociology, music, languages, linguistics and the performing arts, communication studies, law and history, will find this book refreshingly handy in their inquiry. Furthermore, this book was conceptualized from a globalist purview and offers readers practical insights into how political messaging through music and entertainment spaces actually work across nation-states, regions and continents. Its authenticity is also further enhanced by the fact that most chapter contributors are scholars who are natives of their areas of study, and who painstakingly situate their work in appropriate historical contexts.
Winnie and Wolf is the story of the remarkable relationship between Winifred Wagner and Adolf Hitler that took place during the years between the two world wars, as seen through the eyes of the secretary at the Wagner House in Bayreuth. Winifred, an English girl, was brought up in an orphanage and married at the age of eighteen to the son of Germany's most controversial genius. She is a passionate Germanophile, a Wagnerian dreamer, and a Teutonic patriot. In the debacle of the post-Versailles world, the Wagner family hopes for the coming of a Parsifal, a mystic idealist and redeemer. In 1923, they meet their Parsifal-a wild-eyed Viennese opera fanatic named Adolf Hitler. He has already made a name for himself in some sections of German society through rabble-rousing and street-corner speeches. It is Winifred, though, who truly believes in him. Both have known the humiliation of poverty and a deep anger at the society that excluded them. They find in each other an unusual kinship that begins with a passion for opera. In A. N. Wilson's boldest and most ambitious novel yet, the world of the Weimar Republic and Nazi Germany is brilliantly recreated, and forms the backdrop to this incredible bond, which ultimately reveals the remarkable capacity of human beings to deceive themselves.
Printed Musical Propaganda in Early Modern England reveals how consistently music, in theory and practice, was used as propaganda in a variety of printed genres that included or discussed music from the English Civil Wars through the reign of William and Mary. These printed items—bawdy broadside ballads, pamphlets paid for by Parliament, sermons advertising the Church of England’s love of music, catch-all music collections, music treatises addressed to monarchs, and masque and opera texts—when connected in a contextual mosaic, reveal a new picture of not just individual propaganda pieces, but multi-work propaganda campaigns with contributions that cross social boundaries. Musicians, Royalists, Parliamentarians, government officials, propagandists, clergymen, academics, and music printers worked together setting musical traps to catch the hearts and minds of their audiences and readers. Printed Musical Propaganda proves that the influential power of music was not merely an academic matter for the early modern English, but rather a practical benefit that many sought to exploit for their own gain.