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Seventy-seven songs--with words and sheet music--of solidarity, revolt, humor, and revolution. Compiled from several generations in America, and from around the world, they were originally written in English, Danish, French, German, Italian, Spanish, Russian, and Yiddish. From IWW anthems such as "The Preacher and the Slave" to Lenin's favorite 1905 revolutionary anthem "Whirlwinds of Danger," many works by the world's greatest radical songwriters are anthologized herein: Edith Berkowitz, Bertolt Brecht, Ralph Chaplin, James Connolly, Havelock Ellis, Emily Fine, Arturo Giovannitti, Joe Hill, Langston Hughes, William Morris, James Oppenheim, Teresina Rowell, Anna Garlin Spencer, Maurice Sugar--and dozens more. Old favorites and hidden gems, to once again energize and accompany picket lines, demonstrations, meetings, sit-ins, marches, and May Day parades.
A notorious, influential and radical critique of the avant-garde music of Stockhausen and Cage, by maverick composer Cornelius Cardew Originally published in 1974, Stockhausen Serves Imperialism is a collection of essays by the English avant-garde composer Cornelius Cardew that provides a Marxist and class critique of two of the more revered composers of the postwar era: Karlheinz Stockhausen and John Cage. A former assistant to Stockhausen and an early champion of Cage, Cardew provides a cutting rebuke of the composers, their work and their ideological positions (Cage's staged anarchism and Stockhausen's theatrical mysticism, in particular). Cardew considers the role of these composers and their works within the development of the 20th-century avant-garde, which he saw as reinforcing an imperialist order rather than spotlighting the struggles of the working class or spurring revolution against bourgeois oppression. Cardew's early works do not escape his own scrutiny, with the book containing critiques and repudiations of his canonical works from the 1960s and early 1970s: Treatise and The Great Learning. After abandoning the avant-garde, Cardew devoted his work to the people's struggle, creating music in service of his radical politics. This music mostly took the form of class-conscious arrangements of folk songs and melodic piano works with such titles as "Revolution is the Main Trend" and "Smash the Social Contract." Cardew maintained a critical cultural stance throughout his life, later going on to denounce David Bowie and punk rock as fascist. He was killed by a hit-and-run driver in 1981--a death that some speculate could have been an assassination by the English government's MI5. Supplementing Cardew's writings are two essays by his Scratch Orchestra collaborators Rod Eley and John Tilbury.
Although Joe Klein's Woody Guthrie and Ed Cray's Ramblin' Man capture Woody Guthrie's freewheeling personality and his empathy for the poor and downtrodden, Kaufman is the first to portray in detail Guthrie's commitment to political radicalism, especially communism. Drawing on previously unseen letters, song lyrics, essays, and interviews with family and friends, Kaufman traces Guthrie's involvement in the workers' movement and his development of protest songs. He portrays Guthrie as a committed and flawed human immersed in political complexity and harrowing personal struggle. Since most of the stories in Kaufman's appreciative portrait will be familiar to readers interested in Guthrie, it is best for those who know little about the singer to read first his autobiography, Bound for Glory, or as a next read after American Radical.
This book explores popular music in Eastern Europe during the period of state socialism, in countries such as Poland, Hungary, Yugoslavia, Romania, Czechoslovakia, the GDR, Estonia and Albania. It discusses the policy concerning music, the greatest Eastern European stars, such as Karel Gott, Czesław Niemen and Omega, as well as DJs and the music press. By conducting original research, including interviews and examining archival material, the authors take issue with certain assumptions prevailing in the existing studies on popular music in Eastern Europe, namely that it was largely based on imitation of western music and that this music had a distinctly anti-communist flavour. Instead, they argue that self-colonisation was accompanied with creating an original idiom, and that the state not only fought the artists, but also supported them. The collection also draws attention to the foreign successes of Eastern European stars, both within the socialist bloc and outside of it. v>
This book is a cultural history of the nineteenth-century songster: pocket-sized anthologies of song texts, usually without musical notation. It examines the musical, social, commercial and aesthetic functions songsters served and the processes by which they were produced and disseminated, the repertory they included, and the singers, printers and entrepreneurs that both inspired their manufacture and facilitated their consumption. Taking an international perspective, chapters focus on songsters from Ireland, North America, Australia and Britain and the varied public and private contexts in which they were used and exploited in oral and print cultures.
Annotation A history of Cuban music during the Castro regime (1950s to the present.