A visual and textual mosaic to celebrate and question the new millennium. Presenting a series of themes rather than giving any answers, it brings together found and commissioned images with writing from some of Britain's leading authors. Included are Derek Jarman, Michele Roberts, Steve Aylet, Louis de Bernieres, James Kelman and Robert Harris as well as historians Raphael Samuel and Eric Hobsbawn.

For the first ever American Music Masters event sponsored by the Rock and Roll Hall of Fame and Museum, musicians and folkies came together to salute the life and legacy of Woody Guthrie, America's folk troubadour. With contributions from Guthrie's son Arlo and his longtime friends Pete Seeger and Harold Leventhal, and with new appreciations and insights provided by scholars and critics, Hard Travelin' continues that celebration, offering a new understanding of Guthrie's contribution to America's music and culture. It is illustrated with photographs and drawings, many never-before-seen, from the Woody Guthrie Archives. Guthrie's songs -- such as "This Land Is Your Land," "Pretty Boy Floyd," or "Roll on Columbia" -- are still known and sung by many Americans, while the story of his life has taken on a mythic cast -- the modern troubadour, the hobo balladeer and union supporter, the wandering folk singer who heard and wrote in the voice of the people. Guthrie's influence is felt not only whenever someone sings one of his songs, but any time a modern folk group or rocker sings a protest song or joins a social or political cause.In this book, Guthrie's family and friends offer personal and often poignant recollections of his life. Noted writers such as Dave Marsh, David Shumway, and Robert Cantwell shed new light on the Guthrie legacy, including an expanded appreciation of his impact on rock and roll, through such figures as Bob Dylan and Bruce Springsteen. They also assess Guthrie's place in the political and social movements of his time, especially his support for unions and for the communist party; his attitudes toward race; and the little-studied topic of his visual art, the often very personal drawings, doodles, sketches, and paintings that he produced throughout his life. The book concludes with a valuable biblio/discography.

For sixty years, Renfro Valley has highlighted some of the biggest and most influential names in country and folk music. The show began in the 1930s as a combination radio broadcast and stage performance, and today it has grown into an array of shows and headliner concerts featuring old-time country music, country gospel, modern country, bluegrass, and comedy acts. John Lair, the ambitious and deeply committed founder of Renfro Valley, was fascinated with the past. He created the Renfro Valley Barn Dance to give radio listeners the experience of an old-fashioned rural hoe-down. He resisted the encroachment of popular "cowboy songs" and kept the stage and the airwaves filled with authentic Kentucky mountain music. Lair's vision struck a chord with music fans: on some Saturday nights, more than ten thousand people arrived at Renfro Valley and performances went on all night to accommodate the audiences. Pete Stamper, a forty-seven year veteran of Renfro Valley, traces the show's history from its early radio days in Cincinnati and Chicago, through the glory years in the 1940s, the lean times in the 1960s when rock and roll seemed to take over the music scene, to its renewed popularity in the 1990s. Once known as "the valley where time stands still," Renfro Valley has updated its programming while maintaining the feel of the folk culture on which it was founded. Red Foley, the Coon Creek Girls, Slim Miller, Pee Wee King, Old Joe Clark, and a host of other musicians and performers helped shape the development of Renfro Valley. Stamper describes the role of the Valley in the commercial history of country music and highlights John Lair's invaluable contribution to country music as a talent scout, businessman, and collector of traditional music of the South.

Initially commissioned to record the progress of Pittsburgh’s Renaissance I, these unforgettable black-and-white photographs of Roy Stryker's Pittsburgh Photographic Library (PPL) capture the city in a state of flux. They reveal a union of opposites—the suited wonderment of the downtown businessman with the easy grace and competence of a shirtless construction worker balanced high over his head; the anonymity and isolation of planned housing with the belief in expansion and renewal; the energy and excitement of a city on the move with the traditions of the established elite; the juxtaposition between the growing optimism about the ability of technology to improve our lives; and the traditional steel and other heavy smokestack industries that still dominated the region. The Renaissance was seen as a way for Pittsburgh to keep abreast of modern urban life and to preserve its economic position, but the rapid development of a white suburban middle class was sapping the very essence of the personalized downtown neighborhoods. These photographers have captured the convergence of destruction and rejuvenation that is the essence of an urban renaissance—all the anxiety and hope of the decade is reflected in these poignant photographs.Constance Schulz's fascinating essay on the story of the PPL, in order to present a full picture of the political and civic goals, achievements, and failings of the project, provides a thorough discussion of the background of the Pittsburgh Photographic Library, putting into perspective the Allegheny Conference's purpose for initiating the PPL, Roy Stryker's own vision and work, as well as those of the photographers who worked for Stryker on the project, and the politics that undermined the full implementation of it. Clark M. Thomas's accompanying narrative offers an eclectic range of facts and fascinating bits of the city's history and neighborhood lore, as well as noting important political and economic episodes. It also provides a glimpse into the often underrepresented lives of minorities and women in the region's development. Anyone moved by the incredible social upheaval and expansion that occurred in cities across the nation in the 1950s following years of depression and war will want to have this collection.

A comprehensive survey of the Hermitage Museum's collection of French art from 1860 to 1950. This collection comprises paintings, sculptures and drawings by many significant artists of this period, as well as works by early Salon artists who were highly regarded in their day but are now less well known. As well as the Monets, Renoirs and Cezannes which make the Hermitage famous, this survey features many works that are kept in storage at the museum, and little-known images from the backs of some of the works.

This vivid ethnography of the musical lives of heavy metal, rock, and jazz musicians in Cleveland and Akron, Ohio shows how musicians engage with the world of sound to forge meaningful experiences of music. Unlike most popular music studies, which only provide a scholar's view, this book is based on intensive fieldwork and hundreds of hours of in-depth interviews. Rich descriptions of the musical life of metal bars and jazz clubs get readers close to the people who make and listen to the music. Of special interest are Harris M. Berger's interviews with Timmy "The Ripper" Owens, now famous as lead singer for the pioneering heavy metal band, Judas Priest. Owens and other performers share their own experiences of the music, thereby challenging traditional notions of harmony and musical structure. Using ideas from practice theory and phenomenology, Berger shows that musical perception is a kind of practice, both creatively achieved by the listener and profoundly informed by social context.

Saint Sophia is surely one of the most-discussed buildings in the history of architecture. .

Beginning in the late 1970's Frida Kahlo achieved cult heroine status less for her richly surrealist self-portraits than by the popularization of the events of her tumultuous life. Her images were splashed across billboards magazine ads, and postcards; fashion designers copied the so-called "Frida" look in hairstyles and dress; and "Fridamania" even extended to T-shirts, jewelry, and nail polish. Margaret A. Lindauer argues that this mass market assimilation of Kahlo's identity has consistently detracted from appreciation of her work, leading instead to narrow interpretations based on "an entrenched narrative of suffering." While she agrees that Kahlo's political and feminist activism, her stormy marriage to fellow artist Diego Reviera, and the tragic reality of a progressively debilitated body did represent a biography colored by emotional and physical upheaval, she questions an "author-equals-the-work" critical tradition that assumes a :one-to-one association of life events to the meaning of a painting." In kahlo's case, Lindauer says, such assumptions created a devouring mythology, an iconization that separates us from rather than leads us to the real significance of the oeuvre. Accompanied by 26 illustrations and deep analysis of Kahlo's central themes, this provocative, semiotic study recontextualizes an important figure in art history at the same time it addresses key questions about the language of interpretation, the nature of veneration, and the truths within self-representation.

At the height of the Cold War in 1954, President Eisenhower inaugurated a program of cultural exchange that sent American dancers and other artists to political "hot spots" overseas. This peacetime gambit by a warrior hero was a resounding success.Among the artists chosen for international duty were José Limón, who led his company on the first government-sponsored tour of South America; Martha Graham, whose famed ensemble crisscrossed southeast Asia; Alvin Ailey, whose company brought audiences to their feet throughout the South Pacific; and George Balanchine, whose New York City Ballet crowned its triumphant visits to Western Europe and Japan with an epoch-making tour of the Soviet Union in 1962. The success of Eisenhower's program of cultural export led directly to the creation of the National Endowment for the Arts and Washington's Kennedy Center.Naima Prevots draws on an array of previously unexamined sources, including formerly classified State Department documents, congressional committee hearings, and the minutes of the Dance Panel, to reveal the inner workings of "Eisenhower's Program," the complex set of political, fiscal, and artistic interests that shaped it, and the ever-uneasy relationship between government and the arts in the US.CONTRIBUTORS: Eric Foner.

In clear and elegant prose, Music of the Common Tongue, first published in 1987, argues that by any reasonable reckoning of the function of music in human life the African American tradition, that which stems from the collision between African and European ways of doing music which occurred in the Americas and the Caribbean during and after slavery, is the major western music of the twentieth century. In showing why this is so, the author presents not only an account of African American music from its origins but also a more general consideration of the nature of the music act and of its function in human life. The two streams of discussion occupy alternate chapters so that each casts light on the other. The author offers also an answer to what the Musical Times called the "seldom posed though glaringly obtrusive" question: "why is it that the music of an alienated, oppressed, often persecuted black minority should have made so powerful an impact on the entire industrialized world, whatever the color of its skin or economic status?"

While Philip Glass's operas, film scores, symphonies, and popular works have made him America's best-known classical composer, almost no analysis of his compositional techniques grounded in current cultural theory has yet been published. John Richardson's in-depth examination shows how the third opera of Glass's famous trilogy, the story of an adrogynous monarch who authored radical social and religious reforms, encapsulates Glass's ideational orientation at the time, both in terms of his unique conception of music theater and with regard to broader social questions. Glass's nontraditional musical syntax, his experimental, minimalist approach, and his highly ambiguous tonality have resisted interpretation, but Richardson overcomes those difficulties by developing new theoretical models through which to analyze both the work and its genesis. In Akhnaten, Richardson says, the composer's concepts of sound and dramatic context, cultural theory, and gender construction intersect, providing perhaps the best demonstration of "the very nature of Glass's aesthetic, which places a strong emphasis on implicit levels of signification and steers clear of conventional 'story telling' narrative strategies." Careful explanations of theory and compositional strategies, close readings of the work itself, consideration of the collaborative aspects of the opera's evolution, and incorporation of previously unpublished interviews with Glass himself combine to illuminate both a landmark work of contemporary musical theater and a dominant figure on the American musical landscape.

Entertainers were the first group of successful women to capture the public eye, taking to the stage in vaudeville and film and redefining their place in society. June Sochen introduces the white, African American, and Latina women who danced on Broadway, fell on bananas in silent films, and wisecracked in smoky clubs, as well as the modern icons of today's movies and popular music. Sochen considers such women as Mae West, Bette Davis, Shirley Temple, Lucille Ball, and Mary Tyler Moore to discover what show business did for them and what they did for the world of entertainment. She uses the life of 30s and 40s Latina star Lupe Velez as a case study of the roles available to Latinas in popular culture. She then contrasts her story with that of the African American action star Pam Grier to demonstrate the old and new ways minority women are portrayed in popular culture.From Mae to Madonna places each woman within the context of her time and talks about her relationship with dominant female stereotypes. Sochen discusses women's roles as Mary, Eve, and Lilith and asks thought-provoking questions. Why did the Depression give women movie stars so many important roles while the so-called feminist 1970s did not? Why has television been a congenial venue for women comics while film has not? In examining how entertainers worked within or transformed particular genres and how their personal and public lives affected their careers, From Mae to Madonna casts the spotlight on a series of remarkable women and their dramatic effect on America's popular culture.

This volume features articles on late Baroque Boston seating furniture, Germanic influence on furniture early nineteenth-century design in Philadelphia, Randolph chairs, the Christian M. Nestell drawing book, the inlaid cherry furniture of Nathan Lombard, the Waldo family joined great chair, "Tinkham" chairs, as well as book reviews and bibliography of new books in the field.

Two-Volume Set. This is the last volume in the series of reports from the Danish excavations on the ancient Tall of the important Syrian site and town of Hama. It presents the medieval architecture of the mound from the Arab conquest in 636 to 1401 when the citadel of Hama was destroyed by Timur Lenk. The excavations revealed that the early Islamic town was not as insignificant as previously believed. The periods of Hama's greatest strength were, however, the 12th and 13th centuries, when many different structures were built on the mound, such as a bath, mills and other industrial structures (among these a workshop for the production of grenades). Its fortifications mainly dated from the 12th century, although an older Byzantine wall was also found.

Composed of colour photographs taken in and around national and international airports, this volume presents graphic design related to air travel. The film director Marco Brambilla has taken images from the highly coded systems and endless architectural stop-and-go points of the modern airport. These photographs celebrate the ordinary, offering insight into these often overlooked utilitarian places of transit.

From the busy streets of Tokyo to the secluded shores of Kyushu, from the volcanoes of Hokkaido to the temples of Kyoto, the treasured landscapes of Japan are brought to life in this concise visual guide. Drawing upon years of observation, Cotton Mather, P.P. Karan, and Shigeru Iijima explore the complex interaction of culture, time, and space in the evolution of landscapes in Japan. The authors begin with a discussion of the landscape's general characteristics, including paucity of idle land, scarcity of level land, and its meticulous organization and immaculate nature. They then apply those characteristics to such favorite subjects as home gardens, sculpted plants, and flower arrangements, but also to more mundane matters such as roadside shoulders, utility lines, and walled urban areas. This unique blending of physical and social sciences with humanities perspectives offers a unified analysis of the Japanese landscape.