A fascinating portrait of icon Woody Guthrie, the Pacific Northwest, and folk music—all set against the backdrop of a tumultuous moment in American history In 1941, Woody Guthrie wrote 26 songs in 30 days—including classics like “Roll On Columbia” and “Pastures of Plenty”—when he was hired by the Bonneville Power Administration to promote the benefits of cheap hydroelectric power, irrigation, and the Grand Coulee Dam. Now, KEXP DJ Greg Vandy takes readers inside the unusual partnership between one of America’s great folk artists and the federal government, and shows how the American folk revival was a response to hard times. 26 Songs In 30 Days plunges deeply into the historical context of the time and the progressive politics that embraced Social Democracy during an era in which the United States had been severely suffering from The Great Depression. And though this is a musical history of a vibrant American musical icon and a specific part of the country, it couldn’t be a better reminder of how timeless and expansive such topics are in today’s political discourse.

A fascinating portrait of icon Woody Guthrie, the Pacific Northwest, and folk music—all set against the backdrop of a tumultuous moment in American history In 1941, Woody Guthrie wrote 26 songs in 30 days—including classics like “Roll On Columbia” and “Pastures of Plenty”—when he was hired by the Bonneville Power Administration to promote the benefits of cheap hydroelectric power, irrigation, and the Grand Coulee Dam. Now, KEXP DJ Greg Vandy takes readers inside the unusual partnership between one of America’s great folk artists and the federal government, and shows how the American folk revival was a response to hard times. 26 Songs In 30 Days plunges deeply into the historical context of the time and the progressive politics that embraced Social Democracy during an era in which the United States had been severely suffering from The Great Depression. And though this is a musical history of a vibrant American musical icon and a specific part of the country, it couldn’t be a better reminder of how timeless and expansive such topics are in today’s political discourse.

This book brings together the most current thinking about the Anthropocene in the field of Environmental Political Theory ('EPT'). It displays the distinctive contribution EPT makes to the task of thinking through what 'the environment' means in this time of pervasive human influence over natural systems. Across its chapters the book helps develop the idea of 'socionatural relations'—an idea that frames the environment in the Anthropocene in terms of the interconnected relationship between human beings and their surroundings. Coming from both well-established and newer voices in the field, the chapters in the book show the diversity of points of view theorists take toward the Anthropocene idea, and socionatural relations more generally. However, all the chapters exemplify a characteristic of work in EPT: the self-conscious effort to provide normative interpretations that are responsive to scientific accounts. The Introduction explains the complicated interaction between science and EPT, showing how it positions EPT to consider the Anthropocene. And the Afterword, by a pioneer in the field, relates all the chapters to a perspective that has been deeply influential in EPT. This book will be of interest to scholars already engaged in EPT. But it will also serve as an introduction to the field for students of Political Theory, Philosophy, Environmental Studies, and related disciplines, who will learn about the EPT approach from the Introduction, and then see it applied to the pressing question of the Anthropocene in the ensuing chapters. The book will also help readers interested in the Anthropocene from any disciplinary perspective develop a critical understanding of its political meanings.

Do you want to learn how to read music notation with easy-to-follow, step-by-step lessons? Did you ever try to learn music theory but got frustrated with complicated jargon and mysterious terms? If so, this book is perfect for you! This best-selling book offers a unique 30-day program that makes learning how to read music simple and fun. Imagine how, in just about a month, you'll be able to look at sheet music and know exactly what every symbol, sign, and term means. You'll know the fundamental theory behind the how, why, and what of the music that's in front of you! With over 150 music examples, over 100 written exercises, 10 listening experiences, expert tips, lesson summaries, a final test, and online access to the audio examples, you will steadily progress towards learning: - The absolute essentials of music theory, - How rhythm really works, - The complete system behind musical notes, - The crucial details of music notation, - How specific musical symbols give life to written music. A strong foundation in the basics is essential if you want to read music, play an instrument for your friends and fans, sing in a choir or as a solo, record in a studio, compose music, write songs, or anything else in music. This book is your practical, step-by-step guide to building that foundation. Finally, you can stop searching the web endlessly in hopes of finding the right information. With this comprehensive but practical approach, your music theory questions are answered in full. And thanks to the valuable feedback of hundreds of students of all ages and backgrounds, "How to Read Music in 30 days" is now in its 3rd edition, revised and expanded to suit all types of beginner musicians. Thousands of students have successfully gone through this practical system to master musical notation and fundamental music theory. Now, it's your turn! Can I really learn how to read music in 30 days? Absolutely! In fact, we start reading our most basic symbols as from day 1. You will not become an expert sight-reader in 30 days: no book, no teacher, and no program can replace the practice it takes to become a professional. But you can significantly cut down on the time it takes to get there by learning the foundations in the right way and in the right order. This is what this book is for. Is this book for guitarists, pianists, singers, and other instrumentalists? Since the basics are the same for all instruments, this book will benefit anyone who is a beginner no matter which instruments they play. If you're looking to refresh your music theory basics, fill any gaps in your knowledge of musical notation, or start from absolute scratch in reading music, this book is for you. Can I skip through lessons? The author suggests going through the program as it is presented. The comprehensive curriculum is designed to: progress in small steps, fill any knowledge gaps for those returning to music after a long pause, and build a foundation for any exams, tests, or diplomas you might someday want to sit for.

BEING DUMPED HURTS. But you know what? It happens to everyone. Even Gwyneth, even Cameron, even Madonna have been on the losing end of love. The part you might not believe is that no matter how brutally your heart’s been broken, those wounds will heal. But the longer you dwell on the dork, the longer your heart will remain cracked. Enter 30 Days to Getting Over the Dork You Used to Call Your Boyfriend. One day at a time, 30 days in a row. At the end, you’ll find you have the power to yank that dagger out of your chest, stand tall, walk proud, and move on. And along the way, you may just discover something marvelous and surprising about yourself.

While music lovers and music historians alike understand that folk music played an increasingly pivotal role in American labor and politics during the economic and social tumult of the Great Depression, how did this relationship come to be? Ronald D. Cohen sheds new light on the complex cultural history of folk music in America, detailing the musicians, government agencies, and record companies that had a lasting impact during the 1930s and beyond. Covering myriad musical styles and performers, Cohen narrates a singular history that begins in nineteenth-century labor politics and popular music culture, following the rise of unions and Communism to the subsequent Red Scare and increasing power of the Conservative movement in American politics--with American folk and vernacular music centered throughout. Detailing the influence and achievements of such notable musicians as Pete Seeger, Big Bill Broonzy, and Woody Guthrie, Cohen explores the intersections of politics, economics, and race, using the roots of American folk music to explore one of the United States' most troubled times. Becoming entangled with the ascending American left wing, folk music became synonymous with protest and sharing the troubles of real people through song.

Joe Hill emigrated from Sweden to the United States in 1902, eventually joining the Industrial Workers of the World and becoming the most celebrated labor songwriter in the country. In 1915, he was executed for a crime that is widely believed he did not commit, and in the 1930s, the song "Joe Hill" was created to honor this legendary labor martyr. This book, the first to tell the story of the song "Joe Hill," follows the song's national and international diaspora as it developed from a labor union ballad into an international anti-war anthem and rallying cry for all people to rise up against their oppressors. Included are the historical contexts of the song's many eras and the performers who ensured its continued relevance, such as Paul Robeson, Joan Baez, Pete Seeger, and Utah Phillips.

Sounds, Ecologies, Musics poses exciting challenges and provides fresh opportunities for scholars, scientists, environmental activists, musicians, and listeners to consider music and sound from ecological standpoints. Authors in Part I examine the natural and built environment and how music and sound are woven into it, how the environment enables music and sound, and how the natural and cultural production of music and sound in turn impact the environment. In Part II, contributors consider music and sound in relation to ecological knowledges that appear to conflict with, yet may be viewed as complementary to, Western science: traditional and Indigenous ecological and environmental knowledges. Part III features multidisciplinary and interdisciplinary approaches by scholars, scientists, and practitioners who probe the ecological imaginary regarding the complex ideas and contested keywords that characterize ecomusicology: sound, music, culture, society, environment, and nature. A common theme across the book is the idea of diverse ecologies. Once confined to the natural sciences, the word "ecology" is common today in the social sciences, humanities, and arts - yet its diverse uses have become imprecise and confusing. Engaging the conflicting and complementary meanings of "ecology" requires embracing a both/and approach. Diverse ecologies are illustrated in the methodological, terminological, and topical variety of the chapters as well as the contributors' choice of sources and their disciplinary backgrounds. In times of mounting human and planetary crises, Sounds, Ecologies, Musics challenges disciplinarity and broadens the interdisciplinary field of ecomusicologies. These theoretical and practical studies expand sonic, scholarly, and political activism from the diversity-equity-inclusion agenda of social justice to embrace the more diverse and inclusive agenda of ecocentric ecojustice.

Building on his 2006 book, Which Side Are You On?, Dick Weissman's A New History of American and Canadian Folk Music presents a provocative discussion of the history, evolution, and current status of folk music in the United States and Canada. North American folk music achieved a high level of popular acceptance in the late 1950s. When it was replaced by various forms of rock music, it became a more specialized musical niche, fragmenting into a proliferation of musical styles. In the pop-folk revival of the 1960s, artists were celebrated or rejected for popularizing the music to a mass audience. In particular the music seemed to embrace a quest for authenticity, which has led to endless explorations of what is or is not faithful to the original concept of traditional music. This book examines the history of folk music into the 21st century and how it evolved from an agrarian style as it became increasingly urbanized. Scholar-performer Dick Weissman, himself a veteran of the popularization wars, is uniquely qualified to examine the many controversies and musical evolutions of the music, including a detailed discussion of the quest for authenticity, and how various musicians, critics, and fans have defined that pursuit.