For 31 months between 1979 and 1995, James F. Weiner conducted anthropological research amongst the Foi people in Southern Highlands Province, Papua New Guinea. This book contains the transcriptions, translations, and descriptions of the songs he recorded. The texts of women’s sago songs (obedobora), men’s ceremonial songs (sorohabora), and women’s sorohabora are included. Men turn the prosaic content of womenís sago songs into their ownsorohabora songs, which are performed the night following large-scale inter-community pig kills, called dawa. While women sing sago songs by themselves, men sing their ceremonial songs in groups of paired men. Women also have their own ceremonial versions of such songs. The songs are memorial in intent; they are designed to commemorate the lives of men who are no longer living. Most commonly they do so by naming the places the deceased inhabited during his lifetime. These song texts and translations are introduced by Weiner. Ethnomusicologist Don Niles then brings together information about each type of song and considers these Foi genres in relation to those of neighbouring groups, highlighting aspects of regional performance styles. Consideration is also given to the poetic devices used in Papua New Guinea songs. Eighteen recordings illustrating the Foi genres discussed in this book are available for download. It remains uncertain how such songs may be affected by the major oil extraction project that has been undertaken in the region for more than two decades. This book will interest students of anthropology, ethnomusicology, linguistics, verbal art, aesthetics, and cultural heritage.

Lonnie Johnson is a blues legend. His virtuosity on the blues guitar is second to none, and his influence on artists from T-Bone Walker and B. B. King to Eric Clapton is well established. Yet Johnson mastered multiple instruments. He recorded with jazz icons such as Duke Ellington and Louis Armstrong, and he played vaudeville music, ballads, and popular songs. In this book, Julia Simon takes a closer look at Johnson’s musical legacy. Considering the full body of his work, Simon presents detailed analyses of Johnson’s music—his lyrics, technique, and styles—with particular attention to its sociohistorical context. Born in 1894 in New Orleans, Johnson's early experiences were shaped by French colonial understandings of race that challenge the Black-white binary. His performances call into question not only conventional understandings of race but also fixed notions of identity. Johnson was able to cross generic, stylistic, and other boundaries almost effortlessly, displaying astonishing adaptability across a corpus of music produced over six decades. Simon introduces us to a musical innovator and a performer keenly aware of his audience and the social categories of race, class, and gender that conditioned the music of his time. Lonnie Johnson’s music challenges us to think about not only what we recognize and value in “the blues” but also what we leave unexamined, cannot account for, or choose not to hear. The Inconvenient Lonnie Johnson provides a reassessment of Johnson’s musical legacy and complicates basic assumptions about the blues, its production, and its reception.

This book examines the creative process of the Bee Gees and the latent elements that shaped their sound. From their formative Australian work to the highs of their disco years and the scores of songs they wrote and produced for other artists, the Bee Gees’ catalogue is vast and varied. It is also distinctive. Songs feature their signature falsetto vocals, close three-part harmony, and knack for pop songwriting. This book takes a unique approach to the musicology of music production. It analyzes processual accounts and demo recordings to uncover what are defined as the latent elements of music production, such as instruments, lyrics, meanings, space, sounds, and recording techniques that are crucial in shaping the completed recordings but are absent from what we hear. It is a must-read book for music production academics and students, as well as anyone interested in the Bee Gees’ creative process.

Have you experienced loss in your career, finances, or relationships? After twenty-one years as a thriving wife and mother, Holly Ruddock found herself starting over. Her family lost their business, their home, and their cars. Her ministry as a public speaker was buried. All purpose seemed gone. Surrounded by the rubble of an old life, she delved into her broken dreams and found the secret of a servant's heart. She discovered that finding Life in Your Losses started with exactly what she had, nothing. Intimately familiar with life's difficulties, Holly openly describes her emotions of humility and emptiness and shares how those trials became the means to her success, to living the fulfilling life of a giving servant that Christ has called his followers to. Holly gives clear examples of servants in the Bible who gave willingly out of their wreckage and how they found joy through their sacrifice of love. Discover how to finding meaning in loss, purpose in emptiness in Life in Your Losses.

The first comprehensive history of the pietistic movement that shaped modern Judaism This is the first comprehensive history of the pietistic movement that shaped modern Judaism. The book’s unique blend of intellectual, religious, and social history offers perspectives on the movement’s leaders as well as its followers, and demonstrates that, far from being a throwback to the Middle Ages, Hasidism is a product of modernity that forged its identity as a radical alternative to the secular world. Hasidism originated in southeastern Poland, in mystical circles centered on the figure of Israel Ba'al Shem Tov, but it was only after his death in 1760 that a movement began to spread. Challenging the notion that Hasidism ceased to be a creative movement after the eighteenth century, this book argues that its first golden age was in the nineteenth century, when it conquered new territory, won a mass following, and became a mainstay of Jewish Orthodoxy. World War I, the Russian Revolution, and the Holocaust decimated eastern European Hasidism. But following World War II, the movement enjoyed a second golden age, growing exponentially. Today, it is witnessing a remarkable renaissance in Israel, the United States, and other countries around the world. Written by an international team of scholars, Hasidism is a must-read for anyone seeking to understand this vibrant and influential modern Jewish movement.

The incomparable Lisa Scottoline, along with daughter Francesca, is back with more wild and wonderful wit and wisdom: My Nest Isn't Empty, It Just Has More Closet Space. Critics and readers loved Lisa Scottoline's first collection of true-life stories, which only encouraged her—now she's back with these all-new, exciting adventures. She's farther down the road now, and the scenery has changed—ex-husbands Thing One and Thing Two are in her rear-view mirror, daughter Francesca has moved into an apartment, and Lisa's finding the silver lining in her empty nest, which has lots more room for her shoes. And some things have stayed the same—Mother Mary is still the feistiest octogenarian on the planet, who won't part with her recipe for tomato sauce or her thirty-year old bra. In this book Lisa and Francesca spill all their family secrets—which sound a lot like yours, if you understand that three generations of women is the formula for spontaneous combustion. Inspired by her weekly column entitled, "Chick Wit" for The Philadelphia Inquirer, this is a book you'll have to put down—just to stop laughing.

When the truth comes out, can their love cross the centuries, or will it be lost in time? COME BACK TO ME: Megan Miller has come to a crossroads in her career. Accusations of a breach of ethics in her university teaching have rocked her world. As she travels halfway across the world to the Glastonbury rock festival to research and complete her doctoral thesis, she hopes that the mess she leaves behind in Australia will be sorted while she is in England. Davy Morgan, the reclusive rock singer, tries to keep his music world and his private life separate; his very existence depends on it. But when the beautiful, fey woman turns up at the cottage next door, he must do all he can to keep his dark secret. Because everything is not as it seems in Davy's world. FOLLOW ME Beth McLaren knows that her great aunt’s cottage holds the key to the mystery that has been a family secret since she was a child. Determined to discover if what she has read in Great Aunt Alice’s diary is true, Beth travels halfway across the world to Glastonbury to solve the mystery. Silas Rogers, an eccentric musician who moves into the cottage, is equally determined to keep Beth from knowing the truth… and keep her from danger. The last thing he expected was to fall in love. But when Beth finds herself in the fifteenth century… can she trust that Silas will find her and get her home? FINDING HOME Alice McLaren is a traveller . . . but her travels must remain a secret. Now that she has no one of her own, she leaves London during the Blitz to move to her family’s cottage in Somerset. Alice plans to take evacuated children from London and care for them in the country. However, her travels take her much further than she anticipates, away to a safer place far from the war and the incessant bombing. When she meets and falls in love with Branton, Alice is torn. There is a child to be rescued, and Alice is the only one who can save Amelia Adnum. She must choose between Branton and taking the lost child home safely. As circumstances change, Alice must make a decision that could change many lives. Branton knows Alice holds a secret, but he cannot understand why she refuses to stay with him. He cannot bear to lose her, but can Branton convince Alice that their love will endure, no matter what? THE THREADS THAT BIND Lucy McLaren went back to her family name after she and her long-term partner split. The McLaren family history and their cottage in Somerset in England drew her inexorably to the past and gave it an importance that she was unable—or perhaps, unwilling— to explain. As her daughter, Beth grew older and began to question the past, and Lucy's relationship floundered, she knew the only way to save her sanity, and justify her actions to her daughter, was to go back and seek out the man she had fallen in love with many years ago. Could she tell her daughter that her whole life had been a lie? And will the love of her life still be there when Lucy returns to the nineteenth century?