Information on the number and location of U.S. artists, as reported in the 1980 Census of Population, is examined, and comparisons are made with 1970 Census figures. This document describes national growth trends in specific art occupations and regional changes in comparison to total labor force changes. The impact of migration on the distribution of artists is examined, along with the effects of new labor force entries and occupational changes. Statistical data are presented for 1970 and 1980 individual states' distributions of: (1) actors and directors; (2) announcers; (3) architects; (4) authors; (5) dancers; (6) designers; (7) musicians and composers; (8) painters, sculptors, craft artists, and artist printmakers; (9) photographers; (10) teachers of art, drama, and music (higher education); and (11) other artists. A written summary is provided for each state, and information concerning the concentration of artists in major U.S. Standard Metropolitan Statistical Areas (SMSAs) is provided. Civilian labor force totals, artists in the civilian labor force percentages, the total number of artists, and percentages of U.S. artists for each state and selected large SMSAs are appended. Tables, figures, and maps are included. (JHP)

How do musicians play and talk to audiences? Why do audiences listen and what happens when they talk back? How do new (and old) technologies affect this interplay? This book presents a long overdue examination of the turbulent relationship between musicians and audiences. Focusing on a range of areas as diverse as Ireland, Greece, India, Malta, the US, and China, the contributors bring musicological, sociological, psychological, and anthropological approaches to the interaction between performers, fans, and the industry that mediates them. The four parts of the book each address a different stage of the relationship between musicians and audiences, showing its processual nature: from conceptualisation to performance, and through mediation to off-stage discourses. The musician/audience conceptual division is shown, throughout the book, to be as problematic as it is persistent.

The Global 1980s takes an international perspective on the upheaval across the world during the long 1980s (1979–1991) with the end of the Cold War, a move towards a free-market economic system, and the increasing connectedness of the world. The 1980s was a decade of unimaginable change. At its start, dictatorships across the world appeared stable, the state was still seen as having a role to play in ensuring people’s well-being, and the Cold War seemed set to continue long into the future. By the end of the decade, dictatorships had fallen, globalisation was on the march and the opening of the Berlin Wall paved the way for the end of the Cold War. Divided into four chronological parts, sixteen chapters on themes including domestic politics, the global spread of democracy, international relations and global concerns including AIDS, acid rain and nuclear war, explore how world-wide change was initiated both from above and below. The book covers such topics as ideological changes in the liberal democratic west and socialist east, protests against nuclear weapons and for democratic governance, global environmental worries, and the end of apartheid in South Africa. Offering an overview of a decade in transition, as the global order established after 1945 broke down and a new, globalised world order emerged, and supported by case studies from across the world, this truly global book is an essential resource for students and scholars of the long 1980s and the twentieth century more generally.

"A cultural and structural analysis of the NEA's dance funding from its inception through the early 2000s. Wilbur studies how people in power engineer and translate institutional norms of arts recognition within dance, performance, and arts policy disclosure"--

Featuring 53 towns new to this edition, this book lists the most art-friendly small communities throughout the United States and in several Canadian provinces.

As the 1970s gave way to the 80s, New York's party scene entered a ferociously inventive period characterized by its creativity, intensity, and hybridity. Life and Death on the New York Dance Floor chronicles this tumultuous time, charting the sonic and social eruptions that took place in the city’s subterranean party venues as well as the way they cultivated breakthrough movements in art, performance, video, and film. Interviewing DJs, party hosts, producers, musicians, artists, and dancers, Tim Lawrence illustrates how the relatively discrete post-disco, post-punk, and hip hop scenes became marked by their level of plurality, interaction, and convergence. He also explains how the shifting urban landscape of New York supported the cultural renaissance before gentrification, Reaganomics, corporate intrusion, and the spread of AIDS brought this gritty and protean time and place in American culture to a troubled denouement.