In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.

The Song Index features over 150,000 citations that lead users to over 2,100 song books spanning more than a century, from the 1880s to the 1990s. The songs cited represent a multitude of musical practices, cultures, and traditions, ranging from ehtnic to regional, from foreign to American, representing every type of song: popular, folk, children's, political, comic, advertising, protest, patriotic, military, and classical, as well as hymns, spirituals, ballads, arias, choral symphonies, and other larger works. This comprehensive volume also includes a bibliography of the books indexed; an index of sources from which the songs originated; and an alphabetical composer index.

Poems & Songs Old & New is a collection of 120 songs and 55 poems by a writer that clearly adores them. There is a lot of love in the reproduction of so many songs and poems that people remember and appreciate, including such classic songs as, "Bohemian Rhapsody," "Hey Jude," "Hotel California," "November Rain," Let It Be," "Beer Barrel Polka." "Sounds of Silence," "You Are My Sunshine," "Mama Mia," "Ramblin Rose," " Yellow Bird," "Goodnight Irene," "You Are My Sunshine" and "Satisfaction." A brief biography of some of the famous singers , who sang the songs, such as Frank Sinatra, Perry Como, Nelson Eddy and Jeanette MacDonald is also included. The collection of poems includes "In Flanders Fields" by John McRae, "The Raven" by Edgar Allen Poe, "A Girl" by Ezra Pound and "Daffodils" by William Wordsworth. McCavour also includes some of his own poems, including "A Friend of Ours," which was first published when he was only fourteen years old.

First Published in 1999. This is the first supplement to the initial SongCite publication and serves as an index to recently published collections of popular songs. 201 music books have been included, with over 6,500 different compositions listed. The vast majority of the collections is comprised entirely of vocal music, although, on occasion, instrumental works have been included.

A comprehensive anthology bringing together more than one thousand of the best American and English song lyrics of the twentieth century; an extraordinary celebration of a unique art form and an indispensable reference work and history that celebrates one of the twentieth century’s most enduring and cherished legacies. Reading Lyrics begins with the first masters of the colloquial phrase, including George M. Cohan (“Give My Regards to Broadway”), P. G. Wodehouse (“Till the Clouds Roll By”), and Irving Berlin, whose versatility and career span the period from “Alexander’s Ragtime Band” to “Annie Get Your Gun” and beyond. The Broadway musical emerges as a distinct dramatic form in the 1920s and 1930s, its evolution propelled by a trio of lyricists—Cole Porter, Ira Gershwin, and Lorenz Hart—whose explorations of the psychological and emotional nuances of falling in and out of love have lost none of their wit and sophistication. Their songs, including “Night and Day,” “The Man I Love,” and “Bewitched, Bothered and Bewildered,” have become standards performed and recorded by generation after generation of singers. The lure of Broadway and Hollywood and the performing genius of such artists as Al Jolson, Fred Astaire, Ethel Waters, Judy Garland, Frank Sinatra, and Ethel Merman inspired a remarkable array of talented writers, including Dorothy Fields (“A Fine Romance,” “I Can’t Give You Anything but Love”), Frank Loesser (“Guys and Dolls”), Oscar Hammerstein II (from the groundbreaking “Show Boat” of 1927 through his extraordinary collaboration with Richard Rodgers), Johnny Mercer, Yip Harburg, Andy Razaf, Noël Coward, and Stephen Sondheim. Reading Lyrics also celebrates the work of dozens of superb craftsmen whose songs remain known, but who today are themselves less known—writers like Haven Gillespie (whose “Santa Claus Is Coming to Town” may be the most widely recorded song of its era); Herman Hupfeld (not only the composer/lyricist of “As Time Goes By” but also of “Are You Makin’ Any Money?” and “When Yuba Plays the Rumba on the Tuba”); the great light versifier Ogden Nash (“Speak Low,” “I’m a Stranger Here Myself,” and, yes, “The Sea-Gull and the Ea-Gull”); Don Raye (“Boogie Woogie Bugle Boy,” “Mister Five by Five,” and, of course, “Milkman, Keep Those Bottles Quiet”); Bobby Troup (“Route 66”); Billy Strayhorn (not only for the omnipresent “Lush Life” but for “Something to Live For” and “A Lonely Coed”); Peggy Lee (not only a superb singer but also an original and appealing lyricist); and the unique Dave Frishberg (“I’m Hip,” “Peel Me a Grape,” “Van Lingo Mungo”). The lyricists are presented chronologically, each introduced by a succinct biography and the incisive commentary of Robert Gottlieb and Robert Kimball.

Have pride in history. A rich and sweeping photographic history of the Queer Liberation Movement, from the creators and curators of the massively popular Instagram account LGBT History. “If you think the fight for justice and equality only began in the streets outside Stonewall, with brave patrons of a bar fighting back, you need to read We Are Everywhere right now.”—Anderson Cooper Through the lenses of protest, power, and pride, We Are Everywhere is an essential and empowering introduction to the history of the fight for queer liberation. Combining exhaustively researched narrative with meticulously curated photographs, the book traces queer activism from its roots in late-nineteenth-century Europe—long before the pivotal Stonewall Riots of 1969—to the gender warriors leading the charge today. Featuring more than 300 images from more than seventy photographers and twenty archives, this inclusive and intersectional book enables us to truly see queer history unlike anything before, with glimpses of activism in the decades preceding and following Stonewall, family life, marches, protests, celebrations, mourning, and Pride. By challenging many of the assumptions that dominate mainstream LGBTQ+ history, We Are Everywhere shows readers how they can—and must—honor the queer past in order to shape our liberated future.