Popular music and its listeners are strongly associated with newness and youth. Young people can stay up late dancing to the latest hits and use cutting-edge technology for listening to and sharing fresh music. Many young people incorporate their devotion to new artists and styles into their own developing personalities. However, if popular music is a genre meant for the youthful, what are listeners to make of the widespread sampling of music from decades-old R&B tracks, sold-out anniversary tours by aging musicians, retrospective box sets of vintage recordings, museum exhibits, and performances by current pop stars invoking music and images of the past? In Same Old Song: The Enduring Past in Popular Music, John Paul Meyers argues that these phenomena are part of what he calls “historical consciousness in popular music.” These deep relationships with the past are an important but underexamined aspect of how musicians and listeners engage with this key cultural form. In chapters ranging across the landscape of twentieth- and twenty-first-century music, Meyers finds indications of historical consciousness at work in multiple genres. Rock music canonizes its history in tribute performances and museums. Jazz and pop musicians cover tunes from the “Great American Songbook.” Hip-hop and contemporary R&B singers invoke Black popular music from the 1960s and 1970s. Examining the work of influential artists like Ella Fitzgerald, Bob Dylan, Miles Davis, Kanye West, Prince, D’Angelo, and Janelle Monáe, Meyers argues that contemporary artists’ homage to the past is key for understanding how music-lovers make meaning of popular music in the present.

Aidan Callahan knows that potential is not what drives him when it comes to music. It's his passion, his ambition, and the love for the girl he meets at a college party his brother has to drag him to. He is young and very naive, blind to whatever downside there is to life. After gaining an audition of a lifetime, everything falls into place for Aidan. He peaks, he is at the top of the world and he has everything any man could ever wish for... Until his world collapses onto itself, destroying everything he was once grateful for and the life he once lived is no longer the same.

WARNING! ACHTUNG! OPASNO! This little book may be hazardous to your mental, spiritual, and/or physical health. If the author's measure is any gauge than it will almost certainly be hazardous to your financial health. No portion of this book should be taken as any type of advice, legal or otherwise. This book is merely the out loud musings of a Southern Man* with a southern heart from a U.S. Southern State, at the early part of the 21st century. Any similarities of any individuals are accurately attributable to the fact that we are all human beings, at least in theory, and therefore we all share similar experiences. It is NOT my objective to be cute nor is my objective to convince you or win you, or flatter you, or anything to you. It IS my objective to express myself as clearly, as honestly, as precise as I am capable. For as three comes before 4or score and seven years ago, our forefathers hung their harps on the willows and cried for Babylon. And with quills like chisels carved on the snarling face of time these words: Hello . . . . I love you . . . . wont you tell me your name?

The fellas have grown up. The pool hall has transformed into a football field, a basketball gymnasium, and a baseball diamond. Joey’s world revolves around a mix of old and new friends, being a college student and athlete, and delving into situations that bring humor, danger, and violence into his world. The mob and a demented serial killer throw Joey’s life into chaos.

Drawing of the postmodern perspective and concerns that informed her groundbreaking Terpsichore in Sneakers, Sally Banes’s Writing Dancing documents the background and developments of avant-garde and popular dance, analyzing individual artists, performances, and entire dance movements. With a sure grasp of shifting cultural dynamics, Banes shows how postmodern dance is integrally connected to other oppositional, often marginalized strands of dance culture, and considers how certain kinds of dance move from the margins to the mainstream. Banes begins by considering the act of dance criticism itself, exploring its modes, methods, and underlying assumptions, and examining the work of other critics. She traces the development of contemporary dance from the early work of such influential figures as Merce Cunningham and George Balanchine to such contemporary choreographers as Molissa Fenley, Karole Armitage, and Michael Clark. She analyzes the contributions of the Judson Dance Theatre and the Workers’ Dance League, the emergence of Latin postmodern dance in New York, and the impact of black jazz in Russia. In addition, Banes explores such untraditional performance modes as breakdancing and the “drunk dancing” of Fred Astaire. Ebook Edition Note: Ebook edition note: All images have been redacted.

Provides lists of hit songs by date with information on the artist, songwriter, producer, label, and offering interviews with popular artists.