2052. The world is a mess. The climate change meltdown has triggered an endless cycle of natural disasters. Nationalist paramilitaries battle against religious extremists. Multinational corporations, with their own security forces, have replaced global institutions as the only real power-brokers. Waves of pandemics have closed borders with such regularity that travelhas become mostly virtual. Aurora, a middle-aged sociologist, tries not to think about how the world has turned so chaotic and dangerous. At university, she focuses on her students. At home, it 's her children. She devotes her spare time to writing poetry. She 's relatively comfortable, but not particularly happy. And she 's angry at how small her life has become.Then one day a strange woman walks into Aurora 's life and, in an instant, the world 's chaos gets personal. Suddenly the obscure professor has a target on her back and the fate of the world in her hands. Her salvation, and that of the planet as well, lies in the mysteries locked inside the head of this enigmatic woman who has appeared on her doorstep. Unlocking those mysteries will take Aurora on a virtual journey around the fragmented globe and up against the world 's most powerful corporation. Songlands, the stand-alone finale to the Splinterlands trilogy, describes humanity 's last shot at solving the world 's problems. Can Aurora assemble a team to reverse the splintering of the international community and avert an even more dystopian future?

Volumes for 1898-1968 include a directory of publishers.

The music industry’s ongoing battle against digital piracy is just the latest skirmish in a long conflict over who has the right to distribute music. Starting with music publishers’ efforts to stamp out bootleg compilations of lyric sheets in 1929, Barry Kernfeld’s Pop Song Piracy details nearly a century of disobedient music distribution from song sheets to MP3s. In the 1940s and ’50s, Kernfeld reveals, song sheets were succeeded by fake books, unofficial volumes of melodies and lyrics for popular songs that were a key tool for musicians. Music publishers attempted to wipe out fake books, but after their efforts proved unsuccessful they published their own. Pop Song Piracy shows that this pattern of disobedience, prohibition, and assimilation recurred in each conflict over unauthorized music distribution, from European pirate radio stations to bootlegged live shows. Beneath this pattern, Kernfeld argues, there exists a complex give and take between distribution methods that merely copy existing songs (such as counterfeit CDs) and ones that transform songs into new products (such as file sharing). Ultimately, he contends, it was the music industry’s persistent lagging behind in creating innovative products that led to the very piracy it sought to eliminate.