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Music Is My Life is the first comprehensive analysis of Louis Armstrong's autobiographical writings (including his books, essays, and letters) and their relation to his musical and visual performances. Combining approaches from autobiography theory, literary criticism, intermedia studies, cultural history, and musicology, Daniel Stein reconstructs Armstrong's performances of his life story across various media and for different audiences, complicating the monolithic and hagiographic views of the musician.

The book will appeal to academic readers with an interest in African American studies, jazz studies, musicology, and popular culture, as well as general readers interested in Armstrong's life and music, jazz, and twentieth-century entertainment. While not a biography, it provides a key to understanding Armstrong's oeuvre as well as his complicated place in American history and twentieth-century media culture.

Contributors are Nimrod Baranovitch, Adriana Helbig, Javier F. Leon, Ana María Ochoa, Silvia Ramos, Helen Rees, Felicia Sandler, Amy Ku'uleialoha Stillman, Ricardo D. Trimillos, Andrew N. Weintraub, and Bell Yung.

What does music in Portugal and Spain reveal about the relationship between national and regional identity building? How do various actors use music to advance nationalism? How have state and international heritage regimes contributed to nationalist and regionalist projects? In this collection, contributors explore these and other essential questions from a range of interdisciplinary vantage points. The essays pay particular attention to the role played by the state in deciding what music represents Portuguese or Spanish identity. Case studies examine many aspects of the issue, including local recording networks, so-called national style in popular music, and music’s role in both political protest and heritage regimes. Topics include the ways the Salazar and Franco regimes adapted music to align with their ideological agendas; the twenty-first-century impact of UNESCO’s Intangible Cultural Heritage program on some of Portugal and Spain's expressive practices; and the tensions that arise between institutions and community in creating and recreating meanings and identity around music.

Contributors: Ricardo Andrade, Vera Marques Alves, Salwa El-Shawan Castelo-Branco, Cristina Sánchez-Carretero, José Hugo Pires Castro, Paulo Ferreira de Castro, Fernán del Val, Héctor Fouce, Diego García-Peinazo, Leonor Losa, Josep Martí, Eva Moreda Rodríguez, Pedro Russo Moreira, Cristina Cruces Roldán, and Igor Contreras Zubillaga

China's Cultural Revolution (1966-1976) produced propaganda music that still stirs unease and, at times, evokes nostalgia. Lei X. Ouyang uses selections from revolutionary songbooks to untangle the complex interactions between memory, trauma, and generational imprinting among those who survived the period of extremes. Interviews combine with ethnographic fieldwork and surveys to explore both the Cultural Revolution's effect on those who lived through it as children and contemporary remembrance of the music created to serve the Maoist regime. As Ouyang shows, the weaponization of music served an ideological revolution but also revolutionized the senses. She examines essential questions raised by this phenomenon, including: What did the revolutionization look, sound, and feel like? What does it take for individuals and groups to engage with such music? And what is the impact of such an experience over time?

Perceptive and provocative, Music as Mao's Weapon is an insightful look at the exploitation and manipulation of the arts under authoritarianism.

In Music at the Margins of Sense, Jessica A. Holmes contests prevailing misconceptions associated with deafness and hearing in Western music by turning to the musical experiences of deaf, hard of hearing, and hearing disabled musicians in order to impart a multisensory, multimodal conception of music and musicianship. Through a range of examples drawn from music history, popular music, recent film, and popular science, Holmes reveals that “deafness” is mistakenly understood as a state of total silence and heightened tactile sensation, a stigmatizing trope she calls the “figure of deafness.”

Holmes explores music-making spanning auditory, visual-spatial, vibrotactile, and non-sonorous modalities, including the creative practice of Christine Sun Kim, all-deaf electronic dance music raves, the musical experiences of hearing aid users, and music and musical instruments devised to mitigate tinnitus and hyperacusis. By examining the cultural production of “natural” hearing in the design, branding, and musical programming of digital hearing aids, Holmes offers a reappraisal of hearing that defies naturalized perceptual processes and auditory thresholds, the idealization of sonic fidelity, and biologically driven conceptions of musicality. Music at the Margins of Sense champions an understanding of musicianship that embraces the lived experience of disability as a vital locus of musical creativity and expertise. 

Although the use of music for extramusical purposes has been a part of American culture for some time, the phenomenon remained largely unknown to the general public until revelations became widespread of startling military practices during the second Iraq War. In Music in American Crime Prevention and Punishment, Lily E. Hirsch explores the related terrain at the intersection of music and law, demonstrating the ways in which music has become a tool of law enforcement and justice through: police and community leaders’ use of classical music in crime deterrence and punishment; the use of rap lyrics as prosecutorial evidence; allegations of music as incitement to violence; and the role of music in U.S. prisons and in detention centers in Guantanamo, Iraq, and Afghanistan.

In the course of her study, Hirsch asks several questions: How does the law treat music? When and why does music participate in the law? How does music influence the legal process? How does the legal process influence music? And how do these appropriations affect the Romantic ideals underlying our view of music?

Eclectic and essential, Music in Black American Life, 1600–1945 offers specialists and students alike a gateway to the history and impact of Black music in the United States.

Contributors: R. Reid Badger, Rae Linda Brown, Samuel A. Floyd Jr., Sandra Jean Graham, Jeffrey Magee, Robert M. Marovich, Harriet Ottenheimer, Eileen Southern, Katrina Dyonne Thompson, Stephen Wade, and Charles Wolfe

Part sourcebook and part survey of historic music scholarship, Music in Black American Life, 1945–2020 collects groundbreaking work that redefines our view of Black music and its place in American music history.

Contributors: Nelson George, Wayne Everett Goins, Claudrena N. Harold, Eileen M. Hayes, Loren Kajikawa, Robin D. G. Kelley, Tammy L. Kernodle, Cheryl L. Keyes, Gwendolyn Pough, Bernice Johnson Reagon, Mark Tucker, and Sherrie Tucker

Composers featured: Michael Abels, H. Leslie Adams, Lettie Beckon Alston, Thomas J. Anderson, Dwight Andrews, Regina Harris Baiocchi, David Baker, William C. Banfield, Ysaye Maria Barnwell, Billy Childs, Noel DaCosta, Anthony Davis, George Duke, Leslie Dunner, Donal Fox, Adolphus Hailstork, Jester Hairston, Herbie Hancock, Jonathan Holland, Anthony Kelley, Wendell Logan, Bobby McFerrin, Dorothy Rudd Moore, Jeffrey Mumford, Gary Powell Nash, Stephen Newby, Coleridge-Taylor Perkinson, Michael Powell, Patrice Rushen, George Russell, Kevin Scott, Evelyn Simpson-Curenton, Hale Smith, Billy Taylor, Frederick C. Tillis, George Walker, James Kimo Williams, Julius Williams, Tony Williams, Olly Wilson, and Michael Woods

From "green" pop and "clean" cinema to halal songs, Islamic soaps, Muslim rap, Islamist fantasy serials, and Suficized music, the performing arts have become popular and potent avenues for Islamic piety movements, politically engaged Islamists, Islamic states, and moderate believers to propagate their religio-ethical beliefs. Muslim Rap, Halal Soaps, and Revolutionary Theater is the first book that explores this vital intersection between artistic production and Islamic discourse in the Muslim world.

The contributors to this volume investigate the historical and structural conditions that impede or facilitate the emergence of a "post-Islamist" cultural sphere. They discuss the development of religious sensibilities among audiences, which increasingly include the well-to-do and the educated young, as well as the emergence of a local and global religious market. At the heart of these essays is an examination of the intersection between cultural politics, performing art, and religion, addressing such questions as where, how, and why pop culture and performing arts have been turned into a religious mission, and whether it is possible to develop a new Islamic aesthetic that is balanced with religious sensibilities. As we read about young Muslims and their quest for a "cool Islam" in music, their struggle to quell their stigmatized status, or the collision of morals and the marketplace in the arts, a vivid, varied new perspective on Muslim culture emerges.

Moderation theory describes the process through which radical political actors develop commitments to electoral competition, political pluralism, human rights, and rule of law and come to prefer negotiation, reconciliation, and electoral politics over provocation, confrontation, and contentious action. Revisiting this theory through an examination of two of the most prominent moderate Islamic political forces in recent history, Muslim Reformers in Iran and Turkey analyzes the gains made and methods implemented by the Reform Front in the Islamic Republic of Iran and the Justice and Development Party in Turkey.

Both of these groups represent Muslim reformers who came into continual conflict with unelected adversaries who attempted to block their reformist agendas. Based on extensive field research in both locales, Muslim Reformers in Iran and Turkey argues that behavioral moderation as practiced by these groups may actually inhibit democratic progress. Political scientist Güneş Murat Tezcür observes that the ability to implement conciliatory tactics, organize electoral parties, and make political compromises impeded democracy when pursued by the Reform Front and the Justice and Development Party. Challenging conventional wisdom, Tezcür's findings have broad implications for the dynamics of democratic progress.

In the eyes of many Westerners, Muslim women are hidden behind a veil of negative stereotypes that portray them as either oppressed, subservient wives and daughters or, more recently, as potential terrorists. Yet many Muslim women defy these stereotypes by taking active roles in their families and communities and working to create a more just society. This book introduces eighteen Muslim women activists from the United States and Canada who have worked in fields from social services, to marital counseling, to political advocacy in order to further social justice within the Muslim community and in the greater North American society.

Each of the activists has written an autobiographical narrative in which she discusses such issues as her personal motivation for doing activism work, her views on the relationship between Islam and women's activism, and the challenges she has faced and overcome, such as patriarchal cultural barriers within the Muslim community or racism and discrimination within the larger society. The women activists are a heterogeneous group, including North American converts to Islam, Muslim immigrants to the United States and Canada, and the daughters of immigrants. Young women at the beginning of their activist lives as well as older women who have achieved regional or national prominence are included. Katherine Bullock's introduction highlights the contributions to society that Muslim women have made since the time of the Prophet Muhammad and sounds a call for contemporary Muslim women to become equal partners in creating and maintaining a just society within and beyond the Muslim community.

Representing diverse cultural viewpoints, Muslim Women in War and Crisis collects an array of original essays that highlight the experiences and perspectives of Muslim women—their dreams and nightmares and their daily struggles—in times of tremendous social upheaval. Analyzing both how Muslim women have been represented and how they represent themselves, the authors draw on primary sources ranging from poetry and diaries to news reports and visual media. Topics include:

• Peacebrokers in Indonesia
• Exploitation in the Islamic Republic of Iran
• Chechen women rebels
• Fundamentalism in Afghanistan, from refugee camps to Kabul
• Memoirs of Bengali Muslim women
• The 7/7 London bombings, British Muslim women, and the media

Also exploring such images in the United States, Spain, the former Yugoslavia, Tunisia, Algeria, Lebanon, and Iraq, this collection offers a chorus of multidimensional voices that counter Islamophobia and destructive clichés. Encompassing the symbolic national and religious identities of Muslim women, this study goes beyond those facets to examine the realities of day-to-day existence in societies that seek scapegoats and do little to defend the victims of hate crimes. Enhancing their scholarly perspectives, many of the contributors (including the editor) have lived through the strife they analyze. This project taps into their firsthand experiences of war and deadly political oppression.