"World music" is an awkward phrase. Used to describe the hugely multifaceted nature of a range of typically non-English-language popular music from the world over, it's a tag that throws up as many problems as it does solutions. Louise Gray's The No-Nonsense Guide to World Music attempts to go behind the phrase to explore the reasons for the contemporary interest in world music, who listens to it, and why. Through chapters that focus on specific areas of music, such as rembetika, fado, trance music, and new folk, Gray explores the genres that have emerged from marginalized communities, music in conflict zones, and music as escapism. In this unique guide, which combines the seduction of sound with politics and social issues, the author makes the case for music as a powerful tool able to bring individuals together. Louise Gray is a writer and editor whose work on music and performing arts has appeared in the New Internationalist, The Wire, The Independent on Sunday, the Guardian, and Art Review. She co-edited Sound and the City (British Council, 2007), a book exploring the changing soundworld of China.

The power and influence of the mass media grows daily, crucially affecting the way all of us see and understand each other. The No-Nonsense Guide to Global Media introduces readers to the political economy of the major mediafilm, television, radio, recording, publishing and the Internet. Peter Steven looks at the ever greater concentration of ownership and at the convergence of technologies and media functions. At the same time, he emphasizes the diversity of local media production and media around the world. The media is more than the economics of ownership and the technology of production, he stresses; it is also audiences, in all their annoying and wonderful diversity.

“Overseas aid” and “international development” are catch-all terms that cover a multitude of activities—and abuses. This guide explains what “development” actually is—and explores its political and economic roots. It shows what can happen in the name of development and argues for a more organic, social approach with those it seeks to serve as equal partners in the process. Maggie Black has written books for the Oxford University Press, UNICEF, and Oxfam. She has worked as a consultant for UNICEF, Anti-Slavery International, and WaterAid, among others, and has written for the Guardian, The Economist, and BBC World Service.

Indigenous peoples have long suffered from exoticization. Outsiders elevate their beauty, remoteness and difference and do not see beyond this to the real problems they face. The No-Nonsense Guide to Indigenous Peoples looks beyond the exotic images, tracing the stories of different indigenous peoples from their first (and often fatal) contact with explorers and colonizers. Much of this history is told here by indigenous people themselves.They vividly describe why land and the natural world are so special to them; how it feels to be snatched from your family as a child because the government wants to "make you white"; why they are demanding that museums must return the bones of their ancestors; how can they retain their traditional culture while moving with the times; and what kinds of development are positive. This short guide discusses all this and more, raising countless issues for debate.

Meeting the people who grow our bananas and cocoa and make our clothes, this No-Nonsense Guide to Fair Trade tells the human story behind what we consume. Examin-ing the global contest between “free” and “fair” trade, David Ransom argues that the key question is not whether trade should be regulated or deregulated, but whether it is to be the master or servant of the people. And as fair trade products are being turned into brands by large corporations, a new contest opens—it is no longer just a question of fair versus free, but what kind of fair trade.

"You can cut the flower, but you cannot stop the coming of spring." Malalai Joya, the young member of the Afghan parliament, refuses to let injustice go unchallenged. Her words reflect the irrepressible attitudes and actions of all the women and men who tell their stories here. As with all the titles in New Internationalist's World Changing imprint, Nine Lives sees opportunity in the midst of adversity and presents the life stories of people who have been confronted with seemingly insurmountable obstacles, opposition, and oppression. Whether it is human rights activist Harry Wu, who spent nineteen years in Chinese labor camps, or Nobel Laureate and President of Costa Rica Oscar Arias Sánchez, each of the nine voices in this collection has confronted an urgent and inescapable need to dig deep, either to rescue themselves or to forge a fresh way forward for others. To understand the key stories behind the headlines, Peter Braaksma believes that it is essential to feel the personal, intimate experience of people working on the frontline of human rights and humanitarian issues; that the stories, uninterrupted and unpolished, must speak for themselves. Reading like nine mini-novels, the nine remarkable stories belong to Bassam Aramin (Palestinian National Authority), Monireh Baradaran (Iran), Youk Chhang (Cambodia), Sompop Jantraka (Thailand), Malalai Joya (Afghanistan), Chaeli Mycroft (South Africa), Oscar Arias Sánchez (Costa Rica), and Harry Wu (China). Peter Braaksma has worked as an editor, communications advisor, and journalist in the Netherlands and the United Kingdom.

The musicological study of popular music has developed, particularly over the past twenty years, into an established aspect of the discipline. The academic community is now well placed to discuss exactly what is going on in any example of popular music and the theoretical foundation for such analytical work has also been laid, although there is as yet no general agreement over all the details of popular music theory. However, this focus on the what of musical detail has left largely untouched the larger question - so what? What are the consequences of such theorization and analysis? Scholars from outside musicology have often argued that too close a focus on musicological detail has left untouched what they consider to be more urgent questions related to reception and meaning. Scholars from inside musicology have responded by importing into musicological discussion various aspects of cultural theory. It is in that tradition that this book lies, although its focus is slightly different. What is missing from the field, at present, is a coherent development of the what into the so what of music theory and analysis into questions of interpretation and hermeneutics. It is that fundamental gap that this book seeks to fill. Allan F. Moore presents a study of recorded popular song, from the recordings of the 1920s through to the present day. Analysis and interpretation are treated as separable but interdependent approaches to song. Analytical theory is revisited, covering conventional domains such as harmony, melody and rhythm, but does not privilege these at the expense of domains such as texture, the soundbox, vocal tone, and lyrics. These latter areas are highly significant in the experience of many listeners, but are frequently ignored or poorly treated in analytical work. Moore continues by developing a range of hermeneutic strategies largely drawn from outside the field (strategies originating, in the most part, within psychology and philosophy) but still deeply r

The Rough Guide to World Music Vol.1, 3rd edition- Africa, Europe and the Middle Easthas full coverage of everything from Congolese soukous to Greek rembetika, and biographies of artists from Thomas Mapfumo to Cheb Khaled to the Afro Celt Sound System. Features include- More than 80 articles from expert contributors, focusing on the popular and roots music. Extensive discographies for each country, with biography-notes on nearly 2000 musicians and reviews of their best CDs. Photos and album cover illustrations gathered from contemporary and archive sources. The guide includes a directory of World Music labels and specialist stores around the world and on the Internet.