The sounds of the big city are brought to like in labeled pictures showing such sources as boat and car horns, tapping heels and construction equipment.

Overflowing with the sounds a baby experiences during his daily jaunt around the city with Mommy, this busy, interactive book offers an opportunity to accelerate babies’ and toddlers’ listening and speaking skills.

This book draws from a rich history of scholarship about the relations between music and cities, and the global flows between music and urban experience. The contributions in this collection comment on the global city as a nexus of moving people, changing places, and shifting social relations, asking what popular music can tell us about cities, and vice versa. Since the publication of the first Sounds and the City volume, various movements, changes and shifts have amplified debates about globalization. From the waves of people migrating to Europe from the Syrian civil war and other conflict zones, to the 2016 “Brexit” vote to leave the European Union and American presidential election of Donald Trump. These, and other events, appear to have exposed an anti-globalist retreat toward isolationism and a backlash against multiculturalism that has been termed “post-globalization.” Amidst this, what of popular music? Does music offer renewed spaces and avenues for public protest, for collective action and resistance? What can the diverse​​ histories, hybridities, and legacies of popular music tell us about the ever-changing relations of people and cities?

As Owen walks around New York City, on the sidewalks, or takes the Subway with his Momma, he is in awe of the many sounds all around him. From big cranes that are wrangling to garbage trucks that are mangling, there are so many things to hear. Whats that? says Owen throughout the book. Come and find out in Owens City Sounds.

From morning joggers until night's last train, a boy notices and enjoys the many sounds made by people and things in a big city.

The classic documentary account of the 1970s punk explosion in Australia. Reviews, interviews, and 285 photographs vividly portray the creative ferment of the period and the many bands that sprang up in the wake of pioneers the Saints, Birthday Party, etc. DIY graphics, high-octane prose, and many rare photographs make this book a crucial part of the culture it portrays.

As the twentieth century roared on, transformative technologies—from trains, trams, and automobiles to radios and loudspeakers—fundamentally changed the sounds of the Egyptian streets. The cacophony of everyday life grew louder, and the Egyptian press featured editorials calling for the regulation of not only mechanized and amplified sounds, but also the voices of street vendors, the music of wedding processions, and even the traditional funerary wails. Ziad Fahmy offers the first historical examination of the changing soundscapes of urban Egypt, highlighting the mundane sounds of street life, while "listening" to the voices of ordinary people as they struggle with state authorities for ownership of the streets. Interweaving infrastructural, cultural, and social history, Fahmy analyzes the sounds of modernity, using sounded sources as an analytical tool for examining the past. Street Sounds also reveals a political dimension of noise by demonstrating how the growing middle classes used sound to distinguish themselves from the Egyptian masses. This book contextualizes sound, layering historical analysis with a sensory dimension, bringing us closer to the Egyptian streets as lived and embodied by everyday people.