After Pearl Harbor, Tin Pan Alley songwriters rushed to write the Great American War Song—an "Over There" for World War II. The most popular songs, however, continued to be romantic ballads, escapist tunes, or novelty songs. To remedy the situation, the federal government created the National Wartime Music Committee, an advisory group of the Office of War Information (OWI), which outlined "proper" war songs, along with tips on how and what to write. The music business also formed its own Music War Committee to promote war songs. Neither group succeeded. The OWI hoped that Tin Pan Alley could be converted from manufacturing love songs to manufacturing war songs just as automobile plants had retooled to assemble planes and tanks. But the OWI failed to comprehend the large extent by which the war effort would be defined by advertisers and merchandisers. Selling merchandise was the first priority of Tin Pan Alley, and the OWI never swayed them from this course. Kathleen E.R. Smith concludes the government's fears of faltering morale did not materialize. Americans did not need such war songs as "Goodbye, Mama, I'm Off To Yokohama", "There Are No Wings On a Foxhole", or even "The Sun Will Soon Be Setting On The Land Of The Rising Sun" to convince them to support the war. The crusade for a "proper" war song was misguided from the beginning, and the music business, then and now, continues to make huge profits selling love—not war—songs.

In Kentucky, the slavery debate raged for thirty years before the Civil War began. While whites in the lower South argued that slavery was good for master and slave, many white Kentuckians maintained that because of racial prejudice, public safety, and property rights, slavery was necessary but undeniably evil. Harold D. Tallant shows how this view bespoke a real ambivalence about the desirability of continuing slavery in Kentucky and permitted an active abolitionist movement in the state to exist alongside contented slaveholders. Though many Kentuckians were increasingly willing to defend slavery against northern opposition, they did not always see this defense as their first political priority. Tallant explores the way in which the disparity between Kentuckians' ideals and their actions helped make Kentucky a quintessential border state.

The song 'God Bless America' has come to inhabit our collective consciousness. This book tells the fascinating story behind the song, from its composition in 1918 by Irving Berlin, to its first performance by Kate Smith in 1938, to its post 9/11 popularity.

(Applause Books). Gathered together in one volume for the first time, here are all of the incomparable song lyrics of Irving Berlin the lyrics of more than 1,200 songs, 400 of which have never before appeared in print along with anecdotal, historical, and musicological commentary and dozens of photographs. Berlin came from a poor immigrant family and began his career as a singing waiter, but by the time he was nineteen he was publishing his songs and quickly found fame with "Alexander's Ragtime Band" in 1911. In the extraordinary six decades that followed, Berlin wrote one popular hit after another: Blue Skies * Always * Cheek to Cheek * White Christmas * God Bless America * There's No Business Like Show Business * and many more. He also wrote a number of the classics of musical theater's Golden Age, climaxing with Annie Get Your Gun . He penned three Astaire and Rogers films Top Hat, Carefree , and Follow the Fleet as well as the scores of Holiday Inn, Easter Parade , and other films. The breadth of his accomplishment is staggering.

"God Bless America" is a song most Americans know well. It is taught in American schools and regularly performed at sporting events. After the attacks on September 11th, it was sung on the steps of the Capitol, at spontaneous memorial sites, and during the seventh inning stretch at baseball games, becoming even more deeply embedded in America's collective consciousness. In God Bless America, Sheryl Kaskowitz tells the fascinating story behind America's other national anthem. It begins with the song's composition by Irving Berlin in 1918 and first performance by Kate Smith in 1938, revealing an early struggle for control between composer and performer as well as the hidden economics behind the song's royalties. Kaskowitz shows how the early popularity of "God Bless America" reflected the anxiety of the pre-war period and sparked a surprising anti-Semitic and xenophobic backlash. She follows the song's rightward ideological trajectory from early associations with religious and ethnic tolerance to increasing uses as an anthem for the Christian Right, and considers the song's popularity directly after the September 11th attacks. The book concludes with a portrait of the song's post-9/11 function within professional baseball, illuminating the power of the song - and of communal singing itself - as a vehicle for both commemoration and coercion. A companion website offers streaming audio of recordings referenced in the book, links to videos of relevant performances, appendices of information, and an opportunity for readers to participate in the author's survey. Based on extensive archival research and fieldwork, God Bless America sheds new light on cultural tensions within the U.S., past and present, and offers a historical chronicle that is full of surprises and that will both edify and delight readers from all walks of life.

To what extent can music be employed to shape one culture's understanding of another? In the American imagination, Japan has represented the "most alien" nation for over 150 years. This perceived difference has inspired fantasies--of both desire and repulsion--through which Japanese culture has profoundly impacted the arts and industry of the U.S. While the influence of Japan on American and European painting, architecture, design, theater, and literature has been celebrated in numerous books and exhibitions, the role of music has been virtually ignored until now. W. Anthony Sheppard's Extreme Exoticism offers a detailed documentation and wide-ranging investigation of music's role in shaping American perceptions of the Japanese, the influence of Japanese music on American composers, and the place of Japanese Americans in American musical life. Presenting numerous American encounters with and representations of Japanese music and Japan, this book reveals how music functions in exotic representation across a variety of genres and media, and how Japanese music has at various times served as a sign of modernist experimentation, a sounding board for defining American music, and a tool for reshaping conceptions of race and gender. From the Tin Pan Alley songs of the Russo-Japanese war period to Weezer's Pinkerton album, music has continued to inscribe Japan as the land of extreme exoticism.