Richard Middleton

Colonial America: A History to 1763, 4th Edition provides updated and revised coverage of the background, founding, and development of the thirteen English North American colonies. Fully revised and expanded fourth edition, with updated bibliographyIncludes new coverage of the simultaneous development of French, Spanish, and Dutch colonies in North America, and extensively re-written and updated chapters on families and womenFeatures enhanced coverage of the English colony of Barbados and trans-Atlantic influences on colonial developmentProvides a greater focus on the perspectives of Native Americans and their influences in shaping the development of the colonies

One of the pioneers of popular music studies, Richard Middleton has made an important contribution not only to this particular field but also to the critical and cultural theory of music more generally. Sixteen of his essays, dating from the late 1970s to the present day, have been selected for this collection, most of them previously published but some of which are new. The musical topics vary widely, from Mozart and Gershwin to rock and rap, from music hall to blues and jazz, from Elvis Presley and John Lennon to Patti Smith and Mariah Carey. But throughout, the author is concerned to locate appropriate ways of understanding 'the popular', and suggests that this task is crucial to any critical musicology worth the name. In a substantial introduction, he places his own intellectual development in the context of the development of the discipline, offering his latest thoughts on the past, present and future of critical musicology and its place in the critique of modernity. The overall theme, 'musical belongings', is revealed as a key not only to the relationship between music and the politics of possession, but also, by extension, to the investments made by musicology, critical and other, in those politics.

Pontiac’s War: Its Causes, Course, and Consequence, 1763-1765 is a compelling retelling of one of the most pivotal points in American colonial history, in which the Native peoples staged one of the most successful campaigns in three centuries of European contact. With his balanced analysis of the organization and execution of this important conflict, Middleton sheds light on the military movement that forced the British imperial forces to reinstate diplomacy to retain their authority over the region. Spotlighting the Native American perspective, Pontiac’s War presents a careful, engaging account of how very close to success those Native American forces truly came.

Pontiac’s War: Its Causes, Course, and Consequence, 1763-1765 is a compelling retelling of one of the most pivotal points in American colonial history, in which the Native peoples staged one of the most successful campaigns in three centuries of European contact. With his balanced analysis of the organization and execution of this important conflict, Middleton sheds light on the military movement that forced the British imperial forces to reinstate diplomacy to retain their authority over the region. Spotlighting the Native American perspective, Pontiac’s War presents a careful, engaging account of how very close to success those Native American forces truly came.

How does popular music produce its subject? How does it produce us as subjects? More specifically, how does it do this through voice--through "giving voice"? And how should we understand this subject--"the people"--that it voices into existence? Is it singular or plural? What is its history and what is its future? Voicing the Popular draws on approaches from musical interpretation, cultural history, social theory and psychoanalysis to explore key topics in the field, including race, gender, authenticity and repetition. Taking most of his examples from across the past hundred years of popular music development--but relating them to the eighteenth- and nineteenth-century "pre-history"--Richard Middleton constructs an argument that relates "the popular" to the unfolding of modernity itself. Voicing the Popular renews the case for ambitious theory in musical and cultural studies, and, against the grain of much contemporary thought, insists on the progressive potential of a politics of the Low.

How does popular music produce its subject? How does it produce us as subjects? More specifically, how does it do this through voice--through "giving voice"? And how should we understand this subject--"the people"--that it voices into existence? Is it singular or plural? What is its history and what is its future? Voicing the Popular draws on approaches from musical interpretation, cultural history, social theory and psychoanalysis to explore key topics in the field, including race, gender, authenticity and repetition. Taking most of his examples from across the past hundred years of popular music development--but relating them to the eighteenth- and nineteenth-century "pre-history"--Richard Middleton constructs an argument that relates "the popular" to the unfolding of modernity itself. Voicing the Popular renews the case for ambitious theory in musical and cultural studies, and, against the grain of much contemporary thought, insists on the progressive potential of a politics of the Low.

People have long been shooting small stones and carefully rounded bullets of clay, glass, steel, and lead from weapons without using gunpowder. And the bow and arrow has been man's choice all over the world and throughout history at times when modern firearms have been unavailable or unsuitable. In America, there is currently an explosion of interest in making primitive archery tackle--wooden bows, flint arrowheads, natural fiber strings. The author has made and shot flint-tipped arrows from many bows of his own making. He first noticed, twenty years ago, that no one has written a book on catapults, and started to keep records of his own experiments in that and other related fields, leading to this book, which explores many of the ways, old and new, in which people have shot bullets by force of their own muscles.

‘Our Bells are worn threadbare with ringing for victory’, wrote Horace Walpole after receiving news of Wolfe’s victory at Quebec in October 1759. Traditional accounts of the Seven Years’ War have emphasized the contribution of the Elder Pitt to the success of Britain in Europe, the Caribbean, Africa, India and the Far East. The Bells of Victory argues that such a view is misguided and that, far from exercising single-handed control, Pitt’s influence was necessarily circumscribed. The margin between military success and failure was extremely small, and the British authorities worked within constraints imposed by constitutional propriety and political expediency. Effective government action was the result of teamwork by many individuals in the diverse fields of diplomacy, politics, finance, the army, navy, ordnance and commissariat.

The 13 North American colonies established by Great Britain eventually formed the nucleus of the United States. This volume describes the history of these colonies, both individually and collectively. It offers an analysis of the evolution of a new and distinctive society.

A critical analysis of issues and approaches in a variety of areas, ranging from the political economy of popular music through its history and ethnography to its semiology, aesthetics and ideology. The book focuses on Anglo-American popular music of the last 200 years.