NYHC
Known for its glamorous 1970s punk rock scene, New York City matched the grim urban reality of the 1980s with a rawer musical uprising: New York hardcore. As bands of misfits from across the region gravitated to the forgotten frontier of Manhattan's Lower East Side. With a a backdrop of despair, bands like Agnostic Front, Cro-Mags, Murphy's Law, and Youth of Today confronted their reality with relentlessly energetic gigs at CBGB, A7, and the numerous squats in the area. Tony Rettman's ambitious oral history captures ten years of struggling, including the scene's regional rivalries with D.C. and Boston, the birth of moshing, the clash and coming to terms of hardcore and heavy metal, the straightedge movement, and the unlikely influence of Krishna consciousness. With a foreword by Freddy Cricien of Madball, who made his stage debut with Agnostic Front at age seven, "NYHC" slams the sidewalk with savage tales of larger-than-life characters and unlikely feats of willpower. The gripping and sometimes hilarious narrative is woven together like the fabric of New York itself from over 100 original interviews with members of Absolution, Adrenalin O.D., Agnostic Front, Antidote, Bad Brains, Bloodclot, Bold, Born Against, Breakdown, Cause for Alarm, Citizen Arrest, Cro-Mags, Crumbsuckers, Death Before Dishonor, Even Worse, False Prophets, Don Fury, Gorilla Biscuits, H20, Heart Attack, Inhuman, Into Another, Irate, Judge, Kraut, Leeway, Life s Blood, Major Conflict, Max s Kansas City, Murphy s Law, Nausea, Nihilistics, Nuclear Assault, Numskulls, Outburst, Pro-Pain, Quicksand, Rat Cage Records, Raw Deal, Reagan Youth, Rorschach, S.O.D., Sacrilege, Savage Circle, Sheer Terror, Shelter, Shok, Sick of it All, Side by Side, Skinhead Youth, Straight Ahead, the Abused, the Cryptcrashers, the Mad, the Misfits, the Misguided, the Mob, the Psychos, the Ritz, the Stimulators, the Undead, Token Entry, Underdog, Urban Waste, Virus, Warzone, Youth of Today, and many, many more. MOSH IT UP!"
The Pitchfork Review No. 4
Pitchfork continues our venture into print with The Pitchfork Review Issue #4. We're proud to present this forth edition of our perfect-bound quarterly music publication, combining new long-form feature stories, photography, illustrations and other ephemera with selected recent pieces from Pitchfork. Each issue has a print run of 10,000 copies, with approximately 160-208 pages per issue, sheet-fed printed on three-four different stocks, with a soft touch coating on the french-folded cover.
Hommage to Paderewski
(BH Piano). In 1942, Boosey & Hawkes published a collection of piano pieces dedicated to Ignacy Jan Paderewski (1860-1941) written by his friends and pupils. Out of print for years, Boosey & Hawkes has released a newly engraved edition. 16 pieces with an historical introduction. Includes piano solo pieces by Bela Bartok, Bohuslav Martinu, Darius Milhaud, Jaromir Weinberger, and more. Contents: BARTOK: Three Hungarian Folk-Tunes * BENJAMIN: Elegiac Mazurka * CHANLER: Aftermath * LABUNSKI: Threnody * CASTELNUOVO-TEDESCO: Hommage a Paderewski * MILHAUD: Choral * GOOSSENS: Homage * HAMMOND: Dance * NIN-CULMELL: In Memoriam Paderewski * MARTINU: Mazurka * WHITHORNE: Hommage * RIETI: Allegro Danzante * SCHELLING: (No Title) * STOJOWSKI: Cradle Song * RATHAUS: Kujawiak * WEINBERGER: Etude in G Major
Bible Of Butchery
Coming this fall, the first-ever official authorized biography of Cannibal Corpse. Written by Joel McIver, author of Justice For All: The Truth About Metallica and biographies on Black Sabbath, Slayer, Slipknot, and Queens Of The Stone Age, Bible Of Butchery - Cannibal Corpse: The Official Biography contains over 150 pages loaded with photos from the band's collection, stories from each band member, and insights into what makes the world's most successful death metal band tick.
Prog Rock Faq
PROG ROCK FAQ: ALL THAT'S LEFT TO KNOW ABOUT ROCK'S MOST PROGRESSIVE MUSIC
The New Orleans Jazz Scene, 1970-2000
In 1966, journalist Charles Suhor wrote that New Orleans jazz was "ready for its new Golden Age." Thomas W. Jacobsen's The New Orleans Jazz Scene, 1970-2000 chronicles the resurgence of jazz music in the Crescent City in the years following Suhor's prophetic claim. Jacobsen, a New Orleans resident and longtime jazz aficionado, offers a wide-ranging history of the New Orleans jazz renaissance in the last three decades of the twentieth century, weaving local musical developments into the larger context of the national jazz scene. Jacobsen vividly evokes the changing face of the New Orleans jazz world at the close of the twentieth century. Drawing from an array of personal experiences and his own exhaustive research, he discusses leading musicians and bands, both traditionalists and modernists, as well as major performance venues and festivals. The city's musical infrastructure does not go overlooked, as Jacobsen delves into New Orleans's music business, its jazz media, and the evolution of jazz edu-cation at public schools and universities. With a trove of more than seventy photographs of key players and performances, The New Orleans Jazz Scene, 1970-2000 offers a vibrant and fascinating portrait of the musical genre that defines New Orleans.
The Cambridge History of Twentieth-century Music
At the beginning of the twentieth century 'music' meant the 'art' tradition of Western Europe and North America; by the end of the century that was just one tradition among many. Written by a group of experts in the field, this book surveys what happened to the Western 'art' tradition alongside the development of jazz, popular music, and world music, linking the history of music with that of its social contexts.
Joni Mitchell
When singer, musician, and broadcast journalist Malka Marom had the opportunity to interview Joni Mitchell in 1973, she was eager to reconnect with the performer she'd first met late one night in 1966 at a Yorkville coffeehouse. More conversations followed over the next four decades of friendship, and it was only after Joni and Malka completed their most recent recorded interview, in 2012, that Malka discovered the heart of their discussions: the creative process. In Joni Mitchell: In Her Own Words, Joni and Malka follow this thread through seven decades of life and art, discussing the influence of Joni's childhood, love and loss, playing dives and huge festivals, acclaim and criticism, poverty and affluence, glamorous triumphs and tragic mistakes . . . This riveting narrative, told in interviews, lyrics, paintings, and photographs, is shared in the hope of illuminating a timeless body of work and inspiring others.
He Stopped Loving Her Today
When George Jones recorded "He Stopped Loving Her Today" more than thirty years ago, he was a walking disaster. Twin addictions to drugs and alcohol had him drinking Jim Beam by the case and snorting cocaine as long as he was awake. Before it was over, Jones would be bankrupt, homeless, and an unwilling patient at an Alabama mental institution. In the midst of all this chaos, legendary producer Billy Sherrill--the man who discovered Tammy Wynette and cowrote "Stand by Your Man"--would somehow coax the performance of a lifetime out of the mercurial Jones. The result was a country masterpiece. He Stopped Loving Her Today, the story behind the making of the song often voted the best country song ever by both critics and fans, offers an overview of country music's origins and a search for the music's elusive Holy Grail: authenticity. The schizoid bottom line--even though country music is undeniably a branch of the make-believe world of showbiz, to fans and scholars alike, authenticity remains the ultimate measure of the music's power.
The Pitchfork Review No. 3
Pitchfork is happy to present the third issue of The Pitchfork Review, a perfect-bound quarterly music publication that combines new long-form feature stories, photography, illustrations and other ephemera with selected recent pieces from Pitchfork -- all packaged in a beautifully designed, collectible publication.
The Next Elvis
An American institution, Sun Records has a history with many chapters -- its Memphis origins with visionary Sam Phillips, the breakthrough recordings of Elvis Presley, and the studio's immense influence on the sound of popular music. But behind the company's chart toppers and legendary musicians there exists another story, told by Barbara Barnes Sims. In the male-dominated workforce of the 1950s, 24-year-old Sims found herself thriving in the demanding roles of publicist and sales promotion coordinator at Sun Records. Sims's job placed her in the studio with Johnny Cash, Roy Orbison, Jerry Lee Lewis, Charlie Rich, Carl Perkins, and other Sun entertainers, as well as the unforgettable Phillips, whose work made the music that defined an era. The Next Elvis: Searching for Stardom at Sun Records chronicles Sims's career at the studio, a pivotal time at this recording mecca, as she darted from disc jockeys to distributors. Sims not only entertains with personal stories of big personalities, but also brings humor to the challenges of a young woman working in a fast and tough industry. Her disarming narrative ranges from descriptions of a disgraced Jerry Lee Lewis to the remarkable impact and tragic fall of DJ Daddy-O Dewey to the frenzied Memphis homecoming of Elvis after his military service. Collectively, these vignettes offer a rare and intimate look at the people, the city, and the studio that permanently shifted the trajectory of rock 'n' roll.
Burning Britain
As the Seventies drew to a close and the media declared punk dead and buried, a whole new breed of band was emerging from the gutter. Harder and faster than their '76-'77 predecessors, not to mention more aggressive and political, the likes of Discharge, the Exploited, and G.B.H. were to prove not only more relevant but arguably just as influential. Several years in the making and featuring hundreds of new interviews and photographs, Burning Britain is the true story of the UK punk scene from 1980 to 1984 told for the first time by the bands and record labels that created it. Covering the country region by region, author Ian Glasper profiles legendary bands like Vice Squad, Angelic Upstarts, Blitz, Anti-Nowhere League, Cockney Rejects, and the UK Subs as well as the more obscure groups like Xtract, The Skroteez, and Soldier Dolls. The grim reality of being a teenage punk rocker in Thatcher's Britain resulted in some of the most primal and potent music ever committed to plastic. Burning Britain is the definitive overview of that previously overlooked era.
Dead Kennedys
Dead Kennedys routinely top both critic and fan polls as the greatest punk band of their generation. Their debut full-length, Fresh Fruit for Rotting Vegetables, in particular, is regularly voted among the top albums in the genre. Fresh Fruit offered a perfect hybrid of humor and polemic strapped to a musical chassis that was as tetchy and inventive as Jello Biafra's withering broadsides. Those lyrics, cruel in their precision, were revelatory. But it wouldn't have worked if the underlying sonics were not such an uproarious rush, the paraffin to Biafra's naked flame. Dead Kennedys' continuing influence is an extraordinary achievement for a band that had practically zero radio play and only released records on independent labels. They not only existed outside of the mainstream but were, as V. Vale of Search and Destroy noted, the first band of their stature to turn on and attack the music industry itself. The DKs set so much in motion. They were integral to the formulation of an alternative network that allowed bands on the first rung of the ladder to tour outside of their own backyard. They were instrumental in supporting the concept of all-ages shows and spurned the advances of corporate rock promoters and industry lapdogs. They legitimized the notion of an American punk band touring internationally while disseminating the true horror of their native country's foreign policies, effectively serving as anti-ambassadors on their travels. The book uses dozens of first-hand interviews, photos, and original artwork to offer a new perspective on a group who would become mired in controversy almost from the get-go. It applauds the band's key role in transforming punk rhetoric, both polemical and musical, into something genuinely threatening--and enormously funny. The author offers context in terms of both the global and local trajectory of punk and, while not flinching from the wildly differing takes individual band members have on the evolution of the band, attempts to be celebratory--if not uncritical.
The Day the Country Died
The Day the Country Died features author, historian, and musician Ian Glasper (Burning Britain) exploring in minute detail the influential, esoteric, UK anarcho punk scene of the early Eighties. If the colorful '80s punk bands captured in Burning Britain were loud, political, and uncompromising, those examined in The Day the Country Died were even more so, totally prepared to risk their liberty to communicate the ideals they believed in so passionately. With Crass and Poison Girls opening the floodgates, the arrival of bands such as Zounds, Flux of Pink Indians, Conflict, Subhumans, Chumbawamba, Amebix, Rudimentary Peni, Antisect, Omega Tribe, and Icons of Filth heralded a brand new age of honesty and integrity in underground music. With a backdrop of Thatcher's Britain, punk music became self-sufficient and considerably more aggressive, blending a DIY ethos with activism to create the perfectly bleak soundtrack to the zeitgeist of a discontented British youth. It was a time when punk stopped being merely a radical fashion statement, and became a force for real social change; a genuine revolutionary movement, driven by some of the most challenging noises ever committed to tape. Anarchy, as regards punk rock, no longer meant "cash from chaos." It meant "freedom, peace, and unity." Anarcho punk took the rebellion inherent in punk from the beginning to a whole new level of personal awareness. All the scene's biggest names, and most of the smaller ones, are comprehensively covered with new, exclusive interviews and hundreds of previously unseen photographs.
Woman With Guitar
A vivid portrait of one of the blues' most influential female artists, and the popular poetry of her lyrics.
Cowboy Junkies
Distributed by the University of Nebraska Press for Whale and Star Press This limited edition book documents the creation of four music albums in the Nomad Series. The 144-page full-color, hardcover book, wrapped in linen with a CD inset designed to hold the four volumes of the series, was designed and produced by Enrique Mart穩nez Celaya. The book includes work drafts and photos relating to the creation of the Nomad Series as well as lyrics, essays, and original art work by Celaya.
Still the Greatest
As recommended by USA Today and excerpted on RollingStone.com! Still the Greatest is a love song to the songwriting and recording achievements of Paul, John, George, and Ringo after each struck out on his own. In this creative history, Jackson selects the best songs by each in his solo career and organizes them into fantasy albums they might have formed had they stuck it out. This romp through the post-Beatle history of each artist delves into the circumstances behind the composition, recording, and reception of each work, offering a refreshing take on how spectacular much of the Beatles' second act truly is. Jackson assesses the over seventy albums and nine hundred songs they collectively released, selecting the cr癡me de la cr癡me of their output.
Mad World
Teen People cofounder Lori Majewski and author Jonathan Bernstein's Mad World is a highly entertaining oral history celebrating the New Wave music phenomenon of the 1980s via interviews with 35 of the most notable artists of the period. Featuring members of Duran Duran, New Order, The Smiths, Tears for Fears, Adam Ant, Echo and the Bunnymen, Devo, ABC, Spandau Ballet, A Flock of Seagulls, Thompson Twins, and INXS, each interview begins with a discussion of their most popular song but leads to stories of their history and place in the scene, ultimately painting a vivid picture of this colorful, idiosyncratic time. Mixtape suggestions, fashion sidebars, and quotes from famous contemporary admirers help fill out the fun. "Here it is--the whole glossy, gory, glorious story of the 1980s new wave revolution, in one addictive chapter after another. These are the artists who lived it all out, whether it's Duran Duran making the 'Girls on Film' video or Kim Wilde finally explaining the 'East California' enigma. Mad World captures the wild enthusiasm of the moment, evoking a time of perfect songs, innovative style, and lipstick cherry all over the lens." --Rob Sheffield, contributing editor to Rolling Stone and author of Talking to Girls About Duran Duran
The British Beat Explosion
Anyone with an interest in the history of UK rock 'n' roll is familiar with the Cavern Club and the role that Merseyside played in the story of the British Beat scene. But on a far less celebrated but no less significant path, over a small bridge on an island in the middle of the Thames, another great 60s club night played host to acts that would later make a global name for themselves. The Rolling Stones, Long John Baldry, Rod Stewart, the Small Faces, the Yardbirds and David Bowie are among the many acts who performed at the legendary Eel Pie Hotel during its 50s and 60s heyday, as did jazz greats such as Cyril Davies, Ken Colyer and Acker Bilk.In this collection of essays from the likes of Zoe Howe (music journalist), Michele Whitby (exhibition curator) and Gina Way (co-owner of the current Eel Pie Club) as well as the musicians themselves, we trace the origins of a scene that is long overdue for recognition.About the AuthorsMichele Whitby has spent most of her life in the Twickenham area. She discovered Eel Pie Island whilst looking for somewhere to set up a photographic studio after leaving college in 1988 and has never really left the place since. A jack-of-all-trades (hopefully master of some!) she has been amongst other things, a photographer, leather-worker, puzzle writer, comic-book colourist and shopkeeper. She became good friends with Arthur Chisnall around 1996 while beginning to research Eel Pie's musical past. She coauthored the book Eel Pie Island with Dan van der Vat, published in 2009. Michele has two children, Louie and Leila, and lives very happily aboard a boat on the Island, venturing off here and there to catch some live music.Zo禱 Howe is a writer, musician and visual artist based in Essex. Current projects include a film and book about the life and work of X-Ray Spex singer Poly Styrene. Previous books include, 'Lee Brilleaux - Rock 'n' Roll Gentleman', the bestselling 'Stevie Nicks - Visions, Dreams And Rumours', 'Barbed Wire Kisses - The Jesus and Mary Chain Story', 'Typical Girls? The Story Of The Slits', 'How's Your Dad? Living In The Shadow of a Rock Star Parent', 'Florence + The Machine - An Almighty Sound' and 'Wilko Johnson - Looking Back At Me'. She was a contributing author to 'British Beat Explosion - Rock 'n' Roll Island' and to Julien's documentary The Ecstasy Of Wilko Johnson. In 2015, Zo禱 joined the Doc 'n' Roll Film Festival jury, and as of 2016, she is The Blues Magazine's resident 'rock 'n' roll agony aunt'.
The Jesus Lizard Book
"If you're a Jesus Lizard fan or a David Yow devotee, you're sure all over this. But even if you've never heard of the band, the book stands as one of the best ways to experience being in a tight, cohesive band. You get everything except the sweat, spilled beer, and blood. It's a fun ride, and the closest thing possible to getting in the van with these guys." --Mother Jones "The Jesus Lizard Book is a beautiful document of a band that wasn't afraid to be abrasive, chaotic, brutal, and sometimes, ugly." --The Chicago Tribune/Printer's Row The Jesus Lizard Book is a coffee table affair of exclusive photography, art, and other imagery with written pieces by all four members of the seminal indie rock band the Jesus Lizard. The layout is stylish and elegant, particularly in contrast with the harshness of much of the band's music. Included are many Polaroids by David Wm. Sims, a delicious recipe by David Yow, a concise list of every show the Jesus Lizard played, and writings by two producers who recorded the band--Steve Albini and Andy Gill. There is biographical material of each member that covers childhood to the demise of the group. Other contributors include Mike Watt, Alexander Hacke, Steve Gullick, Rebecca Gates, Jeff Lane, Sasha Frere-Jones, KRK, Bernie Bahrmasel, and many more. The Jesus Lizard (1988-1999) hailed from Chicago by way of Austin, Texas. They released seven records on the independent record label Touch and Go, and a few more on different major labels. Many have called them the best live band of the 1990s. Unlike most of their contemporaries, the Jesus Lizard managed to create a beast, an entirely autonomous being, an entity who outgrew and is very likely to also outlive its makers. While each and every personality in the group is an integral part of its mentality and thus ultimately irreplaceable, it is the rapport and friction between them which makes the music possible, allows it to blossom and eventually break free. It was not just David Wm. Sims's monolithic basslines, but the stance he took in order to deliver them. Like a sailor manning a raft through a storm at high sea, he took position at stage left and pounded away at his instrument--stoic, reliable, and unwavering. Mac McNeilly's drumming didn't merrily serve as a time-giver, but as a display of unrestrained energy and a joyously bouncing, good-natured spirit. Somersaulting patterns and probability-defying breaks were stacked on top of one another, made to tumble and fall only to be caught again, as if a boxer was juggling dishes while pummeling an already delirious opponent. Duane Denison shaped his guitar work like a taxidermist dissecting a puppy. With cruel precision, he stabbed and sliced and inserted the limbs of chord progressions with bolts and rods and wire, smiling dreamily while his riffs danced around onstage like biomechanical freaks of nature. Then there was the man who is the embodiment of the band's name, the tormented soul thrown about and struggling to withstand the torrent in the tornado of the music: David Yow spilled his insides while he spent most of the shows in--no, on--the audience, being lifted and carried by the masses that were groping and ripping at him, trying to be a part, greedily looking to get a piece of the action. He was the ingenious saboteur, the anarchistic oddball in this form of modern theater with the other three serving as the perfect "straight men" to his madness.
The Pitchfork Review No. 1, Winter 2014
With contributions from the Pitchfork staff and edited by J.C. Gabel of Stop Smiling and The Chicagoan, The Pitchfork Review is designed and conceptualized in-house, and printed locally in Chicago. This beautifully designed, limited-run publication on high quality paper stock is meant to be kept on your shelf and read and enjoyed over the long term. While we remain committed to covering the world of independent music and beyond, as well as innovating in the digital sphere, we've always been huge fans of the print medium. The Pitchfork Review will allow us to extend our passion for music, images, and storytelling into a new arena.
Nirvana Faq
NIRVANA FAQ: ALL THAT'S LEFT TO KNOW ABOUT THE MOST IMPORTANT BAND OF THE 1990S
The Who Faq
THE WHO FAQ: ALL THAT'S LEFT TO KNOW ABOUT FIFTY YEARS OF MAXIMUM R&B
Telling Stories, Writing Songs
Willie Nelson, Joe Ely, Marcia Ball, Tish Hinojosa, Stevie Ray Vaughan, Lyle Lovett...the list of popular songwriters from Texas just goes on and on. In this collection of thirty-four interviews with these and other songwriters, Kathleen Hudson pursues the stories behind the songs, letting the singers' own words describe where their songs come from and how the diverse, eclectic cultures, landscapes, and musical traditions of Texas inspire the creative process. Conducted in dance halls, dressing rooms, parking lots, clubs-wherever the musicians could take time to tell their stories-the interviews are refreshingly spontaneous and vivid. Hudson draws out the songwriters on such topics as the sources of their songs, the influence of other musicians on their work, the progress of their careers, and the nature of Texas music. Many common threads emerge from these stories, while the uniqueness of each songwriter becomes equally apparent. To round out the collection, Hudson interviews Larry McMurtry and Darrell Royal for their perspectives as longtime friends and fans of Texas musicians. She also includes a brief biography and discography of each songwriter.
Music’s Obedient Daughter
A libretto is an indispensable part of an opera as a musical genre: with few exceptions, operas have been the subject of musicological studies, and instrumental versions of sung or unsung opera numbers may be heard, but we never listen to libretto texts being performed without the music. Thus as a literary form the libretto is a highly specific genre with its own particular attributes. This volume offers an approach to the libretto through the discussion of these attributes in many different examples. It explores what may be expected of a librettist in response to the demands of the genre's characteristics, his trials and tribulations, his exchanges with the composer while adapting or converting a source, almost always a literary source, into the eventual libretto, and about the different musical ways of dealing with the text. In this way the volume clarifies the fundamental differences between the libretto and other literary genres.
From Idomeneo To Die Zauberflote
This is the first book by an experienced conductor to explore the orchestras contribution to Mozarts greatest operatic works: Idomeneo, Die Entfuhrung aus dem Serail, Die Schauspieldirektor, Le nozze di Figaro, Don Giovanni, Cosi fan tutte, La clemenza di Tito, and Die Zauberflote. It is written for the concert and opera going public who are interested in enlarging their knowledge and appreciation of these masterpieces, but also contains many practical suggestions for aspiring conductors.
The Boston Jazz Chronicles
There has always been more to music in Boston than the Boston Symphony Orchestra. Jazz, for example, dates to the early 1900s, but it was in the 1940s and 1950s that it truly sparkled. The Boston Jazz Chronicles: Faces, Places, and Nightlife 1937-1962 is the first book to document that city's active jazz scene at mid-century.Boston jazz came into its own during the World War II years, when the big bands supplied America with its popular music, and Boston's Charlie and Cy Shribman were among the kingmakers of the big-band era. The city produced such talents as pianist and bandleader Sabby Lewis, the multi-instrumentalist Ray Perry, and bassist Lloyd Trotman. The scene benefited from the extended wartime presence of established stars, including trumpeter Frankie Newton and trombonist Vic Dickenson, and from the start of a Sunday afternoon jam session tradition that brought the nation's best jazzmen into regular contact with local players. There were opportunities for musicians, particularly young musicians, to gain valuable experience by filling in for the older men serving in the military.The end of the war introduced new jazz sounds to Boston, and reintroduced a few older ones as well. Alongside those musicians like Lewis still playing swing, there were others looking to the past for inspiration, sparking a Dixieland revival, and still others looking forward, spreading the new sound of bebop. There were big-band survivors in downsized groups playing jump blues, and others organizing new big bands along modern lines.The end of the war also brought a surge of talented musicians, many of them veterans and beneficiaries of the GI Bill. They were attracted by the city's music conservatories and the new Schillinger House, soon to be renamed the Berklee School of Music. Boston became a destination for musicians seeking new musical direction. Here they joined with Boston's own contingent of formidable musicians to form a new, more modern scene, led by such luminaries as Jaki Byard, Joe Gordon, Nat Pierce, Charlie Mariano, Herb Pomeroy, Sam Rivers, Alan Dawson, and Dick Twardzik. They would carry Boston jazz to a creative peak in the mid-to-late 1950s that still remains unequaled.The music was splendid, but there was more. Boston was home to influential jazz journalists George Frazier and Nat Hentoff; Berklee College of Music founder Lawrence Berk; Father Norman O'Connor, the Jazz Priest; record company executive and producer Tom Wilson; and Storyville nightclub proprietor George Wein, organizer of the Newport Jazz Festival. And through it all was the music, at the Ken Club, the Savoy Cafe, the Hi-Hat, the Stable, and other rooms both rowdy and refined.The Boston Jazz Chronicles relates this story in reportage and personal anecdotes, and through dozens of photographs, advertisements, and period maps. This complete study also includes extensive notes, a bibliography, discography, and comprehensive index.Author Richard Vacca is a writer and editor with a lifelong interest in cultural history, and he writes and speaks regularly about Boston's jazz and nightlife. He spent seven years researching and writing The Boston Jazz Chronicles, his first book. He is now writing the second volume of the Chronicles, taking the story into the late 1980s. Vacca blogs about Boston, jazz, and history at his website, troystreet.com.
Saturday Night Live FAQ
Television history was made on Saturday, October 11, 1975, at 11:30pm (ET), when Chevy Chase welcomed America to the first episode of a new late-night comedy series. With its cutting edge satire and cast of young, talented performers, Saturday Night Live set a new standard for television comedy while launching the careers of such comedy greats as John Belushi, Chevy Chase, Dan Aykroyd, Eddie Murphy, Mike Myers, Dana Carvey, Will Ferrell, Amy Poehler, and Tina Fey. Saturday Night Live FAQ is the first book to offer the show's generations of fans everything they ever wanted to know (and may have forgotten) about SNL. Beginning with the show's creation in the mid-1970s by Lorne Michaels and the Not Ready for Prime Time Players, SNL FAQ takes you through the show's history with an in-depth look at all thirty-eight seasons. It's all here - the comedic highlights and low points, memorable hosts and musical guests, controversial moments, and, of course, the recurring characters and sketches, catch phrases, and film shorts that have made SNL the epicenter of American comedy for nearly four decades. SNL FAQ also examines the show's influence on American culture and includes profiles of over 100 SNL cast members, along with a comprehensive guide detailing every episode.
Roll With It
Roll With It is a firsthand account of the precarious lives of musicians in the Rebirth, Soul Rebels, and Hot 8 brass bands of New Orleans. These young men are celebrated as cultural icons for upholding the proud traditions of the jazz funeral and the second line parade, yet they remain subject to the perils of poverty, racial marginalization, and urban violence that characterize life for many black Americans. Some achieve a degree of social mobility while many more encounter aggressive policing, exploitative economies, and a political infrastructure that creates insecurities in healthcare, housing, education, and criminal justice. The gripping narrative moves with the band members from back street to backstage, before and after Hurricane Katrina, always in step with the tap of the snare drum, the thud of the bass drum, and the boom of the tuba.
Performing Englishness
Performing Englishness examines the growth in popularity and profile of the English folk arts in the first decade of the twenty-first century. In the only study of its kind, the authors explore how the folk resurgence speaks to a broader explosion of interest in the subject of English national and cultural identity. Combining approaches from British cultural studies and ethnomusicology, the book draws on ethnographic fieldwork, interviews with central figures of the resurgence and close analysis of music and dance as well as visual and discursive sources. Its presentation of the English case study calls for a rethinking of concepts such as revival and indigeneity. It will be of interest to students and scholars in cultural studies, ethnomusicology and related disciplines.
Panama's Story
INTRODUCTION My name is David Albert Francis. However, I am known in the music world as "Panama" Francis, a name that was given to me by Roy Eldridge when I joined his band in 1939. I was born in Miami, Florida, on December 21, 1918, four days short of becoming a Christmas present to my parents. I must tell you that I am a stutterer. Sometime, when I get excited or try to make a point, my voice goes up about two octaves. I come across to some people as being angry but, believe me, this [what?] is how I get the words to flow. My facial expression might appear to you to be an angry expression. What is happening is that I am concentrating on getting the words to come out, without interruptions. I am sick now from twenty years of life on the board, riding on a bus for hours on end, eating unhealthy (and sometimes unsanitary?) food, and traveling 300 to 500 miles at a time without a bathroom break. The current health of bodies of my fellow musicians and I bear witness to the pain and suffering we experienced on the road. I am among many, many musicians who are paying now for these deplorable conditions on the road. We have serious health ailments that are directly attributable to what we experienced on the road and have negatively impacted the very days of our lives when we should be reaping the benefits of our long years of hard work. We are paying the price.
This Music Leaves Stains
Few bands in the past three decades have proven as affecting or exciting as the Misfits, the ferocious horror punk outfit that lurked in the shadows of suburban New Jersey and released a handful of pivotal underground recordings during their brief, tumultuous time together. Led by Glenn Danzig, a singer possessed of vision and blessed with an incredible baritone, the Misfits pioneered a death rock sound that would reverberate through the various musical subgenres that sprung up in their wake. This Music Leaves Stains now presents the full story behind the Misfits and their ubiquitous, haunting skull logo, a story of unique talent, strange timing, clashing personalities, and incredible music that helped shape rock as we know it today. James Greene, Jr., maps this narrative from the band's birth at the tail end of the original punk movement through their messy dissolve at the dawn of the 1980s right on through the legal warring and inexplicable reunions that helped carry the band into the 21st century. Music junkies of any stripe will surely find themselves engrossed in this saga that finally pieces together the full story of the greatest horror punk band that ever existed, though Misfits fans will truly marvel at the thorough and detailed approach James Greene, Jr. has taken in outlining the rise, fall, resurrection, and influence of New Jersey's most frightening musical assembly.
Metal on Ice
A musical genre as tough and hard as the Canadian Shield. Canada has produced many successful proponents of the genre known as heavy metal, which grew out of the hard rock of the 1970s, exploded commercially in the 1980s, and then petered out in the 1990s as grunge took over, only to rise to prominence once again in the new millennium. The road to Canadian musical glory is not lined with the palm trees and top-down convertibles of the Sunset Strip. It is a road slick with black ice, obscured by blizzards, and littered with moose and deer that could cause peril for a cube van thundering down a Canadian highway. Drawing on interviews with original artists such as Helix, Anvil, Coney Hatch, Killer Dwarfs, Harem Scarem, and Honeymoon Suite, as well as prominent journalists, VJs, and industry insiders, we relive their experiences, motivations, and lifestyles as they strove for that most alluring of brass rings - the coveted record deal. It's a new perspective on the dreams of musicians shooting for an American ideal of success and discovering a uniquely Canadian voice in the process.
Folk Visions and Voices
Sampling virtually all of the old-time styles within the musical traditions still extant in north Georgia, Folk Visions and Voices is a collection of eighty-two songs and instrumentals, enhanced by photographs, illustrations, biographical sketches of performers, and examples of their narratives, sermons, tales, and reminiscences.
Shout Because You're Free
The ring shout is the oldest known African American performance tradition surviving on the North American continent. Performed for the purpose of religious worship, this fusion of dance, song, and percussion survives today in the Bolton Community of McIntosh County, Georgia. Incorporating oral history, first-person accounts, musical transcriptions, photographs, and drawings, Shout Because You're Free documents a group of performers known as the McIntosh County Shouters. Derived from African practices, the ring shout combines call-and-response singing, the percussion of a stick or broom on a wood floor, and hand-clapping and foot-tapping. First described in depth by outside observers on the sea islands of South Carolina and Georgia during the Civil War, the ring shout was presumed to have died out in active practice until 1980, when the shouters in the Bolton community first came to the public's attention. Shout Because You're Free is the result of sixteen years of research and fieldwork by Art and Margo Rosenbaum, authors of Folk Visions and Voices. The book includes descriptions of present-day community shouts, a chapter on the history of the shout's African origins, the recollections of early outside observers, and later folklorists' comments. In addition, the tunes and texts of twenty-five shout songs performed by the McIntosh County Shouters are transcribed by ethnomusicologist Johann S. Buis.Shout Because You're Free is a fascinating look at a unique living tradition that demonstrates ties to Africa, slavery, and Emancipation while interweaving these influences with worship and oneness with the spirit.
Armageddon Films Faq
ARMAGEDDON FILMS FAQ: ALL THAT'S LEFT TO KNOW ABOUT ZOMBIES CONTAGIONS ALIENS AND THE
A Bad Woman Feeling Good
An exciting lineage of women singers--originating with Ma Rainey and her prot矇g矇e Bessie Smith--shaped the blues, launching it as a powerful, expressive vehicle of emotional liberation. Along with their successors Billie Holiday, Etta James, Aretha Franklin, Tina Turner, and Janis Joplin, they injected a dose of reality into the often trivial world of popular song, bringing their message of higher expectations and broader horizons to their audiences. These women passed their image, their rhythms, and their toughness on to the next generation of blues women, which has its contemporary incarnation in singers like Bonnie Raitt and Lucinda Williams (with whom the author has done an in-depth interview). Buzzy Jackson combines biography, an appreciation of music, and a sweeping view of American history to illuminate the pivotal role of blues women in a powerful musical tradition. Musician Thomas Dorsey said, "The blues is a good woman feeling bad." But these women show by their style that he had it backward: The blues is a bad woman feeling good.
Elvis Music Faq
ELVIS MUSIC FAQ: ALL THAT'S LEFT TO KNOW ABOUT THE KING'S RECORDED WORKS
How to Rap 2
This sequel to How to Rap breaks down and examines techniques that have not previously been explained--such as triplets, flams, lazy tails, and breaking rhyme patterns. Based on interviews with hip-hop's most innovative artists and groups, including Tech N9ne, Crooked I, Pharcyde, Das EFX, Del the Funky Homosapien, and Big Daddy Kane, this book takes you through the intricacies of rhythm, rhyme, and vocal delivery, delving into the art form in unprecedented detail. It is a must-read for MCs looking to take their craft to the next level, as well as anyone fascinated by rapping and its complexity.
Jamerica
The term "jam band" is used to categorize a type of music that favors improvisation and musicianship over concise riffs, hooks, and traditional songwriting structure. The term also helps define the fiercely dedicated fans of the music as accurately as it does the bands. Much as with the Grateful Dead -- the progenitors of the jam band scene -- the survival of the scene depends upon a symbiotic relationship with fans. Jam bands nurture a close relationship with their fans, fostered through constant touring and the mutual belief that each performance is a unique, shared event. JAMerica tells the story of the roots, evolution, values, and passion of the jam band scene in the words of those who know it best. Modeling itself on such books as Edie: American Girl by George Plimpton and Jean Stein (an oral history of the life of Edie Sedgewick ) and Please Kill Me: The Uncensored Oral History of Punk by Legs McNeil and Gillian McCain, the book is an oral history of the jam band scene, integrating stories from such bands as the Grateful Dead, Phish, Widespread Panic, Dave Matthews Band, moe., Leftover Salmon, String Cheese Incident, Umphrey's McGee, and dozens more. Interviews focus on the history of individual bands and how they communally shaped the larger jam band community, along with songwriting, relationships with fans, business models, and the importance (including the joys and war stories) of touring, including early gigs and venues (e.g. the Wetlands in New York City and the landmark H.O.R.D.E. Festival) that supported the emergence of the jam band scene.
Never Fade Away
Never Fade Away is Dave Thompson's inside look at the life of one of the most thought-provoking men of all time - Kurt Cobain. Examining an artistic grunge rock genius who was light years ahead of his time, this is an unfailing account of Nirvana's rise and Cobain eventual descent.
Austin Music Scene
What do Muddy Waters, Earl Scruggs, Jerry Jeff Walker, and Mose Allison have in common? Or Guy Clark, Fats Domino, Roy Buchanan, and Janis Joplin? The answer lies in the pages of photographs taken by veteran photographer Burton Wilson of Austin. The book is a collection of more than two hundred black and white photos of the American music scene made by Burton from 1965 to 1994. Burton Wilson became interested in jazz and blues while a student at the Rhode Island School of Design in the 1930s. After training under internationally known photographer Russell Lee, he began to chronicle music visually. In 1970 Eddie Wilson, founder of the now-legendary Amadillo World Headquarters, said to Burton, "Just tell anybody that asks that you own the place. That way, you'll never need a backstage pass." Burton became the house photographer. It was an extraordinary time in music, when the old guard of blues legends and the younger generations of rock-n-roll musicians inspired by them came together. It was a time when talents such as Willie Nelson sought an alternative to Nashville and found it in Austin, Texas, launching the progressive-country movement. Rather than taking photos of "stars," Burton documented musicians and performers, some of whom happened to be or became famous. The results are authoritative, intimate, and honest images of a trusted insider. For those who were there, this book will remind them of how it really was. For those who weren't, these photographs are the next best thing.
Scotty and Elvis
When Elvis Presley first showed up at Sam Phillips's Memphis-based Sun Records studio, he was a shy teenager in search of a sound. Phillips invited a local guitarist named Scotty Moore to stand in. Scotty listened carefully to the young singer and immediately realized that Elvis had something special. Along with bass player Bill Black, the trio recorded an old blues number called That's All Right, Mama. It turned out to be Elvis's first single and the defining record of his early style, with a trilling guitar hook that swirled country and blues together and minted a sound with unforgettable appeal. Its success launched a whirlwind of touring, radio appearances, and Elvis's first break into movies. Scotty was there every step of the way as both guitarist and manager, until Elvis's new manager, Colonel Tom Parker, pushed him out. Scotty and Elvis would not perform together again until the classic 1968 comeback television special. Scotty never saw Elvis after that. With both Bill Black and Elvis gone, Scotty Moore is the only one left to tell the story of how Elvis and Scotty transformed popular music and how Scotty created the sound that became a prototype for so many rock guitarists to follow. Thoroughly updated, this edition delivers guitarist Scotty Moore's story as never before
Star Trek FAQ 2.0
STAR TREK FAQ 2.0: EVERYTHING LEFT TO KNOW ABOUT THE NEXT GENERATION THE MOVIES AND B
Cosmik Debris
An early work on the mathematics of gambling and how to use statistics and probability to improve your ability to win games of chance. The backgrounds of each game are accompanied by mathematical tables and calculations to assist the reader. The author is Francis V Zappa, father of the legendary musician Frank Zappa.
Mingus Speaks
Charles Mingus is among jazz's greatest composers and perhaps its most talented bass player. He was blunt and outspoken about the place of jazz in music history and American culture, about which performers were the real thing (or not), and much more. These in-depth interviews, conducted several years before Mingus died, capture the composer's spirit and voice, revealing how he saw himself as composer and performer, how he viewed his peers and predecessors, how he created his extraordinary music, and how he looked at race. Augmented with interviews and commentary by ten close associates--including Mingus's wife Sue, Teo Macero, George Wein, and Sy Johnson--Mingus Speaks provides a wealth of new perspectives on the musician's life and career.As a writer for Playboy, John F. Goodman reviewed Mingus's comeback concert in 1972 and went on to achieve an intimacy with the composer that brings a relaxed and candid tone to the ensuing interviews. Much of what Mingus shares shows him in a new light: his personality, his passions and sense of humor, and his thoughts on music. The conversations are wide-ranging, shedding fresh light on important milestones in Mingus's life such as the publication of his memoir, Beneath the Underdog, the famous Tijuana episodes, his relationships, and the jazz business.
The Compleat Brahms
For all those eager to delve more deeply into Brahms's music, The Compleat Brahms is an indispensable companion. In a single volume that covers every work written by Brahms, leading scholars from across the country provide details of each work's composition and discuss its important stylistic features. Interspersed are fascinating essays -- such as "Brahms, Joachim, and the Schumanns" -- that bring the composer and his contemporaries to life. Much more than a collection of program notes, The Compleat Brahms vividly portrays the work and world of one of the giants of Western music history.
