Popular music Books

Book SynopsisAn impassioned history of the final, turbulent years of The Clash under the dark shadow of Reagan and Thatcher.

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Book SynopsisAn oral and photographic history of the Washington, DC punk rock scene, including Minor Threat, Bad Brains, Fugazi and more.

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Book SynopsisInternational best-selling rock band Garbage presents its own autobiography, a gorgeous, full-color coffee-table book with text and images galore.

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Book SynopsisTo wander the streets of a bankrupt, often lawless, New York City in the early 1970s wearing a T-shirt with PLEASE KILL ME written on it was an act of determined nihilism, and one often recounted in the first reports of Richard Hell filtering into the pre-punk UK. Pete Astor, an archly nihilistic teenager himself at the time, was most impressed. The fact that it emerged (after many years) that Hell himself had not worn the T-shirt but had convinced junior band member Richard Lloyd to do so, actually fitted very well with Astor’s older, wiser self looking back at Blank Generation. Richard Hell was an artist who could not only embody but also frame the punk urge; having seeded and developed the essential look and character of punk since his arrival in New York in the late 1960s, he had just what was needed to make one of the defining records of the era. This study combines objective, academic perspectives along with culturally centred subjectivities to understand the meanings and resonances of Richard Hell and the Voidoids’ Blank Generation.Trade ReviewThe 33 1/3 book series started in 2003, analyzing 'seminal' rock albums in the manner of great literature novels-but also adding the personal insights that only the true rock n' roll fan can deliver. #92 looks at Richard Hell and the Voidoids' Blank Generation (1977). On the heels of #91, on Gang of Four's Entertainment (1979) the releases really are two of a pair-the arch “art punk” statements of the '70s-though Gang of Four is more political and Richard Hell thoroughly nihilistic. The analytical approach can have its pitfalls: Astor is so intent on the importance of listening on vinyl that he traces the history of recording technology back to Edison, to make the point that the album has to be heard on that medium. But Astor brilliantly places Blank Generation in the 70's lower East Side New York art world, with all the squalor evoked by Richard Hell's songs, as well as depicting Hell as a poet with a comprehensive artistic vision. In his own way, Hell was the voice of a generation. * SLUG Magazine *Table of ContentsPreface Vision Culture Artefact Worlds Persona Texts Words Postscript

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Book SynopsisDanko Jones collects ten years of onstage and backstage stories in this eye-poppingly funny rock-n-roll collection.

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Book SynopsisFinally, a brilliant exploration of the German rock band Can's 1971 album Tago Mago. This hugely unique and influential album deserves close analysis from a fan, rather than a musicologist. Novelist Alan Warner details the concrete music we hear on the album, how it was composed, executed and recorded--including the history of the album in terms of its release, promotion and art work. This tale of Tago Mago is also the tale of a young man obsessed with record collecting in the dark and mysterious period of pop music before Google. Warner includes a backtracking of the history of the band up to that point and also some description of Can's unique recording approach taking into account their home studio set up. Interviews with the two surviving members: drummer Jaki Liebezeit, keyboardist Irmin Schmidt and bassist Holger Czukay make this a hilariously personal and illuminating picture of Can.Trade ReviewWarner asserts that the musical criticism and musicology "ignore the material and autobiographical details that have been built into a web of deeply personal associations". This is true of a certain classical model of music writing, and [this] book is a deeply enjoyable and lyrical rebuttal to that -- Frances Morgan * The Wire *In high school, I came upon the book Twilight of the Gods by Wilfred Mellers, a 1973 study attempting to explain the importance of the Fab Four’s music through a musicological analysis of their works. This seemed extremely absurd. I recently realized, after reading several books in the 33 1/3 series, that it’s not really about the individual albums profiled—it’s about what it’s like to be a fan. It’s about what it’s like to view a particular work as the pinnacle of aesthetic accomplishment—to experience the unique sensation of “This speaks to me!” There is also a fetishization of the vinyl album as an art object. Each band and record in the series is mythologized as much as the authors’ experience of discovering them is; in the case of Can’s 1971 album Tago Mago, Warner describes their “stoner athleticism.” The Scottish novelist realizes the absurdity of this linguistic attempt to describe music, as much as Mellers, but Warner’s volume about the German psychedelic band is rich because he shows how “Tago Mago gave me permission to dream.” Tago Mago, along with a number of other Can masterpieces, will be reissued on vinyl alongside the release of the 33 1/3 book. * SLUG Magazine *Scottish novelist Alan Warner (Morvern Callar, The Deadman’s Pedal) has given us a unique and absorbing look at the great Krautrock classic Tago Mago by Can […] Music fans will find themselves nodding in solidarity with his admitted obsession with the record […]Can’s Tago Mago is a masterpiece that still enthralls and informs listeners 40+years past it’s debut, and in a different way, Alan Warner’s look at his relation to the record, and music in general, is much the same. Our most deeply felt connections with art are the pieces that cause us to grow over time with the work, and Warner has given us a near-perfect description of such. -- James Mann * Big Takeover *I really can't recommend Warner's Tago Mago highly enough. I've never read anything by Warner that isn't artful and considered, a mix between the analytical and passionate, but that has never been better demonstrated than in this short book. You may not want to go out and get a copy of Can's album (personally, I prefer Ege Bamyasi), but that's not what he is setting out to do. This is [his] story, one which is both personal and universal, or at least common to the sort of people whose relationships with music, and other art forms, can be as important as their relationships to people - basically, the sort of person who buys the 33? books. * Scots Way Hae! *Table of ContentsPART ONE HALLELUWAH AN ANATOMY OF LISTENING CAN WITHOUT THE MUSIC ‘LIKE CAN’S DRUMMER…’ THE TERRIFYING SEX PISTOLS MR IAN DURY & THE BLOCKHEADS SWEARING A ‘RECORD COLLECTION’ VAN HALEN & BAGPIPES PART TWO A SPANNER IN THE SKY MADE IN A CASTLE WITH BETTER EQUIPMENT TAGO MAGO CAN WORLD NOT A DREAM THE EDITS A SINGLE SONG WHICH NEVER ENDS NOSTALGIA DANGER THE MYSTERY OF LA ISLA DE TAGOMAGO

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Book SynopsisText and Drugs and Rock'n'Roll explores the interaction between two of the most powerful socio-cultural movements in the post-war years - the literary forces of the Beat Generation and the musical energies of rock and its attendant culture. Simon Warner examines the interweaving strands, seeded by the poet/novelists Jack Kerouac, Allen Ginsberg, William Burroughs and others in the 1940s and 1950s, and cultivated by most of the major rock figures who emerged after 1960 - Bob Dylan, the Beatles, Bowie, the Clash and Kurt Cobain, to name just a few. This fascinating cultural history delves into a wide range of issues: Was rock culture the natural heir to the activities of the Beats? Were the hippies the Beats of the 1960s? What attitude did the Beat writers have towards musical forms and particularly rock music? How did literary works shape the consciousness of leading rock music-makers and their followers? Why did Beat literature retain its cultural potency with later rock musicians who rejected hippie values? How did rock musicians use the material of Beat literature in their own work? How did Beat figures become embroiled in the process of rock creativity? These questions are addressed through a number of approaches - the influence of drugs, the relevance of politics, the effect of religious and spiritual pursuits, the rise of the counter-culture, the issue of sub-cultures and their construction, and so on. The result is a highly readable history of the innumerable links between two of the most revolutionary artistic movements of the last 60 years.Trade Review[U]ndoubtedly, the most comprehensive survey of "British Beat" (interviews with Michael Horovitz, Pete Brown,Kevin Ring..), as well as informative Q & A's with American Beat scholars, Levi Asher and Jonah Raskin, and a whole lot more. * The Allen Ginsberg Project *Simon Warner's new book is an intriguing and absorbing read that weaves together the Beat poets and novelists of the 1940s and '50s and their direct influence on rock musicians in the 1960s and onwards... A wide-ranging, ambitious 'bigger picture' book that's well worth a read for fans of these seminal and creative people. * Vive le Rock *Those with an interest in the relationship between the Beats and rock, or between the world of words and the world music more generally, are certain to find this a useful publication. -- Ian Collinson, Macquarie University * IASPM@Journal *Fascinating and impeccably researched... Warner’s massive contribution to the literary and musical legacy of the Beat generation should be, along with Ann Charters’s The Portable Beat Reader, the standard reference on the subject. -- Edwin Pouncey * The Wire *Impressively comprehensive and frequently fascinating... Text and Drugs and Rock ‘n’ Roll succeeds because its eclecticism and its boldness in bringing genres together – it includes not only scholarly essays, but also interviews, reviews and obituaries – is consistent with the qualities he identifies in the Beats’ artistic productions and their links with popular culture, as well as his own desire to break free of “disciplinary rigidity”. -- James Peacock * European Beat Studies Network *The lingering buzz of what we do get is more valuable: A deeper appreciation, sans Baby Boomer/Sixties clichés, of a period of anything-goes, no-rules creativity, and the feeling that, damn, it must have been a lot of fun to be there. -- Jim Derogatis * WEBZ.org - PopNStuff *Impressive and well researched * Yorkshire Post *[One of] two excellent new books...I'm particularly proud to be in this book now that I see what a handsome volume it is. -- Levi Asher * Literary Kicks *Warner’s academic and exhaustive examination provides a fascinating analysis on the pivotal confluence of two artistic movements. This book will prove valuable to students and to those deeply interested in music, literature, and Anglo-American cultural history of the mid- to late 20th century. -- James Collins * Library Journal *Interesting book… -- Pat Gilbert * Mojo Magazine *Text and Drugs and Rock'n'Roll is a well-researched and fascinating investigation into the relationship between rock music and the Beats, and the ways in which this interaction inspired a mode of expression that was to find common ground in the final third of the twentieth century. Warner offers readers a wealth of information on the Beats' rebellious and varied lifestyles, poetry and novels and how and why they influenced both iconic and lesser known musicians from the 1960s counterculture, through punk, heavy metal and grunge. Extended interviews with seminal figures, conversations, obituaries and a series of Q&As with individuals with close connections to the Beat-rock crossover add to the authority of this groundbreaking and timely text, while evidencing the growing importance of interdisciplinary studies for academics, researchers, students and mainstream readers alike. -- Dr. Sheila Whiteley, Queen's University, CanadaAn exhaustive and always illuminating account of the Beats' profound and still-registering impact on radical pop from Dylan to punk and even hip hop. Warner has left no stone unturned in tracing his inter-generational lines of influence, and his overview of the subject is commanding. -- Barney Hoskyns, author of "Lowside of the Road: A Life of Tom Waits"At long last an electrifying exploration of the Beat Generation writers and the wild guitarists and poetic songwriters who transformed world culture. Bravo to Simon Warner for breaking down all the sound barriers and for bridging the musical and literary geniuses of our time. Hail Hail Text and Drugs and Rock'N'Roll, a book that's bound to be around for a long time. -- Jonah Raskin, author of "Rock and Roll Women: Portraits of a Generation"Table of ContentsAcknowledgements Credits Preface Rock and rock’n’roll: A short note to the reader Introduction i) How the Beats met rock: Some history and some context ii) Charting the Beats: Background and impact iii) Beat and rock: A survey of association iv) The Beats’ own recordings: A selective discography Chapter 1 – Sifting the shifting sands: Allen Ginsberg, ‘Howl’ and the American landscape in the 1950s Interlude A – Lawrence Ferlinghetti: A survivor surveys Interview 1 - David Amram, jazz musician and Beat composer, including the Pull My Daisy soundtrack Chapter 2 – Chains of flashing memories: Bob Dylan and the Beats, 1959-1975 Interview 2 – Michael McClure, poet and author of The Beard Chapter 3 – Muse, moll, maid, mistress? Beat women and their rock’n’roll legacy Chapter 4 – Raising the consciousness: Re-visiting Allen Ginsberg’s 1965 trip to Liverpool Q&A 1 – Michael Horovitz, poet, publisher and British Beat Interview 3 – Larry Keenan, photographer of ‘The Last Gathering of the Beats’ in San Francisco in 1965 Obituary 1 – Peter Orlovsky, ‘Member of the Beat Generation, poet and lover of Allen Ginsberg’ Interlude B – All Neal: Cassady celebrated in downtown Denver Q&A 2 – Mark Bliesener, rock band manager and a founder of Neal Cassady's memorial day in Denver Chapter 5 – The British Beat: Rock, Literature and the British Counterculture in the 1960s Interview 4 – Pete Brown, British poet and rock lyricist for Cream Q&A 3 – Jonah Raskin, Ginsberg biographer and cultural historian Chapter 6 – The Sound of the Summer of Love? The Beatles and Sgt. Pepper, the hippies and Haight-Ashbury Q&A 4 – Levi Asher, founder of acclaimed Beat website Literary Kicks Interview 5 – Ronald Nameth, Beat film-maker and director of the film of the Exploding Plastic Inevitable Chapter 7 – The Meltzer chronicles: Poet, novelist, musician and historian of Beat America Review 1 – Book: David Meltzer, Beat Thing Interview 6 – Bill Nelson, British rock guitarist and Beat follower Q&A 5 – Jim Sampas, notable Beat record producer including Kerouac: Kicks Joy Darkness Chapter 8 – Versions of Cody: Jack Kerouac, Tom Waits and the song ‘On the Road’ Chapter 9 – Feeling the bohemian pulse: Locating Patti Smith within a post-Beat tradition Chapter 10 – Jim Carroll: Poetry prodigy, post-Beat and rocker Obituary 2 – Jim Carroll, ‘Poet and punk musician who documented his teenage drug addiction in The Basketball Diaries’ Chapter 11 – All cut up? William Burroughs and Genesis P-Orridge’s beatnik past Interview 7 – Steven Taylor, Ginsberg's guitarist and member of the Fugs Chapter 12 – Steven Taylor: A Beat Englishman in New York Q&A 6 – Pete Molinari, British singer-songwriter with Beat leanings Chapter 13 – Return to Lowell: A visit to the Commemorative and Kerouac’s grave Review 2 – Film: One Fast Move or I'm Gone: Kerouac's Big Sur Review 3 – Album: One Fast Move or I'm Gone: Kerouac's Big Sur Q&A 7 – Chris T-T, British political singer-songwriter Obituary 3 – Tuli Kupferberg, ‘Key figure in the US 1960s counterculture’ Q&A 8 – Kevin Ring, editor of the magazine Beat Scene Review 4 – Album: On the Road: Original Motion Picture Soundtrack Appendix – Jack & Neal on record Bibliography, Discography, Filmography, Broadcasts, Personal Communication and Interviews

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Book SynopsisTwenty years after its release, Phish’s double-CD collection A Live One has something rare and precious going for it: it still doesn’t sound like anybody else. Oversized, perverse, requiring an unusual amount of listener background knowledge? Yes to all. Yet the collective improvisations it captures, unprecedentedly coherent yet freewheeling and open-ended, are unique in rock ‘n’ roll. This book considers the music and moment of Phish's ecstatically inventive 1995 live document, a mix of weirdo acid-psych, ambient moonscapes, vaudevillian Americana, and riotous arena-rock energy, all filtered through bandleader Trey Anastasio's screwball compositional sensibility and the band’s idiosyncratic approach to spontaneous group creativity. It places Phish and their fandom in historical and cultural context, and picks apart the mechanics of their extended group jams. And it examines the mystery of how a quartet of nice boys from Burlington, VT could have been, all at once, one of America’s biggest touring acts and one of its best-kept secrets.Table of ContentsPreparatory to Anything Else You Can Feel Good Quiet Rebels The Method, Part 1 Average White Band Finally the Punks Are Taking Acid Long Time Can’t This Wait ‘til I’m Old The Method, Part 2 Twenty Years Later All of the Places and People Belong Afterword Selected Sources Next Steps Deepest Gratitude

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Book SynopsisSleater-Kinney’s 1997 album Dig Me Out is built on Corin Tucker and Carrie Brownstein’s competing guitars, Janet Weiss’s muscular rhythms, and layered vocals that teeter between an urgent, banshee-like vibrato and a lower accompaniment. Dig Me Out was the band’s third studio album, but the first one written and recoded with Weiss. It inaugurated Sleater-Kinney into a lineup that would span its two-decade career. This 33 1/3 follows the narrative of Dig Me Out from its inception in Olympia to its recording in Seattle and its reception across the United States. It’s anchored in a short period of time – roughly from mid-1996 to mid-1998 – but it encompasses a series of battles over meaning that continued to preoccupy Sleater-Kinney in the coming decades. The band wrestled with the media about how they would be presented to the public, it contended with technicians about how their sound would be heard in clubs, and they struggled with pervasive social hierarchies about how their work would be understood in popular culture. The only instance where the band didn't have to put up much of a fight was when it came to their fans. The acclaim Sleater-Kinney received from their listeners in the late 1990s, and continue to receive today, speaks to a need for icons who challenged normative notions of culture and gender. This story of Dig Me Out chronicles how Sleater-Kinney won the fight to define themselves on their own terms – as women and as musicians – and, in the process, how they redefined the parameters of rock.Trade ReviewSleater-Kinney’s Dig Me Out by Jovana Babovic not only dives into the album, but it also dives into the culture surrounding women in music. While the book takes you through the album, it focuses on what it meant for the individual band members, the tour surrounding the release, and how the band was treated on the road. Babovic displays the toughness and the DIY attitude of Sleater-Kinney perfectly through her writing… I can’t recommend this book enough. * HiFi Noise *[In this volume] Babovic makes the case that S-K are that alternative; a band that should be held in as high esteem as Bowie, The Beatles and the rest of rock’s predominantly male superstars ... Though it’s strongly grounded with analytic arguments and sociological theories, it’s also hugely passionate; written with a similar excitement and frustration as the record itself. * Record Collector *I loved Dig Me Out. It's about feminism and gender as much as it is about the three musicians and this one particular album. For SK fans, it's a must, but I also recommend it highly to people interested in media and sexism. * Lower East Side Librarian *Table of ContentsAcknowledgements Introduction – Sleater-Kinney’s Dig Me Out in the Cultural Moment of the late 1990s Chapter I – Olympia Calling: The Making and Breaking Out of Spaces Chapter II – Eight Days in Seattle: The Struggle to Record Dig Me Out Chapter III – Strange Words: Writing about Gender, Punk, and Sleater-Kinney Chapter IV – Hey Soundguy: The Dig Me Out Tour Chapter V – Words & Guitars: Celebrity, Fandom, and the Cult of Sleater-Kinney Notes

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Book SynopsisFew music groups have been able to sustain a fan base as passionate and dedicated as that of Phish, and this entertaining guide rewards those fans with everything they need to know about the band in a one-of-a-kind format. Packed with history, trivia, lists, little-known facts, and must-do adventures that every Phish fan should undertake, it ranks each item from one to 100, providing an indispensable, engaging road map for devotees old and new.

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Book SynopsisThe son of a sheet-metal worker who led a big band on weekends, Lou Gramm rose from humble, working-class roots in Rochester, New York, to become one of rock ’n’ roll’s most distinctive and popular voices. With the aid of best-selling author Scott Pitoniak, Gramm poignantly recounts how he realized his dream as the lead singer and co-songwriter of the iconic band Foreigner as well as his own band and overcame a drug and alcohol addiction—along with a life-threatening brain tumor—on his path to the Songwriters Hall of Fame.Trade Review"Lou Gramm is one of the great vocalists of our time." -- Nils Lofgren, lead guitarist for Bruce Springsteen & the E Street Band

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Book SynopsisThe ultimate bible of underground punk, featuring writing on the bands and punk culture alongside hundreds of photos and DIY flyers.

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Book SynopsisWhen he died suddenly at the age of twenty-six, Otis Redding (1941–1967) was the conscience of a new kind of soul music. Berry Gordy built the first black-owned music empire at Motown but Redding was doing something as historic: mainstreaming black music within the whitest bastions of the post-Confederate south. As a result, the Redding story—still largely untold—is one of great conquest but grand tragedy. Now, in this transformative work, Mark Ribowsky contextualises Redding’s life within the larger cultural movements of his era. What emerges in Dreams to Remember is not only a triumph of music history but also a reclamation of a visionary who would come to define an entire era.Trade Review"...lively and judicious account of the life of Otis Redding…" -- The Telegraph"His [Ribowsky's] understanding of the music is exemplary…" -- Mojo"A lot of familiar ground is inevitably covered, but Ribowsky is largely equal to the task of making it seem fresh again...He's especially good at the way the music business at the time was run…" -- Uncut"Ribowsky tackles his subject matter with conviction and aplomb, reaffirming Redding's seismic role in Southern soul music…" -- Record Collector

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Book SynopsisFrom former Talking Heads frontman and multimedia visionary David Byrne and revered bestselling author, illustrator, and artist Maira Kalmanan inspiring celebration in words and art of the connections between us all. A joyful collaboration between old friends David Byrne and Maira Kalman, American Utopia offers readers an antidote to cynicism, bursting with pathos, humanism, and hopefeaturing his words and lyrics brought to life with more than 150 of her colorful paintings.The text is drawn from David Byrne's American Utopia, which has become a hit Broadway showreturning to Broadway on September 18, 2020, and soon to be a documentary from Spike Lee. The four-color artwork, by Maira Kalman, which she created for the Broadway show's curtain, is composed of small moments, expressions, gestures, and interactions that together offer a portrait of daily life and coexistence.With their creative talents combined, American Utopia is a salvo for kindness and a call for jubilation, a reminder to sing, dance, and waste not a moment. Beautifully designed and edited by Alex Kalman, American Utopia is a balm for the soul from two of the world's most extraordinary artists.

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Book SynopsisThat Thin, Wild Mercury Sound is the definitive treatment of Bob Dylan’s magnum opus, Blonde on Blonde, not only providing the most extensive account of the sessions that produced the trailblazing album, but also setting the record straight on much of the misinformation that has surrounded the story of how the masterpiece came to be made. Including many new details and eyewitness accounts never before published, as well as keen insight into the Nashville cats who helped Dylan reach rare artistic heights, it explores the lasting impact of rock’s first double album. Based on exhaustive research and in-depth interviews with the producer, the session musicians, studio personnel, management personnel, and others, Daryl Sanders chronicles the road that took Dylan from New York to Nashville in search of “that thin, wild mercury sound.” As Dylan told Playboy in 1978, the closest he ever came to capturing that sound was during the Blonde on Blonde sessions, where the voice of a generation was backed by musicians of the highest order.

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Book SynopsisGathering the 30 most vital Miles Davis interviews—on his music, his life, and his philosophy—this collection reveals the jazz icon as a complex and contradictory man, secretive at times but extraordinarily revealing at others. Miles was not only a musical genius, but an enigma, and nowhere else was he so compelling, exasperating, and entertaining as he was in his interviews, which vary from polite to outrageous, from straight-ahead to contrarian. Many were conducted by leading journalists like Leonard Feather, Stephen Davis, Ben Sidran, Mike Zwerin, and Nat Hentoff; while others have never before been printed, and are newly transcribed from radio and television shows—making this the definitive source for anyone wanting to really encounter the legend in print.Trade ReviewIt's pleasurable to have [these interviews] in this one handy and thoughtfully edited volume." —Library Journal"Here is Miles Davis's less familiar voice, his speaking voice. . . . Maher and Dorr gather together Davis's greatest hits in Q & A, and they make compelling reading." —Jack Chambers, author, Milestones: The Music and Times of Miles Davis"Most worthy . . . illustrative." —Jazztimes"Effectively portrays what the editors call the 'myriad mirrors to his life.'" —Sacramento News & Review"Miles [presented] in all his glory . . . fascinating." —popmatters.com"Provides startling insight." —Star Tribune"[A] telling book…gripping from beginning to end. You will not be able to put it down." —examiner.com"Everybody should read at least one book about Davis' life and music, and Miles on Miles is the perfect place to start." —Winston-Salem Journal

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Book SynopsisTesla’s Brian Wheat lifts the lid on living the rock ’n’ roll life while struggling with anxiety, depression, and other issues seldom discussed by musicians.Brian Wheat is far from your typical rock star. As bassist for the multi-platinum band, Tesla, he’s enjoyed the spoils of success and lived the sex, drugs, and rock ’n’ roll lifestyle to the hilt. But it came at a cost, one that took years to repair. In this deeply honest and utterly revealing memoir, Wheat sheds light on the many challenges he faces, including bulimia, weight issues, and the crippling anxiety and depression caused by his conditions. Just like the songs his legendary band made, this is no-nonsense, blue-collar storytelling at its best. While revealing the vulnerable human behind the bass guitar, this autobiography also offers tremendous stories of life on the road, and collaborations and encounters with legendary figures like his pals in Def Leppard, David Lee Roth, Alice Cooper, and Paul McCartney. Son of a Milkman will entertain, surprise, and inspire longtime fans of this enduring band.

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Book SynopsisThis long-awaited study explores the creation of NBC-TV's landmark 1952-53 WWII documentary series, with particular attention to its evocative Rodgers-Bennett score. Victory at Sea, NBC-TV's innovative 1952-53 WWII documentary, was eventually broadcast to more than 100 million viewers worldwide. Its episodes chronicled the war's conflicts while highlighting the US Navy's contributions, NBC having sourced footage from the military, governments, and newsreel agencies of fourteen nations. Victory's special distinction was its music, with each episode's nonstop score recorded by the acclaimed NBC Symphony Orchestra. The music was credited to Richard Rodgers-then at the height of his fame-as composer, and Robert Russell Bennett as arranger and conductor. In fact, Rodgers composed twelve piano themes; Bennett developed these endlessly for orchestra and, in addition, composed many hours of the score outright. Part One chronicles Victory's gestation and production at NBC, its reception, the series' afterlife in syndication and home video, and the score's "Gold Record" sales success on RCA records. Part Two examines each episode in turn, focusing on how the Bennett-scored music pairs with screen action. Every transformation of the much-used Rodgers themes is cited, along with the episodes' musical inter-relationships. The hundreds of musical examples generously sample the score's 11½ hours of music. NBC's Victory has been neglected by Richard Rodgers's biographers and by film historians. As the series celebrates its 70th anniversary, the Rodgers-Bennett score here finally receives recognition for its artistry and power.Table of ContentsPreface Acknowledgments Part One: Victory's Inception, Production, and Impact 1. Henry Salomon, NBC, the U.S. Navy, and Victory's Genesis 2. Assembling Victory's Production Team, Preparing an Episode 3. Victory's Debut Season: Sponsorship (or Not?), Promotion, Scheduling, and Awards 4. Richard Rodgers: Twelve Themes for Victory, the "Thirteen Hour Score" Legend, and Two Breakout Hits 5. Robert Russell Bennett: Preparing for Victory, Music for a Global War, and the Importance of F# 6. The NBC Symphony-and Victory's 1952-53 Recording Sessions 7. The Victory Scripts' Poetics 8. Robert Montgomery, C.S. Forester, and Victory 9. Victory on Records: The Commercial and "House" LPs 10. Victory Abridged: for Film (1954) and Television (1960) 11. Victory's Predecessors and Successors Part Two: The Twenty-Six Victory Episodes Introduction EP1, "Design for War" EP2, "The Pacific Boils Over" EP3, "Sealing the Breach" EP4, "Midway is East" EP5, "Mediterranean Mosaic" EP6, "Guadalcanal" EP7, "Rings Around Rabaul" EP8, "Mare Nostrum" EP9, "Sea and Sand" EP10, "Beneath the Southern Cross" EP11, "The Magnetic North" EP12, "The Conquest of Micronesia" EP13, "Melanesian Nightmare" EP14, "Roman Renaissance" EP15, "D-Day" EP16, "Killers and the Killed" EP17, "The Turkey Shoot" EP18, "Two If by Sea" EP19, "Battle of Leyte Gulf" EP20, "Return of the Allies" EP21, "Full Fathom Five" EP22, "The Fate of Europe" EP23, "Target Suribachi" EP24, "The Road to Mandalay" EP25, "Suicide for Glory" EP26, "Design for Peace" Postscript Appendix One Robert Russell Bennett: A Grandson's Victory Remembrance Appendix Two Victory at Sea: A Chronology Appendix Three Digest of Victory's Music-Scoring Statistics Appendix Four Sample Shot List (EP26) Appendix Five The 1959 Companion Book Bibliography Index

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Book SynopsisThe story goes that under the influence of blues and rock and roll, Britain suddenly started making spectacularly great music in the 1960s like some clever, quick learning cultural satellite of America. But Britain's mid twentieth-century pop music explosion didn't happen from a standing start. The reasons something so dazzling and multifaceted lie deeper than those legendary deliveries of blues records to Liverpool's port and the legacy of music halls. Featuring new discoveries and original insights, Why Britain Rocked: How Rock became Roll and Took over the World argues the Beatles' arrival, which stunned the world, really shouldn't have been surprising at all. From the Celts, Henry VIII, and the Quakers to Ira Aldridge and Paul Robeson, Why Britain Rocked uncovers the unique events and unexpected influences that encouraged British pop to be glorious, crazy, luminous, joyous, profound, melancholic, ferocious, anarchic, witty, smart and wonderful in all its ways.

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Book SynopsisA riveting look at the polarizing nature of the Beatles phenomenon, and how it transformed a generation, through the lens of a singular city in the center of America.For many, the Beatles offered a delightful alternative to the dull and the staid, while for others, the mop-top haircuts, the unsettling music, and the hysterical girls that greeted the British imports wherever they went were a symbol of unwelcome social and cultural change. This opposition to the group—more widespread and deeper rooted in Chicago than in any other major American city—increased as the decade wore on, especially when the Beatles adopted more extreme countercultural values. At the center of this book is a cast of characters engulfed by the whirlwind of Beatlemania, including the unyielding figure of Mayor Richard J. Daley who deemed the Beatles a threat to the well-being of his city; the Chicago Tribune editor who first warned the nation about the Beatle menace; George Harrison’s sister, Louise, who became a regular presence on Chicago radio; the socialist revolutionary who staged all of the Beatles’ concerts in the city and used much of the profits from the shows to fund left-wing causes; the African-American girl who braved an intimidating environment to see the Beatles in concert; a fan club founder who disbelievingly found herself occupying a room opposite her heroes when they stayed at her father’s hotel; the University of Chicago medical student who spent his summer vacation playing in a group that opened for the Beatles’ on their last tour; and the suburban record store owner who opened a teen club modeled on the Cavern in Liverpool that hosted some of the biggest bands in the world. Drawing on historical and contemporary accounts, Joy and Fear brings to life the frenzied excitement of Beatlemania in 1960s Chicago, while also illustrating the deep-seated hostility from the establishment toward the Beatles.

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Book SynopsisGood food and trivia and authors who sing—these are a few of our favourite things! Tony-nominated actor Gideon Glick and food writer Adam Roberts have teamed up to write the ultimate cookbook for theatre lovers. This collection of musical-inspired recipes includes dishes like Yolklahoma!, Clafoutis and the Beast, Yam Yankees, Dear Melon Hansen and more. And while readers are sure to be charmed by the names, the recipes themselves will have them sticking around for the food, glorious food! Thoughtfully assembled by two veritable Broadway experts, this book is sure to result in some enchanted eating. Each dish comes with a brief history of the show that inspired it, a summary of the plot and “Listening Notes” chock-full of behind-the-scenes trivia. Complete with lively illustrations from celebrated theatrical illustrator Justin “Squigs” Robertson, Give My Swiss Chards to Broadway makes every meal feel like a night at the theatre.Trade Review"The perfect cookbook for every Tom, Dick or Harry who loves theater. A wonderfully charming collection of delicious recipes that are easy enough for even the newest of chefs. I’m in love with this book!" -- Jesse Tyler Ferguson, Emmy Award-winning actor (Modern Family)"Food and theater lovers, activate. Gideon and Adam helping us bring the warmth and charm of “dinner and a show” into our very kitchens. Bravo, fellas." -- Leslie Odom Jr., Tony Award-winning actor (Hamilton)"As arguably one of the world’s worst cooks, this delightfully punny ode to food and Broadway inspired me to pick back up my oven mitts and try my hand at some Weenie Todds. Thank you to Adam and Gideon and sorry to my friends and family." -- Rachel Brosnahan, Emmy Award-winning actor (The Marvelous Mrs. Maisel)

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Book SynopsisFrom Cleveland to Cincinnati and everywhere in between, Ohio rocks. Rebels and Underdogs: The Story of Ohio Rock and Roll takes readers behind the scenes to the birth and rise of musical legends like the Black Keys, Nine Inch Nails, Devo, the Breeders, Chrissie Hynde of the Pretenders, and many others who started in garages and bars across Ohio. Through candid first-hand interviews, Garin Pirnia captures new, unheard stories from national legends like the Black Keys and slow-burn local bands like Wussy from Cincinnati. Discover why Greenhornes' members Patrick Keeler and Brian Olive almost killed each other on stage one night, what happened to the pink guitar Trent Reznor of Nine Inch Nails gave to band member Richard Patrick, why Devo loved the dissonance when they were booed by 400,000 music lovers in England, and so much more! Entertaining, inspiring, and revolutionary, Rebels and Underdogs is the untold story of the bands, the state, and rock itself.Trade Review"Jerry Casale (DEVO) probably sums it up best in this book: 'In Ohio, nobody gave a shit.' But around that inversely proud axiom, Garin Pirnia gives it a fine archaeologist's try to plop meat all over the bones of one of rock'n'roll's unsung if inarguably most important locales, just as the genre is looking like a skeleton of its former fame."—Eric Davidson, singer in New Bomb Turks and author of We Never Learn: The Gunk Punk Undergut"Ohio's rock 'n' roll has always sounded like it was made by teenagers stranded in the wasteland, obsessing about music they'd never actually heard, then trying to make it themselves, which is why the best bands—Devo, Afghan Whigs, Guided by Voices, Nine Inch Nails—are so hard to pin down. But Garin Pirnia has done just that in this exceptional book, an account satisfyingly comprehensive, but driven by the instincts and ardor of a true devotee."—David Giffels, author of 'Furnishing Eternity' and coauthor of 'Are We Not Men? We Are Devo!'Table of ContentsAcknowledgmentsIntroduction1. Akron/Kent2. Cincinnati3. Cleveland4. Columbus5. Dayton

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Book SynopsisFrom Cleveland to Cincinnati and everywhere in between, Ohio rocks. Rebels and Underdogs: The Story of Ohio Rock and Roll takes readers behind the scenes to the birth and rise of musical legends like the Black Keys, Nine Inch Nails, Devo, the Breeders, Chrissie Hynde of the Pretenders, and many others who started in garages and bars across Ohio. Through candid first-hand interviews, Garin Pirnia captures new, unheard stories from national legends like the Black Keys and slow-burn local bands like Wussy from Cincinnati. Discover why Greenhornes' members Patrick Keeler and Brian Olive almost killed each other on stage one night, what happened to the pink guitar Trent Reznor of Nine Inch Nails gave to band member Richard Patrick, why Devo loved the dissonance when they were booed by 400,000 music lovers in England, and so much more! Entertaining, inspiring, and revolutionary, Rebels and Underdogs is the untold story of the bands, the state, and rock itself.Trade Review"Jerry Casale (DEVO) probably sums it up best in this book: 'In Ohio, nobody gave a shit.' But around that inversely proud axiom, Garin Pirnia gives it a fine archaeologist's try to plop meat all over the bones of one of rock'n'roll's unsung if inarguably most important locales, just as the genre is looking like a skeleton of its former fame."—Eric Davidson, singer in New Bomb Turks and author of We Never Learn: The Gunk Punk Undergut"Ohio's rock 'n' roll has always sounded like it was made by teenagers stranded in the wasteland, obsessing about music they'd never actually heard, then trying to make it themselves, which is why the best bands—Devo, Afghan Whigs, Guided by Voices, Nine Inch Nails—are so hard to pin down. But Garin Pirnia has done just that in this exceptional book, an account satisfyingly comprehensive, but driven by the instincts and ardor of a true devotee."—David Giffels, author of 'Furnishing Eternity' and coauthor of 'Are We Not Men? We Are Devo!'Table of ContentsAcknowledgmentsIntroduction1. Akron/Kent2. Cincinnati3. Cleveland4. Columbus5. Dayton

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Book SynopsisIn the summer of 1969, 400,000 people from across the country came together and redefined the music scene forever. Though the legacy and lore of Woodstock lives on in the memory of its attendees, a new generation can experience the real and unedited festival through Richard Bellak's never-before-seen photographs and John Kane's incredible new interviews.Pilgrims of Woodstock offers a vivid and intimate portrait of the overlooked stars of the festival: the everyday people who made Woodstock unforgettable. The photographs and interviews capture attendees' profound personal moments across hundreds of acres of farmland, as they meditated, played music, cooked food at night, and congregated around campfires. For three days, they helped and relied on each other in peace and harmony. For most, it was a life-changing event. Now, as the 50th anniversary of the famed festival approaches, relive their experiences firsthand in Pilgrims of Woodstock.Table of ContentsForeword by Tom LawIntroduction1. Early Arrival 2. Wednesday3. Thursday4. Friday5. Saturday6. Sunday

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Book SynopsisWho doesn't dream of the rock star lifestyle? Loud music, throngs of adoring fans, and parties that last for days. The glitz, the glamor, and the drinking. In How to Drink Like a Rockstar, Albert W. A. Schmid offers readers a taste of how the rock stars live with his various cocktail recipes inspired by some of America's favorite musicians, from classic rock to contemporary artists. Drinks like Opera, Jumpin' Jack Flash, and T.N.T pay tribute to bands such as Queen, the Beatles, and AC/DC, each with a different twist. Every one of Schmid's cocktail recipes celebrates the lives and careers of artists such as Van Halen's Michael Anthony with his Jack Daniels–shaped guitar or The Grateful Dead and their army of "Dead Head" groupies. Not only does he detail the best mixing techniques, list the necessary equipment, and provide instructions on how to make homemade cocktail cherries and syrups but Schmid also includes rock star life advice so that readers can maximize their rock star experience. With easy-to-follow glossaries for both rock 'n' roll and cocktail-making terms alongside a wide array of drinks that will quench any sort of thirst, How to Drink Like a Rock Star is an informative and light-hearted manual to get your night started right. Table of ContentsForeword by TJ JohnsonAcknowledgmentsRock Star Lexicon by Bennett Schmid (AKA: DJ Bennett)1. Drink Like a Rock Star!2. Cocktail RecipesBibliographyIndex

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Book SynopsisWomen and Music in the Age of Austen highlights the central role women played in musical performance, composition, reception, and representation, and analyzes its formative and lasting effect on Georgian culture. This interdisciplinary collection of essays from musicology, literary studies, and gender studies challenges the conventional historical categories that marginalize women’s experience from Austen’s time. Contesting the distinctions between professional and amateur musicians, public and domestic sites of musical production, and performers and composers of music, the contributors reveal how women’s widespread involvement in the Georgian musical scene allowed for self-expression, artistic influence, and access to communities that transcended the boundaries of gender, class, and nationality. This volume’s breadth of focus advances our understanding of a period that witnessed a musical flourishing, much of it animated by female hands and voices. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press. Trade Review“Women and Music in the Age of Austen offers an expansive, lively, colourful view of the gendered musical practices of the eighteenth century and the Romantic period. These essays enrich our knowledge of the musical world of Jane Austen and Frances Burney while shining a spotlight on little-known female performers, critics, composers, consumers, collectors, fans, and musical entrepreneurs of the preceding decades.” -- Angela Esterhammer * author of Print and Performance in the 1820s: Improvisation, Speculation, Identity *“Finding inspiration in a broad range of sources, the volume reflects on women and their musical activities in Georgian England. A focus on Jane Austen and her novels moves in and out of the picture, amplified and receding against historical figures known and unknown. Through these essays by musically-informed literary scholars and musicologists, readers get a sense of the possibilities and desires of women engaged with music over a historical period that brackets the life of our beloved Jane.” -- Maribeth Clark * coeditor of Musicology and Dance: Historical and Critical Perspectives *“Music was important to Jane Austen, as her novels and letters attest, and women played a hitherto undervalued part in the musical world of her time. This sparkling and substantial collection of interdisciplinary essays illuminates Austen’s fiction and her age in many original and surprising ways.” -- Peter Sabor * coeditor of Jane Austen's Manuscript Works *Table of ContentsIllustrations Table Acknowledgements Abbreviations Introduction: “It was all in harmony”: Musical Women in Austen’s Culture Linda Zionkowski with Miriam F. Hart Part I: Representing the Female Performer Chapter 1: A Musical Room of Her Own: Musical Spaces in Jane Austen’s Novels Pierre Dubois Chapter 2: “Prima la musica”: Gentry Daughters at Play in Town, Country, and Continent, 1815-1825 Kelly M. McDonald Chapter 3: Stage Fright: Female Musicians Crossing Musical Borders in Thicknesse’s The School for Fashion and Burney’s The Wanderer Danielle Grover Part II: Women and the Market in Music Chapter 4: Women on the Title Page: Celebrity Endorsement of Musical Scores Penelope Cave Chapter 5: The Lady’s Choice: Women and the Purchase of Music through Subscription Simon D. I. Fleming Chapter 6: Female Musical Entrepreneurship in the Eighteenth Century Alison C. DeSimone Part III: Women as Critics and Fans Chapter 7: Women as Quiet Critics Jane Girdham Chapter 8: Femininity and Foreignness in George Colman’s Farce, The Musical Lady Leslie Ritchie Chapter 9: Georgian Fangirls: Women and Castrati in Eighteenth-Century London Jeffrey A. Nigro Part IV: Women and the Bardic Tradition Chapter 10: Anna Gordon and the Ballad Collectors Ruth Perry Chapter 11: Antiquaries, Female Harpists, and the Survival of the Bardic Tradition Devon R. Nelson Part V: Revisiting the Age of Austen Chapter 12: “That Ecstatic Delight”: Gender and Performance in Adaptations of Sense and Sensibility Gayle Magee Chapter 13: “Here’s harmony!”: Music and Gender in Kirke Mechem’s Pride & Prejudice (2019) and Jonathan Dove’s Mansfield Park (2011) Juliette Wells Bibliography Notes on Contributors Index

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Book SynopsisWomen and Music in the Age of Austen highlights the central role women played in musical performance, composition, reception, and representation, and analyzes its formative and lasting effect on Georgian culture. This interdisciplinary collection of essays from musicology, literary studies, and gender studies challenges the conventional historical categories that marginalize women’s experience from Austen’s time. Contesting the distinctions between professional and amateur musicians, public and domestic sites of musical production, and performers and composers of music, the contributors reveal how women’s widespread involvement in the Georgian musical scene allowed for self-expression, artistic influence, and access to communities that transcended the boundaries of gender, class, and nationality. This volume’s breadth of focus advances our understanding of a period that witnessed a musical flourishing, much of it animated by female hands and voices. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press. Trade Review“Women and Music in the Age of Austen offers an expansive, lively, colourful view of the gendered musical practices of the eighteenth century and the Romantic period. These essays enrich our knowledge of the musical world of Jane Austen and Frances Burney while shining a spotlight on little-known female performers, critics, composers, consumers, collectors, fans, and musical entrepreneurs of the preceding decades.” -- Angela Esterhammer * author of Print and Performance in the 1820s: Improvisation, Speculation, Identity *“Finding inspiration in a broad range of sources, the volume reflects on women and their musical activities in Georgian England. A focus on Jane Austen and her novels moves in and out of the picture, amplified and receding against historical figures known and unknown. Through these essays by musically-informed literary scholars and musicologists, readers get a sense of the possibilities and desires of women engaged with music over a historical period that brackets the life of our beloved Jane.” -- Maribeth Clark * coeditor of Musicology and Dance: Historical and Critical Perspectives *“Music was important to Jane Austen, as her novels and letters attest, and women played a hitherto undervalued part in the musical world of her time. This sparkling and substantial collection of interdisciplinary essays illuminates Austen’s fiction and her age in many original and surprising ways.” -- Peter Sabor * coeditor of Jane Austen's Manuscript Works *Table of ContentsIllustrations Table Acknowledgements Abbreviations Introduction: “It was all in harmony”: Musical Women in Austen’s Culture Linda Zionkowski with Miriam F. Hart Part I: Representing the Female Performer Chapter 1: A Musical Room of Her Own: Musical Spaces in Jane Austen’s Novels Pierre Dubois Chapter 2: “Prima la musica”: Gentry Daughters at Play in Town, Country, and Continent, 1815-1825 Kelly M. McDonald Chapter 3: Stage Fright: Female Musicians Crossing Musical Borders in Thicknesse’s The School for Fashion and Burney’s The Wanderer Danielle Grover Part II: Women and the Market in Music Chapter 4: Women on the Title Page: Celebrity Endorsement of Musical Scores Penelope Cave Chapter 5: The Lady’s Choice: Women and the Purchase of Music through Subscription Simon D. I. Fleming Chapter 6: Female Musical Entrepreneurship in the Eighteenth Century Alison C. DeSimone Part III: Women as Critics and Fans Chapter 7: Women as Quiet Critics Jane Girdham Chapter 8: Femininity and Foreignness in George Colman’s Farce, The Musical Lady Leslie Ritchie Chapter 9: Georgian Fangirls: Women and Castrati in Eighteenth-Century London Jeffrey A. Nigro Part IV: Women and the Bardic Tradition Chapter 10: Anna Gordon and the Ballad Collectors Ruth Perry Chapter 11: Antiquaries, Female Harpists, and the Survival of the Bardic Tradition Devon R. Nelson Part V: Revisiting the Age of Austen Chapter 12: “That Ecstatic Delight”: Gender and Performance in Adaptations of Sense and Sensibility Gayle Magee Chapter 13: “Here’s harmony!”: Music and Gender in Kirke Mechem’s Pride & Prejudice (2019) and Jonathan Dove’s Mansfield Park (2011) Juliette Wells Bibliography Notes on Contributors Index

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book SynopsisThe first book to celebrate the classic-era Motà rhead lineup of Lemmy Kilmister, 'Fast' Eddie Clarke, and Phil 'Philthy Animal' Taylor.

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Book Synopsis

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