Morton Feldman: Friendship and Mourning in the New York Avant-Garde documents the collaborations and conflicts essential to the history of the post-war avant-garde. It offers a study of composer Morton Feldman's associations and friendships with artists like John Cage, Jackson Pollock, Philip Guston, Frank O'Hara, Charlotte Moorman, and others. Arguing that friendship and mourning sustained the collective aesthetics of the New York School, Dohoney has written an emotional and intimate revision of New York modernism from the point of view of Feldman's agonistic community.

"So, I've written a book.

Having entertained the idea for years, and even offered a few questionable opportunities (‘It’s a piece of cake! Just do four hours of interviews, find someone else to write it, put your face on the cover, and voila!’), I have decided to write these stories just as I have always done, in my own hand. The joy that I have felt from chronicling these tales is not unlike listening back to a song that I’ve recorded and can’t wait to share with the world, or reading a primitive journal entry from a stained notebook, or even hearing my voice bounce between the Kiss posters on my wall as a child. This certainly doesn’t mean that I’m quitting my day job, but it does give me a place to shed a little light on what it’s like to be a kid from Springfield, Virginia, walking through life while living out the crazy dreams I had as young musician.

From hitting the road with Scream at 18 years old, to my time in Nirvana and the Foo Fighters, jamming with Iggy Pop or playing at the Academy Awards or dancing with AC/DC and the Preservation Hall Jazz Band, drumming for Tom Petty or meeting Sir Paul McCartney at Royal Albert Hall, bedtime stories with Joan Jett or a chance meeting with Little Richard, to flying halfway around the world for one epic night with my daughters… the list goes on.

I look forward to focusing the lens through which I see these memories a little sharper for you with much excitement." - Dave Grohl

In The Eyeline of Furtherance, charts John Howard's rise from 70's pop idol to a career in A & R and marketing. The '90s opened up new vistas, ever bigger and better opportunities, working with Elkie Brooks, Madness, Barry Manilow and rock 'n' roll heroes Lonnie Donegan and The Crickets. As John puts it, "I was propelled onwards and upwards, not this time by my own ambition, but by the plans of others who had clearly decided that I was going places in a direction I would never have imagined twenty years earlier." John Howard's first book, Incidents Crowded With Life, followed the ambitions of a young gay singer-songwriter in London in the '70s which were realised after being signed by CBS Records and recording his debut LP at Abbey Road studios. En route, he wrote the theme song for a Peter Fonda movie and was heralded as The Next Big Thing. And all the while navigating a series of disastrous personal events, not least when he broke his back in 1976.

Music made in Akron symbolized an attitude more so than a singular sound. Crafted by kids hell-bent on not following their parents into the rubber plants, the music was an intentional antithesis of Top 40 radio. Call it punk or call it new wave, but in a short few years, major labels signed Chrissie Hynde, Devo, the Waitresses, Tin Huey, the Bizarros, the Rubber City Rebels and Rachel Sweet. They had their own bars, the Crypt and the Bank. They had their own label, Clone Records. They even had their own recording space, Bushflow Studios. London's Stiff Records released an Akron compilation album, and suddenly there were "Akron Nights" in London clubs and CBGB was waiving covers for people with Akron IDs. Author Calvin Rydbom of the "Akron Sound" Museum remembers that short time when the Rubber City was the place.

THE INSPIRATION FOR THE MAJOR MOTION PICTURE A COMPLETE UNKNOWN. One of the music world’s pre-eminent critics takes a fresh and much-needed look at the day Dylan “went electric” at the Newport Folk Festival.

On the evening of July 25, 1965, Bob Dylan took the stage at Newport Folk Festival, backed by an electric band, and roared into his new rock hit, Like a Rolling Stone. The audience of committed folk purists and political activists who had hailed him as their acoustic prophet reacted with a mix of shock, booing, and scattered cheers. It was the shot heard round the world—Dylan’s declaration of musical independence, the end of the folk revival, and the birth of rock as the voice of a generation—and one of the defining moments in twentieth-century music.

In Dylan Goes Electric!, Elijah Wald explores the cultural, political and historical context of this seminal event that embodies the transformative decade that was the sixties. Wald delves deep into the folk revival, the rise of rock, and the tensions between traditional and groundbreaking music to provide new insights into Dylan’s artistic evolution, his special affinity to blues, his complex relationship to the folk establishment and his sometime mentor Pete Seeger, and the ways he reshaped popular music forever. Breaking new ground on a story we think we know, Dylan Goes Electric! is a thoughtful, sharp appraisal of the controversial event at Newport and a nuanced, provocative, analysis of why it matters.

Swimming with the Blowfish is the definitive account of the rise, fall and rebirth of the band that offered an irresistible alternative to the grunge music of the early '90s. Hootie & the Blowfish were formed in 1989 at the University of South Carolina. The quartet was distinguished by the soulful voice of Darius Rucker and powered by the author of this evocative autobiography, drummer and leading songwriter Jim 'Soni' Sonefeld. Their debut album, Cracked Rear View, became one of the best-selling in the history of rock music and the band went on to win two Grammy Awards, whilst playing some of the biggest venues in the world. Success saw them traveling the globe, but it came at a price. Swimming with the Blowfish, although primarily 'Soni' Sonefeld's personal story of despair and redemption, also shines a revealing light on this much-loved band's incredible tale.

Sex, death and nostalgia are among the impulses driving Beatles fandom: the metaphorical death of the Beatles after their break-up in 1970 has fueled the progressive nostalgia of fan conventions for 48 years; the death of John Lennon and George Harrison has added pathos and drama to the Beatles' story; Beatles Monthly predicated on the Beatles' good looks and the letters page was a forum for euphemistically expressed sexuality. The Beatles and Fandom is the first book to discuss these fan subcultures. It combines academic theory on fandom with compelling original research material to tell an alternative history of the Beatles phenomenon: a fans' history of the Beatles that runs concurrently with the popular story we all know.

A musician of rare artistry, the self-effacing yet charismatic Yo-Yo Ma connects with his audiences with startling effectiveness. He remains devoted to the classical repertoire yet has long roved far beyond the Western classical music canon. Despite his real superstar status and thriving solo career, he has often sought out musicians outside the classical sphere and collaborated with them on fascinating recordings. Above all, he is committed to the ever-evolving musical odyssey of his Silk Road Ensemble, itself part of a broader Silk Road Project aiming to explore the deep and varied artistic connections between East and West. Ma's legions of admirers seek out his musical genius in his recordings. Here they can become acquainted with the energetic and charming Ma himself and trace the trajectory of his unique and distinguished career.

Although David Bowie has famously characterized himself as a "leper messiah," a more appropriate moniker might be "rock god" someone whose influence has crossed numerous sub-genres of popular and classical music and can at times seem ubiquitous. By looking at key moments in his career (1972, 1977-79, 1980-83, and 1995-97) through several lenses--theories of sub-culture, gender/sexuality studies, theories of sound, post-colonial theory, and performance studies Waldrep will examine Bowie's work in terms not only of his auditory output but his many reinterpretations of it via music videos, concert tours, television appearances, and occasional movie roles. Future Nostalgia will look at all aspects of Bowie's career--musical recordings, live concerts, music videos, film performances, and television appearance--in an attempt to trace Bowie's contribution to the performative paradigms that constitute contemporary rock music.

Over the past 30 years, musicologists have produced a remarkable new body of research literature focusing on the lives and careers of women composers in their socio-historical contexts. But detailed analysis and discussion of the works created by these composers are still extremely rare. This is particularly true in the domain of music theory, where scholarly work continues to focus almost exclusively on male composers. Moreover, while the number of performances, broadcasts, and recordings of women's compositions has unquestionably grown, they remain significantly underrepresented in comparison to music by male composers. Addressing these deficits is not simply a matter of rectifying a scholarly gender imbalance: the lack of knowledge surrounding the music of women composers means that scholars, performers, and the general public remain unfamiliar with a large body of exciting repertoire. Analytical Essays on Music by Women Composers: Concert Music from 1960-2000 is the first to appear in an exciting a four volume series devoted to the work of women composers across Western art music history. Each chapter, many by leading music theorists, opens with a brief biographical sketch of the composer before presenting an in-depth critical-analytic exploration of a single representative composition, linking analytical observations with questions of meaning and sociohistorical context. Chapters are grouped thematically by analytical approach into three sections, each of which places the analytical methods used in the essays that follow into the context of late twentieth-century ideas and trends. Featuring rich analyses and detailed study by the most reputed music theorists in the field, along with brief biographical sketches for each composer, this collection brings to the fore the essential repertoire of a range of important composers, many of whom otherwise stand outside the standard canon.

You can tell a lot about somebody in a minute. If you choose the right minute. As a journalist (for Rolling Stone, the "New York Times", and elsewhere) and bestselling author, Neil Strauss considers it his job to hang around celebrities, rock gods, porn queens, up-and-coming starlets, and iconic superstars long enough - whether it takes moments or months - to find that minute, the one when the curtain finally falls away and the real person is revealed. In this new collection, Strauss offers up 120 of those singular, hit-you-in-the guts, perception-altering, revolutionary minutes, as only he can - with total honesty, deadpan wit, and unmatched style. Among the game-changing moments collected here are interviews with: Tom Cruise; Snoop Dogg; Madonna; Johnny Cash; Cher and Dave Navarro; Oasis; Julian Casablancas of The Strokes; Brian Wilson; Eric Clapton; and, Hugh Hefner. Wickedly illustrated throughout with sketches by artist Sian Pattenden, Strauss' first-ever collection of rock journalism is equally raw and revealing (Tom Cruise on Scientology, Brian Wilson on drugs and alcohol), hilarious (Snoop Dogg on record companies and baby diapers), and deeply honest (Eric Clapton on the death of Kurt Cobain and his own struggle with depression). "Everyone Loves You When You're Dead" is Neil Strauss, cultural journalist, at his finest.