For years, I have wanted to write a book about the relentless determination it takes to succeed in the arts. Whether as a young artist in New York City, as a music coordinator of a Broadway musical, or as a musician traveling through Europe, I will share with you excitement, acclaim, and culture. Onward and Upward is the true account of my pursuit of a dream; a career in music. In this around-the-world journey, I share my stories of culture, family, laughter, friendship, wisdom, and heartache, with a generous splash of the likes of Strauss, motorcycle chases, and Hollywood. Any aspiring artist, would-be world traveler, or entrepreneur, will benefit from reading this book. Learn from another's experience about dedication, passion, and culture. Partly by means of behind-the-scene memoirs, partly by means of journal entries, we will walk hand in hand on this most extraordinary journey through a life in the arts.

Nollywood is the general moniker for Nigeria's exciting and thriving film industry Behind its world-wide acclaim as an independent filming success story is an oft-ignored back story; the pains, push and perseverance of the major film-makers in the business. 'Nollywood till November' tells the insightful and exciting true story of Charles Novia, from his trudging days as a struggling film maker in the then cabal-styled Nollywood, to his eventual triumph And success as a major force in Africa's biggest film industry Novia's memoirs reveal a personal perspective of the monumental struggles each of the now-famous personalities in Nollywood must have faced on their road to fame. It is a brilliant and inspiring tale of succeeding against the odds in an industry that has been termed 'the third largest film industry in the world'

IN "THE SOUNDTRACK OF MY LIFE," music legend Clive Davis recounts an extraordinary five-decade career in the music business, while also telling a remarkable personal story of triumphs, disappointments, and encounters with some of the greatest musical artists of our time, including Bob Dylan, Janis Joplin, Simon & Garfunkel, Barry Manilow, the Grateful Dead, Patti Smith, Whitney Houston, Carlos Santana, Dionne Warwick, Aretha Franklin, and Alicia Keys.
Orphaned in his teens, Davis earned a full scholarship to New York University and another to Harvard Law School. He served as General Counsel of Columbia Records and, in a totally unexpected stroke of fate, became head of the company overnight. More surprisingly, he learned he had "ears," a rare ability to spot special talent and hit records. Those ears contributed to the success of three companies--Columbia, Arista, and J--where Davis dis-covered and developed more unique artists than anyone in the history of the music industry.
What began on the grass at the Monterey Pop Festival with the signing of Janis Joplin has evolved into a lifelong passion and calling, spanning genres, including rock, pop, R&B, country, jazz fusion, and hip-hop. His is the imprimatur that has helped shape contemporary music and, over the years, our popular culture.
"The Soundtrack of My Life" is an essential book for anyone interested in the story of popular music, the fascinating ups and downs of the music business, the alchemy of hits, and the dramatic life of a brilliant leader . . . and listener. It is a riveting read from beginning to end.

This book examines the recent trend for re-performance and how this impacts on the relationship between live performance and death. Focusing specifically on examples of performance art the text analyses the relationship between performance, re-performance and death, comparing the process of re-performance to the process of mourning and arguing that both of these are processes of adaptation and survival. Using a variety of case studies, including performances by Ron Athey, Julie Tolentino, Martin O'Brien, Sheree Rose, Jo Spence and Hannah Wilke, the book explores performances which can be considered acts of re-performance, as well as performances which examine some of the critical concerns of re-performance, including notions of illness, loss and death. By drawing upon both philosophical and performance studies discourses the text takes a novel approach to the relationship between re-performance, mourning and death.