Grammy Award-winning music scholar and celebrated biographer John Szwed presents the first biography of Harry Smith, the brilliant eccentric who transformed twentieth century art and culture. He was an anthropologist, filmmaker, painter, folklorist, mystic, and walking encyclopedia. He taught Patti Smith and Robert Mapplethorpe about the occult, swapped drugs with Timothy Leary, sat at the piano with Thelonious Monk, lived with (and tortured) Allen Ginsberg, argued film with Susan Sontag, and received one of the first Guggenheim grants. He was always broke, always intoxicated, compulsively irascible, and unimpeachably authentic. Harry Smith was, in the words of Robert Frank, "the only person I met in my life that transcended everything." In Cosmic Scholar, John Szwed patches together, for the first time, the life of one of the twentieth century's most overlooked cultural figures. From his time recording the customs of Native American tribes in the Pacific Northwest and Florida to living in Greenwich Village in its heyday, Smith was consumed by an unceasing desire to create a unified theory of culture. He was an insatiable creator and collector, responsible for the influential Anthology of American Folk Music and several pioneering experimental films, but was also an insufferable and destructive eccentric who was unable to survive in regular society, or keep himself healthy or sober. He was "so devious," said Ginsberg, and "so saintly." Exhaustively researched, energetically told, and complete with a trove of images, Cosmic Scholar is a feat of biographical restoration and the long overdue deification of an American icon. Includes black-and-white and color images

This ground-breaking biography is as much about Sun Ra's music as it is about his passionate, often wildly unorthodox views on the galaxy, black people and spiritual matters. With the various incarnations of his inimitable Arkestra, his repertoire ranged from boogie-woogie to swing to be-bop to fusion to New Age, and his influence extended throughout the jazz and rock worlds. While Sun Ra made a lifelong effort to obscure many of the facts of his early years, he did acknowledge that he was born on the planet Saturn. John Szwed has succeeded brilliantly in delving into and evoking the life and work of this extraordinary artist.

Since it was founded in 1982, The Wire magazine has covered a vast range of alternative, experimental, underground and non-mainstream music. Now some of that knowledge has been distilled into The Wire Primers a comprehensive guide to the core recordings of some of the most visionary and inspiring, subversive and radical musicians on the planet, past and present. Each chapter surveys the musical universe of a particular artist, group or genre by way of a contextualizing introduction and a thumbnail guide to the most essential recordings. A massive and eclectic range of music is celebrated and demystified, from rock mavericks such as Captain Beefheart and The Fall; the funk of James Brown and Fela Kuti; the future jazz of Sun Ra and Ornette Coleman; and the experimental compositions of John Cage and Morton Feldman. Genres surveyed and explained include P-funk, musique concrete, turntablism, Brazilian Tropicalia, avant metal and dubstep. The Wire Primers is a vital guide to contemporary sounds, providing an accessible entry point for any reader wanting to dig below the surface of mainstream music.

Considered by many to be a founder of Afrofuturism, Sun Ra—aka Herman Blount—was a composer, keyboardist, bandleader, philosopher, entrepreneur, poet, and self-proclaimed extraterrestrial from Saturn. He recorded over 200 albums with his Arkestra, which, dressed in Egypto-space costumes, played everything from boogie-woogie and swing to fusion and free jazz. John Szwed's Space is the Place is the definitive biography of this musical polymath, who was one of the twentieth century's greatest avant-garde artists and intellectuals. Charting the whole of Sun Ra's life and career, Szwed outlines how after years in Chicago as a blues and swing band pianist, Sun Ra set out in the 1950s to impart his views about the galaxy, black people, and spiritual matters by performing music with the Arkestra that was as vital and innovative as it was mercurial and confounding. Szwed's readers—whether they are just discovering Sun Ra or are among the legion of poets, artists, intellectuals, and musicians who consider him a spiritual godfather—will find that, indeed, space is the place.

Black Gods of the Metropolis Negro Religious Cults of the Urban North Arthur Huff Fauset. Foreword by Barbara Dianne Savage. Introduction by John Szwed "A foundational text in fields as diverse as religion and urban studies, Black studies and anthropology--a must read "--Lee D. Baker, author of "From Savage to Negro" "Fauset's falls into the select group that includes works of Ralph Ellison, LeRoi Jones, and Albert Murray, that is, the writings of those who have best recognized the distinctiveness and power of Afro-American culture, and given it its proper place in the world."--John F. Szwed, Yale University "A pioneering work in the sociology of African-American religion."--"Utopian Studies" Stemming from his anthropological field work among black religious groups in Philadelphia in the early 1940s, Arthur Huff Fauset believed it was possible to determine the likely direction that mainstream black religious leadership would take in the future, a direction that later indeed manifested itself in the civil rights movement. The American black church, according to Fauset and other contemporary researchers, provided the one place where blacks could experiment without hindrance in activities such as business, politics, social reform, and social expression. With detailed primary accounts of these early spiritual movements and their beliefs and practices, "Black Gods of the Metropolis" reveals the fascinating origins of such significant modern African American religious groups as the Nation of Islam as well as the role of lesser known and even forgotten churches in the history of the black community. In her new foreword, historian Barbara Dianne Savage discusses the relationship between black intellectuals and black religion, in particular the relationship between black social scientists and black religious practices during Fauset's time. She then explores the complexities of that relationship and its impact on the intellectual and political history of African American religion in general. Arthur Huff Fauset (1899-1983) was a civil rights activist, educator, folklorist, and author of several works, including "Sojourner Truth," a biography. Barbara Dianne Savage is Associate Professor of History at the University of Pennsylvania. She is author of "Broadcasting Freedom: Radio, War, and the Politics of Race, 1938-1948." 1970 152 pages 5 1/4 x 8 ISBN 978-0-8122-1001-9 Paper $22.50s 15.00 World Rights African-American/African Studies, Religion, Anthropology, Sociology

Crossovers Essays on Race, Music, and American Culture John Szwed "In this collection of thirty-one short articles, essays, and reviews written over a thirty-six-year period, John Szwed consistently displays the extraordinary imagination and ingenuity that have made him one of the most respected scholars in African-American and Afro-diasporic Studies. "Crossovers" is both a revealing intellectual history of Szwed's development as a scholar and critic, and a unified and integrated argument on behalf of the aesthetic, moral, and political genius of the African diaspora."--George Lipsitz, "H-Urban" Ranging across genres from the popular to the scholarly, this selection of John Szwed's published essays abides in the intersection of race and art, jazz and rap: crossovers inside and outside the academy. With reviews written for the "Village Voice" and articles from academic journals, this volume includes essays, commentary, and meditations on James Agee and Walker Evans, Cuban folklorist Lydia Cabrera, Lafcadio Hearn, Melville Herskovits, Josef Skorvecky, Patrick Chamoiseau, pop song writer Ellie Greenwich, and jazz musicians Sonny Rollins, Anthony Braxton, Sun Ra, and Ornette Coleman. Also included are pieces on the prehistory of hip hop, the blues, popular dance instruction songs, tap dance, and African American set dancing; creole writing and creolization; race and culture; and authenticity, representation, nostalgia, and obscenity in American popular culture, with excursions into jazz in Africa, Russia, and Argentina. Written about a country with cultural crossroads everywhere, where the question of race is thoroughly woven into the fabric of society, these essays cross boundaries and shed light on the complexities of American life. John Szwed is John M. Musser Professor of Anthropology and African American Studies at Yale University. He is the author of numerous books, including "So What: The Life of Miles Davis" and "Space Is the Place: The Lives and Times of Sun Ra," and coauthor (with Roger D. Abrahams, Nick Spitzer, and Robert Farris Thompson) of "Blues for New Orleans: Mardi Gras and America's Creole Soul," also available from the University of Pennsylvania Press. 2005 296 pages 6 x 9 ISBN 978-0-8122-1972-2 Paper $26.50s 17.50 World Rights Anthropology, African-American/African Studies, Film/Media Studies, Cultural Studies Short copy: "Crossovers" brings together four decades of popular and academic writings by folklorist, anthropologist, and jazz scholar John Szwed.

Musical genius, visionary artist, enigma -- more than ten years after his death, Miles Davis still looms large as a cultural icon. In this, the first new biography since Davis' death, John Szwed draws on various archives and never-before-published interviews with those who knew him to produce the richest and most revealing portrait of Miles Davis to date. The shy son of a dentist from Illinois, Miles Dewey Davis III would go through several transformations before becoming the image of cool. Change, says Szwed, was the driving force in both Davis' life and music -- as quickly as he established a new direction in his music and a new identity, he would radically reinvent both. He seemed to thrive on close musical relationships -- playing with jazz greats from Charlie Parker to John Coltrane and working with Dizzy Gillespie, Sonny Rollins, Wayne Shorter, and composer Gil Evans, among others -- and yet the enduring image of Davis is of a lone figure, famously turning his back on the audience. He was at the peak of his career, having achieved star status, when he withdrew from the spotlight, spending years as a recluse. These seeming contradictions fueled the myths surrounding the man, but Szwed's insights into Davis' personality and artistic creativity shed new light on his life, from his turbulent relationships to his drug use and mysterious last days. Elegantly written and carefully researched, So What is the authoritative life of an artist who was always ahead of his time.

Miles Davis was one of the crucial influences in the development of modern jazz. His "Kind of Blue" is an automatic inclusion in any critic's list of the great jazz albums, the one jazz record people who own no other jazz records possess, and still sells 250,000 copies a year in the US alone. But Miles regularly changed styles, leaving his inimitable impact on many forms of jazz, whether he created them or simply developed the work of others, from modal jazz and be-bop, his seminal Quintet and his big-band work, to the jazz-funk experiments of later years. Miles not only knew and worked with everyone who was anyone in jazz, from Coltrane to Monk, he was a friend of Sartre's, lover of Juliette Greco and musical collaborator with musicians who ranged from Stockhausen to Hendrix.

"Revelatory . . . one of the most briskly revealing pieces of jazz biography that I've read." -Richard Brody, The New Yorker When Billie Holiday first stepped into a recording studio in November 1933, it marked the beginning of what is arguably the most remarkable and influential career in twentieth-century popular music. Her voice weathered countless shifts in popular taste, and today new reincarnations of her continue to arrive, most recently in the form of singers like Amy Winehouse and Adele. Most of the writing on Holiday has focused on the tragic details of her life-her prostitution at the age of fourteen, her heroin addiction and alcoholism, her series of abusive relationships-or tried to correct the many fabrications of her autobiography. But Billie Holiday strips away the myths and puts her music front and center, staying close to her artistry, her performance style, and the self she created and put on record and onstage. Drawing on a vast amount of new material that has surfaced in the last decade, critically acclaimed jazz writer and musician John Szwed presents not just a biography, but a meditation on Billie Holiday's art and its relation to her life. Along the way, he illuminates her influences, her uncanny voice and rhythmic genius, her signature songs-including Strange Fruit and God Bless the Child-and her enduring legacy as the greatest jazz singer of all time.

Anyone interested in learning about a distinct music--jazz--will welcome this newest addition to the popular 101 reference series. Noted anthropologist, critic, and musical scholar John F. Szwed takes readers on a tour of the music's tangled history, and explores how it developed from an ethnic music to become North America's most popular music and then part of the avant garde in less than fifty years. Jazz 101 presents the key figures, history, theory, and controversies that shaped its development, along with a discussion of some of its most important recordings.

The remarkable life and times of the man who popularized American folk music and created the science of song
Folklorist, archivist, anthropologist, singer, political activist, talent scout, ethnomusicologist, filmmaker, concert and record producer, Alan Lomax is best remembered as the man who introduced folk music to the masses. Lomax began his career making field recordings of rural music for the Library of Congress and by the late 1930s brought his discoveries to radio, including Woody Guthrie, Pete Seeger, and Burl Ives. By the 1940s he was producing concerts that brought white and black performers together, and in the 1950s he set out to record the whole world.
Lomax was also a controversial figure. When he worked for the U. S. government he was tracked by the FBI, and when he worked in Britain, MI5 continued the surveillance. In his last years he turned to digital media and developed technology that anticipated today's breakthroughs. Featuring a cast of characters including Eleanor Roosevelt, Leadbelly, Carl Sandburg, Carl Sagan, Jelly Roll Morton, Muddy Waters, and Bob Dylan, Szwed's fascinating biography memorably captures Lomax and provides a definitive account of an era as seen through the life of one extraordinary man.