He tells you all you need to know to become a true Wagnerite--from story lines to historical background; from when to visit the rest room to how to sound smart during intermission; from the Jewish legend that possibly inspired Lohengrin to the tragic death of the first Tristan. Funny, informative, and always a pleasure to read, Wagner Without Fear proves that the art of Wagner can be accessible to everyone.Includes:- The strange life of Richard Wagner--German patriot (and exile), friend (and enemy) of Liszt and Nietzsche- Essential opera lore and "lobby talk"- A scene-by-scene analysis of each opera- What to listen for to get the most from the music- Recommended recordings, films, and sound tracks

    Weingarten provides a thrilling account of how the Bomb Squad produced such a singular-sounding record: engineering, sampling, scratching, constructing, deconstructing, reconstructing - even occasionally stomping on vinyl that sounded too clean. Using production techniques that have never been duplicated, the Bomb Squad plundered and reconfigured their own compositions to make frenetic splatter collages; they played samples by hand together in a room like a rock band to create a "not quite right" tension; they hand-picked their samples from only the ugliest squawks and sirens.Weingarten treats the samples used on Nation Of Millions as molecules of a greater whole, slivers of music that retain their own secret histories and folk traditions. Can the essence of a hip-hop record be found in the motives, emotions and energies of the artists it samples? Is it likely that something an artist intended 20 years ago would re-emerge anew? This is a compelling and thoroughly researched investigation that tells the story of one of hip-hop's landmark albums.

    A bound combination of Books I and II in the Fretboard Logic guitar lesson series. Volume I explains the guitar's unique tuning and a basic set of fretboard patterns. Volume II integrates this foundation into an exploration of chords, scales, and arpeggios.

    Hebdige [...] is concerned with the UK's postwar, music-centred, white working-class subcultures, from teddy boys to mods and rockers to skinheads and punks.' - Rolling StoneWith enviable precision and wit Hebdige has addressed himself to a complex topic - the meanings behind the fashionable exteriors of working-class youth subcultures - approaching them with a sophisticated theoretical apparatus that combines semiotics, the sociology of devience and Marxism and come up with a very stimulating short book - Time OutThis book is an attempt to subject the various youth-protest movements of Britain in the last 15 years to the sort of Marxist, structuralist, semiotic analytical techniques propagated by, above all, Roland Barthes. The book is recommended whole-heartedly to anyone who would like fresh ideas about some of the most stimulating music of the rock era - The New York Times

    It left the business of rock stardom to rock stars. But by 1992 alternative rock had spawned a revolution in music and style that transformed youth culture and revived a moribund music industry. Five years later, alternative rock was over, leaving behind a handful of dead heroes, a few dozen masterpieces, and a lot more questions than answers. What, if anything, had the alternative revolution meant? And had it been possible - as so many of its heroes had insisted - for it to be both on MtV and under the radar? Had it used the machinery of corporate rock to destroy corporate rock? In ENtERtAIN US! Craig Schuftan takes you on a journey through the nineties - from Sonic Youth's 'Kool thing' to Radiohead's 'Kid A', NEVERMIND to ODELAY, Madchester to Nu-Metal, Lollapalooza to Woodstock '99 - narrated in the voices of the decade's most important artists. this is the story of alternative rock - the people who made it, the people who loved it, the industry that bought and sold it, and the culture that grew up in its wake - in the last decade of the twentieth century.

    The band became a multiplatinum, two-time Grammy nominee with the release of their 1992 album, La Sexorcisto. But while most people will remember their bizarre look and macabre lyrics, what many failed to realize was that their lanky, high-octane bass player was a woman.I’m In the Band combines eleven years of tour diaries, flyers, and personal photos and ephemera to chart White Zombie’s rise from the gritty music scene of New York’s Lower East Side in the eighties to arena headliners during the nineties. It also shares the unlikely story of a female musician who won the respect and adoration of male metal musicians and fans. From 1985 to 1996, Sean Yseult was the sole woman not only in White Zombie, but in the entire metal scene.With I’m In the Band, Yseult has created both a coffee table book and a striking visual memoir. Her personal memorabilia offers fans a unique vantage on the life of a mega-band during rock’s last golden age.

    We all know one! They like to groan and grumble, offering their own commentary on the shortcomings of modern life. Whether it is queues at the supermarket, the state of the health system, the price of a pint these days, the hairstyles of teenagers, or the number of Maltesers you actually get in a bag, there is always something that will get their goat. 'The Grumpy Old Git's Guide to Life' is a hilarious celebration of all these grumps, how to identify one, what exactly they find so irritating and why we find their rants quite so amusing.

    Around every corner lies a potential faux pas waiting to happen. But if you've ever struggled for the right response to an unwelcome gift or floundered for conversation at the dinner party from hell, fear not: help is at hand.In Rules for Modern Life, Sir David Tang, resident agony uncle at the Financial Times, delivers a satirical masterclass in navigating the social niceties of modern life. Whether you're unsure of the etiquette of doggy bags or wondering whether a massage room in your second home would be de trop, Sir David has the answer to all your social anxieties - and much more besides.

    Either way, we can listen to nearly anything, at any time. The possibilities in this new age of listening overturn old assumptions about what it means to properly appreciate music—to be an “educated” listener. In Every Song Ever, the veteran New York Times music critic Ben Ratliff reimagines the very idea of music appreciation for our times. As familiar subdivisions like “rock” and “jazz” matter less and less and music’s accessible past becomes longer and broader, listeners can put aside the intentions of composers and musicians and engage music afresh, on their own terms. Ratliff isolates signal musical traits—such as repetition, speed, and virtuosity—and traces them across wildly diverse recordings to reveal unexpected connections. When we listen for slowness, for instance, we may detect surprising affinities between the drone metal of Sunn O))), the mixtape manipulations of DJ Screw, Sarah Vaughan singing “Lover Man,” and the final works of Shostakovich. And if we listen for closeness, we might notice how the tight harmonies of bluegrass vocals illuminate the virtuosic synchrony of John Coltrane’s quartet. Ratliff also goes in search of “the perfect moment”; considers what it means to hear emotion by sampling the complex sadness that powers the music of Nick Drake and Slayer; and examines the meaning of certain common behaviors, such as the impulse to document and possess the entire performance history of the Grateful Dead. Encompassing the sounds of five continents and several centuries, Ratliff’s book is an artful work of criticism and a lesson in open-mindedness. It is a definitive field guide to our radically altered musical habitat.

    From the seed first planted by slave dances held in Congo Square and nurtured by early ensembles led by Buddy Belden and Joe King Oliver, jazz began its long winding odyssey across America and around the world, giving flower to a thousand different forms--swing, bebop, cool jazz, jazz-rock fusion--and a thousand great musicians. Now, in The History of Jazz, Ted Gioia tells the story of this music as it has never been told before, in a book that brilliantly portrays the legendary jazz players, the breakthrough styles, and the world in which it evolved. Here are the giants of jazz and the great moments of jazz history--Jelly Roll Morton (the world's greatest hot tune writer), Louis Armstrong (whose O-keh recordings of the mid-1920s still stand as the most significant body of work that jazz has produced), Duke Ellington at the Cotton Club, cool jazz greats such as Gerry Mulligan, Stan Getz, and Lester Young, Charlie Parker's surgical precision of attack, Miles Davis's 1955 performance at the Newport Jazz Festival, Ornette Coleman's experiments with atonality, Pat Metheny's visionary extension of jazz-rock fusion, the contemporary sounds of Wynton Marsalis, and the post-modernists of the Knitting Factory. Gioia provides the reader with lively portraits of these and many other great musicians, intertwined with vibrant commentary on the music they created. Gioia also evokes the many worlds of jazz, taking the reader to the swamp lands of the Mississippi Delta, the bawdy houses of New Orleans, the rent parties of Harlem, the speakeasies of Chicago during the Jazz Age, the after hours spots of corrupt Kansas city, the Cotton Club, the Savoy, and the other locales where the history of jazz was made. And as he traces the spread of this protean form, Gioia provides much insight into the social context in which the music was born. He shows for instance how the development of technology helped promote the growth of jazz--how ragtime blossomed hand-in-hand with the spread of parlor and player pianos, and how jazz rode the growing popularity of the record industry in the 1920s. We also discover how bebop grew out of the racial unrest of the 1940s and '50s, when black players, no longer content with being entertainers, wanted to be recognized as practitioners of a serious musical form. Jazz is a chameleon art, delighting us with the ease and rapidity with which it changes colors. Now, in Ted Gioia's The History of Jazz, we have at last a book that captures all these colors on one glorious palate. Knowledgeable, vibrant, and comprehensive, it is among the small group of books that can truly be called classics of jazz literature.

    Originally conceived for the Vienna Poetry Festival (1998) and performed to great success and a capacity audience at The Royal Festival Hall, London earlier in 1999, this is a special studio recording. It includes five new and unique recordings of his songs 'West Country Girl', 'People Ain't no Good', 'Sad Waters', 'Love Letter', and 'Far From Me'. The Word Made Flesh is a wholly spoken-word piece, re-recorded, originally conceived and executed for the BBC Religious Services Department in 1996.

    The album sold a million copies worldwide, introduced the Flaming Lips to a mass audience, and made them one of the best-known cult bands in rock history.Staring at Sound is the tale of the Flaming Lips's fascinating career (which, in reality, began in 1983) and the many colorful personalities in their orbit, especially Wayne Coyne, their charismatic and visionary founder. Based on hundreds of hours of interviews with the band, it follows the Flaming Lips through the thriving indie-rock underground of the 1980s and the alternative-rock movement of the early '90s, during which they found fans in such rock legends as Paul McCartney, the Rolling Stones, Robert Plant, and Devo, and respected peers in such acts as the White Stripes, Radiohead, and Beck. It concludes with exclusive coverage of the creation of the group's latest album, At War with the Mystics.

    As Greil Marcus shows in this remarkable book, Presley's journey after death takes him even further, pushing him beyond his own frontiers to merge with the American public consciousness--and the American subconscious.As he listens in on the public conversation that recreates Elvis after death, Marcus tracks the path of Presley's resurrection. He grafts together scattered fragments of the eclectic dialogue--snatches of movies and music, books and newspapers, photographs, posters, cartoons--and amazes us with not only what America has been saying as it raises its late king, but also what this strange obsession with a dead Elvis can tell us about America itself.

    No, membership is not dead, argues author Sarah Sladek. But associations do need to change their thinking and their models. In The End of Membership As We Know It: Building the Fortune-Flipping, Must-Have Association of the Next Century, Sladek offers practical, proven ways that associations can respond to changes affecting participation such as the generational shifts in the workforce, social changes, and technology-eased access to content and community.The End of Membership As We Know It explains:How niche the new competitive advantage is Why organizational culture has an enormous impact on recruitment and retention What emerging member-prospects value and want Why and how to focus on member ROI instead of program ROI How to craft and deliver compelling benefits rather than features How to extend your reach Which emerging models are taking root and showing promise Providing numerous real-world examples along with specific guidance, The End of Membership As We Know It is a must-have guide for moving your membership model into the future.

    He dreamt that music was a rich meadow of possibility, a liberating leap to a sparkling future, an industry of human happiness - and he wanted to be part of it. Thus began his 50-year love affair with rock and roll. From his time at the NME and Smash Hits to Radio One, Old Grey Whistle Test, Live Aid, Q, Select, Mojo and The Word magazines, he's been at the molten core of its evolution, and watched its key figures from a unique perspective. This funny and touching personal memoir maps out his eventful journey. It tells stories and settles scores. It charts the peaks and disappointments. It flags up surprising heroes and barbecues the dull and self-deluded. It puts a chaotic world to rights and pours petrol on the embers of a glorious industry now in spiralling decline.