These lectures, Mr. Bernstein's most recent venture in musical explication, will make fascinating reading as well. Virgil Thomson says of the lectures: "Nobody anywhere presents this material so warmly, so sincerely, so skillfully. As musical mind-openers they are first class; as pedagogy they are matchless."Mr. Bernstein considers music ranging from Hindu ragas through Mozart and Ravel, to Copland, suggesting a worldwide, innate musical grammar. Folk music, pop songs, symphonies, modal, tonal, atonal, well-tempered and ill-tempered works all find a place in these discussions. Each, Mr. Bernstein suggests, has roots in a universal language central to all artistic creation. Using certain linguistic analogies, he explores the ways in which this language developed and can be understood as an aesthetic surface. Drawing on his insights as a master composer and conductor, Mr. Bernstein also explores what music means below the surface: the symbols and metaphors which exist in every musical piece, of whatever sort. And, finally, Mr. Bernstein analyzes twentieth century crises in the music of Schoenberg and Stravinsky, finding even here a transformation of all that has gone before, as part of the poetry of expression, through its roots in the earth of human experience.These talks, written and delivered when Leonard Bernstein was Charles Eliot Norton Professor of Poetry at Harvard University, are the newest of the author's literary achievements. In addition to a distinguished career as conductor, pianist, and composer, Mr. Bernstein is the recipient of many television Emmys for the scripts of his Young People's Concerts, Omnibus programs, and others, and is the author of The Infinite Variety of Music and The Joy of Music, for which he received the Christopher Award.

    Iggy Pop, Danny Fields, Dee Dee and Joey Ramone, Malcom McLaren, Jim Carroll, and scores of other famous and infamous punk figures lend their voices to this definitive account of that outrageous, explosive era. From its origins in the twilight years of Andy Warhol's New York reign to its last gasps as eighties corporate rock, the phenomenon known as punk is scrutinized, eulogized, and idealized by the people who were there and who made it happen.

    Includes a list of "unheard" Bowie songs and extensive discography. Based on the blog Pushing Ahead of the Dame (http://bowiesongs.wordpress.com).

    The Waterfall, 2. The Illuminating Gas.

    Subscribing to Virginia Woolf's own belief in the fluidity and elusiveness of identity, Lee comes at her subject from a multitude of perspectives, producing a richly layered portrait of the writer and the woman that leaves all of her complexities and contradictions intact.  Such issues as sexual abuse, mental illness, and suicide are brought into balance with the immensity of her literary achievement, her heroic commitment to her work, her generosity and wit,  and her sanity and strength. It is not often that biography offers the satisfactions of great fiction--but this is clearly what Hermione Lee has achieved. Accessible, intelligent, and deeply pleasurable to read, her Virginia Woolf will undoubtedly take its place as the standard biography for years to come.

    Pater was shocked at the reaction his book inspired: 'I wish they would not call me a hedonist, it gives such a wrong impression to those who do not know Greek.'.The book had begun as a series of idiosyncratic, impressionistic critical essays on those artists that embodied for him the spirit of the Renaissance; by collecting them and adding his infamous Conclusion, Pater gained a reputation as a daring modern philosopher. But The Renaissance survives as one of the most innovative pieces of cultural criticism to emerge from the nineteenth century.

    They could not have been more different, and they would meet only for a short time in 1502, but the events that transpired when they did would significantly alter each man’s perceptions and the course of Western history.In 1502, Italy was riven by conflict, with the city of Florence as the ultimate prize. Machiavelli, the consummate political manipulator, attempted to placate the savage Borgia by volunteering Leonardo to be Borgia’s chief military engineer. That autumn, the three men embarked together on a brief, perilous, and fateful journey through the mountains, remote villages, and hill towns of the Italian Romagna the details of which were revealed in Machiavelli’s frequent dispatches and Leonardo’s meticulous notebooks. Superbly written and thoroughly researched, The Artist, the Philosopher, and the Warrioris a work of narrative genius whose subject is the nature of genius itself.

    Agreement that they were far and away the best pop group ever is all but universal. And nowhere is the spirit of the Sixties - both in its soaring optimism and its drug-spirited introspection - more perfectly expressed than in the Beatles' music. Taking all the elements which combined to create each song as it was captured on vinyl - the songwriting process, the stimuli of contemporary pop hits and events, the evolving input from each of the Four, the brilliant innovations pulled off in the studio and, ultimately, the twisting grip of psychedelic drugs - the Beatles are pinpointed, record by record, in precise and fascinating detail against the backdrop of that vibrant era.

    Universally acclaimed as a musical genius, Miles is one of the most important and influential musicians in the world. The subject of several biographies, now Miles speaks out himself about his extraordinary life.Miles: The Autobiography, like Miles himself, holds nothing back. For the first time Miles talks about his five-year silence. He speaks frankly and openly about his drug problem and how he overcame it. He condemns the racism he has encountered in the music business and in American society generally. And he discusses the women in his life. But above all, Miles talks about music and musicians, including the legends he has played with over the years: Bird, Dizzy, Monk, Trane, Mingus, and many others.The man who has given us some of the most exciting music of the past few decades has now given us a compelling and fascinating autobiography, featuring a concise discography and thirty-two pages of photographs.

    A woman's journey ended at the altar. Professor Heilbrun notes that the diversity of women's lives now makes it possible for women to dare to choose their own scripts.

    This comprehensive collection is now in a paperback identical to the original clothbound edition. 130 color, 54 black-and-white illustrations.

    Unfettered by logic or time, she draws us into her private wonderland with no design, yet heeding signs–including a talking sign that looms above her, prodding and sparring like the Cheshire Cat. In February, a surreal lunar year begins, bringing with it unexpected turns, heightened mischief, and inescapable sorrow. In a stranger’s words, “Anything is possible: after all, it’s the Year of the Monkey.” For Smith–inveterately curious, always exploring, tracking thoughts, writing–the year evolves as one of reckoning with the changes in life’s gyre: with loss, aging, and a dramatic shift in the political landscape of America. Smith melds the western landscape with her own dreamscape. Taking us from California to the Arizona desert; to a Kentucky farm as the amanuensis of a friend in crisis; to the hospital room of a valued mentor; and by turns to remembered and imagined places, this haunting memoir blends fact and fiction with poetic mastery. The unexpected happens; grief and disillusionment set in. But as Smith heads toward a new decade in her own life, she offers this balm to the reader: her wisdom, wit, gimlet eye, and above all, a rugged hope for a better world. Riveting, elegant, often humorous, illustrated by Smith’s signature Polaroids, Year of the Monkey is a moving and original work, a touchstone for our turbulent times.

    Art

    The shattering story of a dream which became a heartbreaking nightmare for one of America's most famous ballerinas, Gelsey Kirkland, who chronicles her brilliant start as a dancer with George Balanchine, her legendary partnership with Mikhail Baryshnikov, her agonizing descent into drugs, and her struggles to rise again.

    The Art of Rivalry follows eight celebrated artists, each linked to a counterpart by friendship, admiration, envy, and ambition. All eight are household names today. But to achieve what they did, each needed the influence of a contemporary--one who was equally ambitious but possessed sharply contrasting strengths and weaknesses.Edouard Manet and Edgar Degas were close associates whose personal bond frayed after Degas painted a portrait of Manet and his wife. Henri Matisse and Pablo Picasso swapped paintings, ideas, and influences as they jostled for the support of collectors like Leo and Gertrude Stein and vied for the leadership of a new avant-garde. Jackson Pollock's uninhibited style of "action painting" triggered a breakthrough in the work of his older rival, Willem de Kooning. After Pollock's sudden death in a car crash, de Kooning assumed Pollock's mantle and became romantically involved with his late friend's mistress. Lucian Freud and Francis Bacon met in the early 1950s, when Bacon was being hailed as Britain's most exciting new painter and Freud was working in relative obscurity. Their intense but asymmetrical friendship came to a head when Freud painted a portrait of Bacon, which was later stolen.Each of these relationships culminated in an early flashpoint, a rupture in a budding intimacy that was both a betrayal and a trigger for great innovation. Writing with the same exuberant wit and psychological insight that earned him a Pulitzer Prize for art criticism, Sebastian Smee explores here the way that coming into one's own as an artist--finding one's voice--almost always involves willfully breaking away from some intimate's expectations of who you are or ought to be.Praise for The Art of Rivalry"Gripping . . . Mr. Smee's skills as a critic are evident throughout. He is persuasive and vivid. . . . You leave this book both nourished and hungry for more about the art, its creators and patrons, and the relationships that seed the ground for moments spent at the canvas."--The New York Times"With novella-like detail and incisiveness [Sebastian Smee] opens up the worlds of four pairs of renowned artists. . . . Each of his portraits is a biographical gem. . . . The Art of Rivalry is a pure, informative delight, written with canny authority."--The Boston Globe"Bacon liked to say his portraiture aimed to capture 'the pulsations of a person.' Revealing these rare creators as the invaluable catalysts they also were, Smee conveys exactly that on page after page. . . . His brilliant group biography is one of a kind." --The Atlantic "Perceptive . . . Smee is onto something important. His book may bring us as close as we'll ever get to understanding the connections between these bristly bonds and brilliance."--The Christian Science Monitor"In this intriguing work of art history and psychology, The Boston Globe's art critic looks at the competitive friendships of Matisse and Picasso, Manet and Degas, Pollock and de Kooning, and Freud and Bacon. All four relationships illuminate the creative process--both its imaginative breakthroughs and its frustrating blocks."--Newsday