It is also an engrossing chronicle of the author's own development, both artistic and personal. As Davis's collaborator on Miles: The Autobiography,Troupe--one of the major poets to emerge from the 1960s--had exceptional access to the musician. This memoir goes beyond the life portrayed in the autobiography to describe in detail the processes of Davis's spectacular creativity and the joys and difficulties his passionate, contradictory temperament posed to the men's friendship. It shows how Miles Davis, both as a black man and an artist, influenced not only Quincy Troupe but whole generations. Troupe has written that Miles Davis was "irascible, contemptuous, brutally honest, ill-tempered when things didn't go his way, complex, fair-minded, humble, kind and a son-of-a-bitch." The author's love and appreciation for Davis make him a keen, though not uncritical, observer. He captures and conveys the power of the musician's presence, the mesmerizing force of his personality, and the restless energy that lay at the root of his creativity. He also shows Davis's lighter side: cooking, prowling the streets of Manhattan, painting, riding his horse at his Malibu home. Troupe discusses Davis's musical output, situating his albums in the context of the times--both political and musical--out of which they emerged. Miles and Me is an unparalleled look at the act of creation and the forces behind it, at how the innovations of one person can inspire both those he knows and loves and the world at large.

    And in portraying the politics and inflated economics surrounding the podiums of today's international classical music scene, the author investigates the awesome power of superagents, the obstacles faced by blacks, women, and gays, and the mounting crisis in a profession where genuine talent grows ever scarcer.

    A child prodigy as a pianist and a virtuoso conductor of symphonics and operas, Barenhoim has known and worked with many of the most distinguished and exciting musicians of the 20th century, including Rubinstein, Furtwangler, Zubin Meta, Pierre Boulez, Fisher-Diskau, Pablo Casals, and not least his wife, Jacqueline du Pre. Recent years have included his work at the annual Wagner festival Bayreuth; in Berlin at the rebirth of the State Opera House; taking over from George Solti's 22-year regin in Chicago; his summer festival in Weimar, Germany, where young Arabs and Israelis can play music together; and his worldwide travels. Barenboim has revised and updated his memoir, giving us trenchant thoughts on Israel today, the problems facing young musicians, and the changing world of music at the beginning of the 21st century.-One of the world's greatest musicians, Barenboim has a dedicated following who will be interested in reading about his life in his own words.-Barenboim was married to celebrated cellist Jacqueline du Pre, the subject of the controversial film Hilary and Jackie.-His championship of peaceful coexistence with Palestinians is highly controversial, as is his insistence on playing Wagner in Israel.

    Zimmer, with the full cooperation of the band, traces each of the performers from their early musical roots to their first song together in L.A.'s storied Laurel Canyon, from their addition of Neil Young to Woodstock, from their stormy years of creative conflicts through their reunions and reconciliations. A new chapter delves into Crosby's recovery from drug addiction, CSN's ongoing solo and group projects, and the making of the new CSNY album.

    Photographs are included.

    Our 'understanding' of old music allows us only a glimpse of the spirit in which it is rooted. We see that music always reflects the spiritual and intellectual climate of its time. Its content can never surpass the human power of expression, and any gain on one side must be compensated by a corresponding loss on the other." In these essays, Nikolaus Harnoncourt summarizes his views arising from years devoted to the performance of early music. The problem of interpreting historical music is particularly critical in our age, when modern music has little appeal for the listening public. The vacuum left by the absence of a truly living contemporary music is therefore filled by older music. But for performers and audiences to understand music of earlier times, they must learn to comprehend the languages and messages of the past.

    Harvey, Radiohead—with Reynolds’s own passionate analysis. With all the energy and insight you would expect from the author of Rip It Up and Start Again, Bring the Noise tracks the alternately fraught and fertile relationship between white bohemia and black street music. The selections transmit the immediacy of their moment while offering a running commentary on the broader enduring questions of race and resistance, multiculturalism, and division. From grunge to grime, from Madchester to the Dirty South, Bring the Noise chronicles hip hop and alternative rock’s competing claims to be the cutting edge of innovation and the voice of opposition in an era of conservative backlash. Alert to both the vivid detail and the big picture, Simon Reynolds has shaped a compelling narrative that cuts across a thrillingly turbulent two-decade period of pop music.

    Its roots stem from a heady blend of horror movies, heavy metal music, Satanism, Paganism, and adolescent angst. In the early-mid 1990s, members of this extremist underground committed murder, burned down medieval wooden churches, and desecrated graveyards. What started as juvenile frenzy came to symbolize the start of a war against Christianity, a return to the worship of the ancient Norse gods, and the complete rejection of mainstream society.

    Book by Julie Burchill, Tony Parsons

    Music. Through manifestos, scores, interviews, notes and critical papers, contributors to this in-depth anthology address composing, playing, improvising, teaching, and thinking in and through music. Rather than attempting to distill or define musician's work, ARCANA illuminates it with personal vision and experience.

    In this book, you'll discover the following:• Handwritten letters by Glaser's own father, which reveal him to be an early member of the band we now know as ZZ Top• Old lyrics journals of, among others, Bob Dylan and David Bowie, featuring a collection of songs they probably hoped would never see the light of day• A letter from Ringo to the rest of the Beatles, the week after their breakup, informing them of his plans to start a Beatles tribute band• Formerly classified government documents with shocking revelations about the Navy SEALs and the Butthole Surfers• Prince's set list for the bat mitzvah of Steven Spielberg's daughter Rachel, including the songs "Purple Oy Vey," "I Could Never Take the Place of Your Rabbi," and "When Doves Kvetch"My Dead Dad Was in ZZ Top is for everyone who loves absurd, made-up stories about their favorite bands. It's also for everyone who doesn't love absurd, made-up stories about their favorite real bands—they just might not enjoy it as much.

    Everyone's wearing black. And on-stage a tenor is blowing his heart out, a searching, jagged saxophone journey played out against a moody, walking bass and the swish of a drummer's brushes. To a great many listeners--from African American aficionados of the period to a whole new group of fans today--this is the very embodiment of jazz. It is also quintessential hard bop. In this, the first thorough study of the subject, jazz expert and enthusiast David H. Rosenthal vividly examines the roots, traditions, explorations and permutations, personalities and recordings of a climactic period in jazz history. Beginning with hard bop's origins as an amalgam of bebop and R&B, Rosenthal narrates the growth of a movement that embraced the heavy beat and bluesy phrasing of such popular artists as Horace Silver and Cannonball Adderley; the stark, astringent, tormented music of saxophonists Jackie McLean and Tina Brooks; the gentler, more lyrical contributions of trumpeter Art Farmer, pianists Hank Jones and Tommy Flanagan, composers Benny Golson and Gigi Gryce; and such consciously experimental and truly one-of-a-kind players and composers as Andrew Hill, Sonny Rollins, John Coltrane, Thelonious Monk, and Charles Mingus. Hard bop welcomed all influences--whether Gospel, the blues, Latin rhythms, or Debussy and Ravel--into its astonishingly creative, hard-swinging orbit. Although its emphasis on expression and downright badness over technical virtuosity was unappreciated by critics, hard bop was the music of black neighborhoods and the last jazz movement to attract the most talented young black musicians. Fortunately, records were there to catch it all. The years between 1955 and 1965 are unrivaled in jazz history for the number of milestones on vinyl. Miles Davis's Kind of Blue, Charles Mingus's Mingus Ah Um, Thelonious Monk's Brilliant Corners, Horace Silver's Further Explorations--Rosenthal gives a perceptive cut-by-cut analysis of these and other jazz masterpieces, supplying an essential discography as well. For knowledgeable jazz-lovers and novices alike, Hard Bop is a lively, multi-dimensional, much-needed examination of the artists, the milieus, and above all the sounds of one of America's great musical epochs.

    At least half of the images in the book are exclusively published here for the first time; most other images in the book are rare to the public eye.Alongside these remarkable images are fifty engaging, poignant and often funny written vignettes by Parke, which reveal the very human man behind the reclusive superstar: from shooting hoops to renting out movie theatres at 4am; from midnight requests for camels to meaningful conversations that shed light on Prince as a man and artist.STEVE PARKE started working with Prince in 1988, after a mutual friend showed Prince some of Steve's photorealistic paintings. He designed everything from album covers and merchandise to sets for Prince's tours and videos. Somewhere in all of this, he became Paisley Park's official art director. He began photographing Prince at the request of the star himself, and continued to do so for the next several years. The images in this book are the arresting result of this collaboration.Biographical Notes STEVE PARKE is photo editor for Faerie Magazine. He worked as art director for Prince at Paisley Park for fourteen years. As a photographer, his clients have included Prince, David Bowie, Bon Jovi, Bob Dylan, Sheila E., AC/DC and more. He lives in Baltimore, USA.

    It harks back to the 1989 issue of the same name, themed around the response to the fall of the Berlin wall. Through the lenses of exile and migration, we ask ourselves what it means to be European now. Featuring a photoessay by Bruno Fert who steps inside the temporary homes of refugees in camps in Greece and France.

    The pervasiveness of images of torture, horror, and war has all but demolished the twentieth-century hope that such imagery might shock us into a less alienated state, or aid in the creation of a just social order. What to do now? When to look, when to turn away?Genre-busting author Maggie Nelson brilliantly navigates this contemporary predicament, with an eye to the question of whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture (Kafka to reality TV), the visual to the verbal (Paul McCarthy to Brian Evenson), and the apolitical to the political (Francis Bacon to Kara Walker), Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo, and permissibility.