Is it catchy? Can you dance to it? Do you fancy the singer? What’s fascinating about pop is our relationship with it. This relationship gets more complicated the longer it goes on. It’s been going on now for 50 years.David Hepworth is interested in the human side of pop. He’s interested in how people make the stuff and, more importantly, what it means to us. In this wide-ranging collection of essays, he shows how it is possible to take music seriously and, at the same time, not drain the life out of it. From the legacy of the Beatles to the dramatic decline of the record shop, from top tips for bands starting out to the bewildering nomenclature of musical genres, with characteristic insight and humour, he explores the highways and byways of this vast multiverse where Nothing Is Real and yet it is, emphatically and intrinsically so. Along the way he asks some essential questions about music and about life: is it all about the drummer; are band managers misunderstood; and is it appropriate to play ‘Angels’ at funerals? As Pope John Paul II said ‘of all the unimportant things, football is the most important’. David Hepworth believes the same to be true of music and this selection of his best writing, covering the music of last fifty years, shows you precisely why.

    In Shit, Actually, Lindy returns to those roots, re-examining beloved and iconic movies from the past 40 years with an eye toward the big questions of our time: Is Twilight the horniest movie in history? Why do the zebras in The Lion King trust Mufasa-WHO IS A LION-to look out for their best interests? Why did anyone bother making any more movies after The Fugitive achieved perfection? And, my god, why don't any of the women in Love, Actually ever fucking talk?!?!From Forrest Gump, Honey I Shrunk the Kids, and Bad Boys II, to Face/Off, Top Gun, and The Notebook, Lindy combines her razor-sharp wit and trademark humor with a genuine adoration for nostalgic trash to shed new critical light on some of our defining cultural touchstones-the stories we've long been telling ourselves about who we are. At once outrageously funny and piercingly incisive, Shit, Actually reminds us to pause and ask, "How does this movie hold up?", all while teaching us how to laugh at the things we love without ever letting them or ourselves off the hook.Shit, Actually is a love letter and a break-up note all in one: to the films that shaped us and the ones that ruined us. More often than not, Lindy finds, they're one and the same.

    Each chapter begins with a discussion of their most popular song but leads to stories of their history and place in the scene, ultimately painting a vivid picture of this colorful, idiosyncratic time. Mixtape suggestions, fashion sidebars, and quotes from famous contemporary admirers help fill out the fun. Participants include members of Duran Duran, New Order, The Smiths, Tears for Fears, Adam Ant, Echo and the Bunnymen, Devo, ABC, Spandau Ballet, A Flock of Seagulls, Thompson Twins, and INXS.

    Based on ten years of original, exclusive interviews with the man himself and conversations with a legion of musical associates like Queens of the Stone Age frontman Josh Homme, DC punk legend Ian MacKaye, and Nevermind producer Butch Vig, this is Grohl's story. He speaks candidly and honestly about Kurt Cobain, the arguments that almost tore Nirvana apart, the feuds that threatened to derail the Foo Fighters's global success, and the dark days that almost caused him to quit music for good.Dave Grohl has emerged as one of the most recognizable and respected musicians in the world. He is the last true hero to emerge from the American underground. This Is a Call vividly recounts this incredible rock 'n' roll journey.

    These two astounding essays are among the most profound studies of the effects of mind-expanding drugs written in this century. Contains the complete texts of The Doors of Perception and Heaven and Hell , both of which became essential for the counterculture during the 1960s and influenced a generation's perception of life.

    It's become more expensive, more exclusive, and effectively off-limits to huge swaths of the potential sports-loving population. Youth registration numbers are stagnant; efforts to appeal to new Canadians are often grim at best; the game, increasingly, does not resemble the country of which it's for so long been an integral part. These signs worried Sean Fitz-Gerald. As a lifelong hockey fan and father of a young mixed-race son falling headlong in love with the game, he wanted to get to the roots of these issues. His entry point: a season with the Peterborough Petes, a storied OHL team far from its former glory in a once-emblematic Canadian city that is finding itself on the wrong side of the country's changing demographics. Fitz-Gerald profiles the players, coaches and front office staff, a mix of world-class talents with NHL aspirations and Peterborough natives happy with more modest dreams. Through their experiences, their widely varied motivations and expectations, we get a rich, colourful understanding of who ends up playing hockey in Canada and why. Fitz-Gerald interweaves the action of the season with portraits of public figures who've shaped and been shaped by the game: authors who captured its spirit, politicians who exploited it, and broadcasters who try to embody and sell it. He finds his way into community meetings full of angry season ticket holders, as well as into sterile boardrooms full of the sport's institutional brain trust, unable to break away from the inertia of tradition and hopelessly at war with itself. Before the Lights Go Out is a moving, funny, yet unsettling picture of a sport at a crossroads. Fitz-Gerald's warm but rigorous journalistic approach reads, in the end, like a letter to a troubled friend: it's not too late to save hockey in this country, but who has the will to do it?

    Keith Richards had his say in Life. Now it’s time to get to know intimately the other half of the duo responsible for such enduring hits as “Paint It Black,” “Sympathy for the Devil,” “Gimme Shelter,” and “(I Can’t Get No) Satisfaction.” Mick Jagger is a must read for Stones fans, and everyone who can’t get enough of the serious memoirs and biographies of popular musicians, like Patti Smith’s Just Kids, Does the Noise in My Head Bother You? by Steven Tyler, and the Warren Zevon story, I’ll Sleep When I’m Dead.

    Its traditions serve as a record of our past. A ballerina dancing The Sleeping Beauty today is a link in a long chain of dancers stretching back to sixteenth-century Italy and France: Her graceful movements recall a lost world of courts, kings, and aristocracy, but her steps and gestures are also marked by the dramatic changes in dance and culture that followed. Ballet has been shaped by the Renaissance and Classicism, the Enlightenment and Romanticism, Bolshevism, Modernism, and the Cold War. Apollo’s Angels is a groundbreaking work—the first cultural history of ballet ever written, lavishly illustrated and beautifully told.Ballet is unique: It has no written texts or standardized notation. It is a storytelling art passed on from teacher to student. The steps are never just the steps—they are a living, breathing document of a culture and a tradition. And while ballet’s language is shared by dancers everywhere, its artists have developed distinct national styles. French, Italian, Danish, Russian, English, and American traditions each have their own expression, often formed in response to political and societal upheavals.From ballet’s origins in the Renaissance and the codification of its basic steps and positions under France’s Louis XIV (himself an avid dancer), the art form wound its way through the courts of Europe, from Paris and Milan to Vienna and St. Petersburg. It was in Russia that dance developed into the form most familiar to American audiences: The Sleeping Beauty, Swan Lake, and The Nutcracker originated at the Imperial court. In the twentieth century, émigré dancers taught their art to a generation in the United States and in Western Europe, setting off a new and radical transformation of dance. Jennifer Homans is a historian and critic who was also a professional dancer: She brings to Apollo’s Angels a knowledge of dance born of dedicated practice. She traces the evolution of technique, choreography, and performance in clean, clear prose, drawing readers into the intricacies of the art with vivid descriptions of dances and the artists who made them. Her admiration and love for the ballet shines through on every page. Apollo’s Angels is an authoritative work, written with a grace and elegance befitting its subject.

    He was an authority on rock & roll, blues, jazz, punk, avant-garde, and world music -- often discovering new artists and trends years (even decades) before they hit the mainstream. Now, noted music writer Anthony DeCurtis has compiled the best pieces from Palmer's oeuvre and presents them here, in one compelling volume.A member of the elite group of the defining rock critics who emerged in the 1960s and 1970s, Palmer possessed a vision so complete that, as DeCurtis writes, "it's almost as if, if you read Bob, you didn't need to read anyone else." Blues & Chaos features some of his most memorable pieces, including gripping stories about John Lennon, Led Zeppelin, Moroccan trance music, Miles Davis, Jerry Lee Lewis, Philip Glass, and Muddy Waters.Wonderfully entertaining, infused with passion, and deeply inspiring, Blues & Chaos is a must for music fans everywhere.Flirtations with chaos / by Anthony DeCurtis --The big picture : "The opinions expressed are dangerously subjective." --The blues : "A post-Heisenberg-uncertainty-principle mojo hand" --Jazz : "A kinetic kaleidoscope" --The originators : "Where the hell did this man come from?" --Soul and R&B : "It had to come from somewhere, and the church is where it all came from" --Classic rock : "Musically, we weren't afraid to go in any direction whatsoever" --John Lennon and Yoko Ono : "Now the music's coming through me again" --Punk rock and beyond : "Fear and nothing" --World music : "The world is changing and so is our music" --Morocco : "We fell through each other, weightless, into the sky" --On the edge : "Listen, as if a new world had suddenly opened up" --Sonic guitar maelstrom : "All hail the overdriven amp."

    Bob Mould stormed into America's punk rock scene in 1979, when clubs across the country were filling with kids dressed in black leather and torn denim, packing in to see bands like the Ramones, Black Flag, and the Dead Kennedys. Hardcore punk was a riot of jackhammer rhythms, blistering tempos, and bottomless aggression. And at its center, a new band out of Minnesota called Hvºsker Dvº was bashing out songs and touring the country on no money, driven by the inspiration of guitarist and vocalist Bob Mould. Their music roused a generation. From the start, Mould wanted to make Hüsker Dü the greatest band in the world - faster and louder than the hardcore standard, but with melody and emotional depth. In See a Little Light, Mould finally tells the story of how the anger and passion of the early hardcore scene blended with his own formidable musicianship and irrepressible drive to produce some of the most important and influential music of the late 20th century. For the first time, Mould tells his dramatic story, opening up to describe life inside that furnace and beyond. Revealing the struggles with his own homosexuality, the complexities of his intimate relationships, as well as his own drug and alcohol addiction, Mould takes us on a whirlwind ride through achieving sobriety, his acclaimed solo career, creating the hit band Sugar, a surprising detour into the world of pro wrestling, and most of all, finally finding his place in the world. A classic story of individualism and persistence, Mould's autobiography is an open account of the rich history of one of the most revered figures of punk, whose driving force altered the shape of American music.

    Working with the full cooperation of the Van Gogh Museum in Amsterdam, Naifeh and Smith have accessed a wealth of previously untapped materials to bring a crucial understanding to the larger-than-life mythology of this great artist: his early struggles to find his place in the world; his intense relationship with his brother Theo; and his move to Provence, where he painted some of the best-loved works in Western art. The authors also shed new light on many unexplored aspects of Van Gogh’s inner world: his erratic and tumultuous romantic life; his bouts of depression and mental illness; and the cloudy circumstances surrounding his death at the age of thirty-seven.   Though countless books have been written about Van Gogh, no serious, ambitious examination of his life has been attempted in more than seventy years. Naifeh and Smith have re-created Van Gogh’s life with an astounding vividness and psychological acuity that bring a completely new and sympathetic understanding to this unique artistic genius.

    Savage brings to life the sensational story of the meteoric rise and rapid implosion of the Pistols through layers of rich detail, exclusive interviews, and rare photographs. This fully revised and updated edition of the book covers the legacy of punk twenty-five years later and provides an account of the Pistols' 1996 reunion as well as a freshly updated discography and a completely new introduction.

    As a black musician himself, Arthur Taylor was able to ask his subjects hard questions about the role of black artists in a white society. Free to speak their minds, these musicians offer startling insights into their music, their lives, and the creative process itself. This expanded edition is supplemented with previously unpublished interviews with Dexter Gordon and Thelonious Monk, a new introduction by the author, and new photographs.Notes and Tones consists of twenty-nine no-holds-barred conversations which drummer Arthur Taylor held with the most influential jazz musicians of the ’60s and ’70s—including:

    It reflects Hemingway's conviction that bullfighting was more than mere sport and reveals a rich source of inspiration for his art. The unrivaled drama of bullfighting, with its rigorous combination of athleticism and artistry, and its requisite display of grace under pressure, ignited Hemingway's imagination. Here he describes and explains the technical aspects of this dangerous ritual and "the emotional and spiritual intensity and pure classic beauty that can be produced by a man, an animal, and a piece of scarlet serge draped on a stick." Seen through his eyes, bullfighting becomes a richly choreographed ballet, with performers who range from awkward amateurs to masters of great elegance and cunning.A fascinating look at the history and grandeur of bullfighting, Death in the Afternoon is also a deeper contemplation of the nature of cowardice and bravery, sport and tragedy, and is enlivened throughout by Hemingway's sharp commentary on life and literature.

    Grounded in authority and brimming with style, Playing Changes is the first book to take the measure of this exhilarating moment: it is a compelling argument for the resiliency of the art form and a rejoinder to any claims about its calcification or demise."Playing changes," in jazz parlance, has long referred to an improviser's resourceful path through a chord progression. Playing Changes boldly expands on the idea, highlighting a host of significant changes--ideological, technological, theoretical, and practical--that jazz musicians have learned to navigate since the turn of the century. Nate Chinen, who has chronicled this evolution firsthand throughout his journalistic career, vividly sets the backdrop, charting the origins of jazz historicism and the rise of an institutional framework for the music. He traces the influence of commercialized jazz education and reflects on the implications of a globalized jazz ecology. He unpacks the synergies between jazz and postmillennial hip-hop and R&B, illuminating an emergent rhythm signature for the music. And he shows how a new generation of shape-shifting elders, including Wayne Shorter and Henry Threadgill, have moved the aesthetic center of the music.Woven throughout the book is a vibrant cast of characters--from the saxophonists Steve Coleman and Kamasi Washington to the pianists Jason Moran and Vijay Iyer to the bassist and singer Esperanza Spalding--who have exerted an important influence on the scene. This is an adaptive new music for a complex new reality, and Playing Changes is the definitive guide.