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.

    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.

    Bands like The Tragically Hip, Blue Rodeo, and Sloan created a fever pitch for Canadian music, but there were also numerous others in the underground who created equally exciting work. This vital, lively, and entertaining examination of a groundbreaking decade contains vivid original photographs and interviews with all the major players.

    Including classic pieces such as Postcard from Rome, and his observations on Margaret Thatcher, it contains funny examinations of characters like Barry Humphries, while elsewhere showcasing James's more reflective and analytical style.

    The grunge scene took over and left her hair band crowd in the dust. Where to go? What to do? It was as if a three year long party had just been broken up and no one remembered where they lived. Everyone was left with an identity crisis. Those who turned to drugs found themselves spinning out of control, especially Amy’s friend Birdie. The Sunset Strip girls migrated into the mainstream L.A. club scene and took over the V.I.P. rooms. Read about lots of run-ins with 1990's stars like Anna Nicole Smith, Tommy Lee and Pamela Anderson, among many others. What happened inside the clubs? Read about the insane nights of young twenty-somethings on the loose in Los Angeles. When Amy became overwhelmed by L.A., she headed for Aspen, Colorado. Read about the total chaos inside the closed doors of Aspen ski lodges, where cocaine was king. The death of a close friend caused her to sink into an ugly depression. Will she turn to drugs to comfort herself? Confetti Covered Quicksand is a true story of a girl in Los Angeles, trying to survive on her looks and struggling with her identity. It is about using drugs and alcohol to cover up pain and humiliation. Can she find happiness in the emptiest, numbest city in the world?

    In it a daughter reflects on the complicated and volatile love she and her father shared. Shirley Jean Abbott grew up in Hot Springs, Arkansas, in the 1940s and 50s and was the beloved daughter of Alfred Bemont Abbott, affectionately known as “Hat.” Hat wasn’t a bookmaker in the literary sense, even though he allowed Shirley’s mother to believe as much while they were dating. Rather, his craft was gambling, and his business was horse racing.Despite the corruption, which put food on the table and rabbit coats in the closet, Abbott remembers the kind and attentive father who spent nights reading to her. He alone is responsible for opening the door to a world of language and literature for her. And she ran with it. Against her father’s wishes, after graduation she headed for New York City. In the end, the girl he had nurtured into an independent and intelligent young woman had outgrown the small town where she grew up. The Bookmaker’s Daughter was originally published by Ticknor and Fields in 1992 and was a Book of the Month Club selection.

    The straight road has never had so many turns as Glory hooks up with other casualties from the chemical generation. There?s ex-Sister Jacqueline who fled the convent of the Sisters of Patience with the baby Jesus under her arm, ever relapsing gun freak Dooley who wants to be sober but is always drunk and Zemecki, so immersed in his lonely torpor that he can only express love for his ex-girlfriend?s cat. In this streetwise and sardonic book, Glory finds love and work whilst steering clear of self-pity and ?happy-talk?: she very determinedly goes and gets some. Winner of the prestigious Whiting Award for young writers, Emily Carter is that rare combination: a writer who can do very dark lightly.

    Lots of posters and memorabilia.

    Through the voices of those who witnessed it or were swept up in it indirectly, The Beatles Are Here! explores the emotional impact—some might call it hysteria—of the Fab Four’s February 1964 dramatic landing on our shores. Contributors, including Lisa See, Gay Talese, Renée Fleming, Roy Blount, Jr., and many others, describe in essays and interviews how they were inspired by the Beatles. This intimate and entertaining collection arose from writer Penelope Rowlands’s own Beatlemaniac phase: she was one of the screaming girls captured in an iconic photograph that has since been published around the world—and is displayed on the cover of this book. The stories of these girls, who found each other again almost 50 years later, are part of this volume as well. The Beatles Are Here! gets to the heart of why, half a century later, the Beatles still matter to us so deeply.

    Ranging from neo-Conceptual artworks to broader forms of cultural criticism, these rare texts are brought together in this volume for the first time, placing Gordon’s writing within the context of the artist-critics of her generation, including Mike Kelley, John Miller, and Dan Graham. In addressing key stakes within contemporary art, architecture, music, and the performance of male and female gender roles, Gordon provides a prescient analysis of such figures as Kelley, Glenn Branca, Rhys Chatham, Tony Oursler, and Raymond Pettibon, in addition to reflecting on her own position as a woman on stage. The result—Is It My Body?—is a collection that feels as timely now as when it was written. This volume additionally features a conversation between Gordon and Jutta Koether, in which they discuss their collaborations in art, music, and performance.

    They don't know what the HELL is going on. Unfortunately many of these people are responsible for running THE COUNTRY. They don't know the difference between a PRECIOUS JEWEL and a piece of animal turd. Their ideas are MEANINGLESS, illustrated using RUBBISH imagery (often made by a computer). The stupid words they write are always in BAD FONTS.Yet still people HEED this nonsense. Maybe YOU are one of these people?It's alright. I am here to HELP you. I have a FULLY-COMPOSED WORLD VIEW. I have STRONG opinions about EVERYTHING. And my ideas are HAND-ILLUSTRATED and use REAL HANDWRITING that you can trust. I know exactly what's going on and am WILLING to share my thoughts with you. If you LISTEN to what I say then things will quickly improve. No more weak messages. No more bad situations. Shall we proceed?

    Channeling unexpected, eclectic voices in a collection perfectly suited to readers of Daniyal Mueenuddin, Alice Sebold, and Dave Eggers, Moffett delivers a nuanced, powerful, humorous, and moving meditation on the trials of transitions and liminal living in today’s modern world. Richard Russo says, “the first thing you notice reading the stories in Further Interpretations of Real-Life Events is the author’s extraordinary range—of expertise, technique, imagination and wit. There doesn’t seem to be much Kevin Moffett can’t do.”

    With a new Introduction by Ralph Metzner, Leary's Harvard colleague, this book of poetry and meditations is being published in its first new edition in 25 years. Illustrations/photos.

    Auguste Rodin spoke candidly to his protégé, Paul Gsell, who recorded the master's thoughts not only about the technical secrets of his craft, but also about its aesthetic and philosophical underpinnings.Here is the real Rodin—relaxed, intimate, open, and charming—offering a wealth of observations on the relationship of sculpture to poetry, painting, theater, and music. He also makes perceptive comments on Rembrandt, Michelangelo, Raphael, and other great artists, and he shares revealing anecdotes about Hugo, Balzac, and others who posed for him. Seventy-six superb illustrations of the sculptor's works complement the text, including St John the Baptist Preaching, The Burghers of Calais, The Thinker, and many others, along with a selection of exuberant drawings and prints.

    But where once we settled down to admire the 'top-quality original songwriting' that the contest was inaugurated to showcase, throughout the long post-ABBA decades Eurovision has come to entertain us for all the wrong reasons: we chortle at its magnificent foolishness, its stubborn reinforcement of the crudest national stereotypes, at a scoreboard shamelessly corrupted by cross-border friendship and hatred. And as post-modern connoisseurs of showbiz meltdown, our focus has shifted from the blandly competent winners to the spangled, hapless, table-propping losers, those left to wander the lonely, windswept summit of Mount Fiasco. The gold standard of farcical failure, the benchmark of badness, to score nul points is to suffer international ignominy and find sympathetic understanding replaced by brutal guffaws. Remorseful of his own longstanding contributions to the latter chorus, yet darkly fascinated with those lives shadowed by the entertainment world's most grandiose humiliation, Tim Moore sets off to track down the thirteen Eurominstrels who have come and gone without troubling the scorers since Norway's Jahn Teigen twanged his silver braces and leapt splay-legged off the Palais des Congres stage in 1978. From Lisbon to Lithuania, from the Black Sea to the Baltic, Moore travels the continent to hear their extraordinary stories - 'poignant, ludicrous and heartwarming in almost equal measure' - recounting as he does so the no less improbable history of Eurovision itself, a towering cathedral of cheese that can nonetheless claim responsibility for keeping Norway out of the EU and catalysing the overthrow of a Portuguese dictatorship.