Still, what he saw of the devastation there sent him back to New Orleans eager for a normal life and a job as a floorwalker in the city’s biggest department store, and to start anew with his wife years after losing a son to illness. But when a little girl disappears from the store on his shift, he loses his job and soon joins her parents working on a steamboat plying the Mississippi and providing musical entertainment en route. Sam comes to suspect that on the downriver journey someone had seen this magical child and arranged to steal her away, and this quest leads him not only into this raucous new life on the river and in the towns along its banks but also on a journey deep into the Arkansas wilderness. Here he begins to piece together what had happened to the girl—a discovery that endangers everyone involved and sheds new light on the massacre of his own family decades before.Tim Gautreaux brings to vivid life the exotic world of steamboats and shifting currents and rough crowds, of the music of the twenties, of a nation lurching away from war into an uneasy peace at a time when civilization was only beginning to penetrate a hinterlands in which law was often an unknown force. The Missing is the story of a man fighting to redeem himself, of parents coping with horrific loss with only a whisper of hope to sustain them, of others for whom kidnapping is either only a job or a dream come true. The suspense—and the complicated web of violence that eventually links Sam to complete strangers—is relentless, urgently engaging and, ultimately, profoundly moving, the finest demonstration yet of Gautreaux’s understanding of landscape, history, human travail, and hope.

    This study of the blues by one of America's premier essayists and novelists will change old attitudes about a tradition that continues to feed the very heart of popular music—a blues that dances, shakes, shimmies, and exchanges bad news for stomping, rollicking, pulse-quickening good times.

    He was deported to the Nazi concentration camps in 1942 but miraculously was liberated from Buchenwald in 1945, the only one of thirteen deported family members to survive. At age 22, a song he recorded, "Put Your Shoes on Lucy," became a big hit in the United States. He appeared in Cabaret on Broadway, in motion pictures including The Hindenburg with George C. Scott, and in nightclubs. On television he was well-loved for roles on "The Young and the Restless," "Days of our Lives," and of course, as Corporal Louis Lebeau on "Hogan's Heroes." As a Holocaust survivor, Clary has lectured at high schools, colleges, synagogues, and civic groups throughout the U.S. and Canada.

    Rhymes and rhythmic text paired with picture clues help children decode the story. For children who know the alphabet and are eager to begin reading.

    This is his memoir of life at the heart of prog rock, art rock, & modern jazz. It is an honest, entertaining, well-written account of life on the road & in the studio.

    Along the way you'll find hilarious anecdotes about his adventures as a Monkee: the girls, the parties, the celebrities as well as the harder-edged realities of a life lived in front of a camera.

    First published in 1946, Really the Blues was a rousing wake-up call to alienated young whites to explore the world of jazz, the first music America could call its own. Told in the jive lingo of the underground's inner circle, this classic is an unforgettable chronicle of street life, smoky clubs, and roadhouse dances.

    starting in December 1945, where Bird and Dizzy Gillespie brought frenetic sounds of bebop from the East Coast jazz underground to the West Coast for a two-month residency at Billy Berg’s Hollywood jazz club.

    Her column, Rock, Etc., ran for seven years and established Willis as a leader in cultural commentary and a pioneer in the nascent and otherwise male-dominated field of rock criticism. As a writer for a magazine with a circulation of nearly half a million, Willis was also the country’s most widely read rock critic. With a voice at once sharp, thoughtful, and ecstatic, she covered a wide range of artists—Bob Dylan, The Who, Van Morrison, Elvis Presley, David Bowie, the Rolling Stones, Creedence Clearwater Revival, Joni Mitchell, the Velvet Underground, Sam and Dave, Bruce Springsteen, and Stevie Wonder—assessing their albums and performances not only on their originality, musicianship, and cultural impact but also in terms of how they made her feel.Because Willis stopped writing about music in the early 1980s—when, she felt, rock ’n’ roll had lost its political edge—her significant contribution to the history and reception of rock music has been overshadowed by contemporary music critics like Robert Christgau, Lester Bangs, and Dave Marsh. Out of the Vinyl Deeps collects for the first time Willis’s Rock, Etc. columns and her other writings about popular music from this period (includingliner notes for works by Lou Reed and Janis Joplin) and reasserts her rightful place in rock music criticism.More than simply setting the record straight, Out of the Vinyl Deeps reintroduces Willis’s singular approach and style—her use of music to comment on broader social and political issues, critical acuity, vivid prose, against-the-grain opinions, and distinctly female (and feminist) perspective—to a new generation of readers. Featuring essays by the New Yorker’s current popular music critic, Sasha Frere-Jones, and cultural critics Daphne Carr and Evie Nagy, this volume also provides a lively and still relevant account of rock music during, arguably, its most innovative period.

    Pop culture exploded in upheaval with the rise of artists like Jasper Johns, Norman Mailer, Allen Ginsberg, and Miles Davis. Court rulings unshackled previously banned books. Political power broadened with the onset of Civil Rights laws and protests. The sexual and feminist revolutions took their first steps with the birth control pill. America entered the war in Vietnam, and a new style in superpower diplomacy took hold. The invention of the microchip and the Space Race put a new twist on the frontier myth.Vividly chronicles 1959 as a vital, overlooked year that set the world as we know it in motion, spearheading immense political, scientific, and cultural changeStrong critical acclaim: "Energetic and engaging" (Washington Post); "Immensely enjoyable . . . a first-rate book" (New Yorker); "Lively and filled with often funny anecdotes" (Publishers Weekly)Draws fascinating parallels between the country in 1959 and todayDrawing fascinating parallels between the country in 1959 and today, Kaplan offers a smart, cogent, and deeply researched take on a vital, overlooked period in American history.

    Earlier musical styles sound different to us today because we hear them through the musical filter of other styles that came after them, all the way through funk and hip hop.As its blasphemous title suggests, How the Beatles Destroyed Rock 'n' Roll rejects the conventional pieties of mainstream jazz and rock history. Rather than concentrating on those traditionally favored styles, the book traces the evolution of popular music through developing tastes, trends and technologies--including the role of records, radio, jukeboxes and television --to give a fuller, more balanced account of the broad variety of music that captivated listeners over the course of the twentieth century. Wald revisits original sources--recordings, period articles, memoirs, and interviews--to highlight how music was actually heard and experienced over the years. And in a refreshing departure from more typical histories, he focuses on the world of working musicians and ordinary listeners rather than stars and specialists. He looks for example at the evolution of jazz as dance music, and rock 'n' roll through the eyes of the screaming, twisting teenage girls who made up the bulk of its early audience. Duke Ellington, Benny Goodman, Frank Sinatra, Elvis Presley, Chuck Berry, and the Beatles are all here, but Wald also discusses less familiar names like Paul Whiteman, Guy Lombardo, Mitch Miller, Jo Stafford, Frankie Avalon, and the Shirelles, who in some cases were far more popular than those bright stars we all know today, and who more accurately represent the mainstream of their times.Written with verve and style, How the Beatles Destroyed Rock 'n' Roll shakes up our staid notions of music history and helps us hear American popular music with new ears.

    Combining terrific firsthand reporting with deep historical research, Preston Lauterbach uncovers characters like Chicago Defender columnist Walter Barnes, who pioneered the circuit in the 1930s, and larger-than-life promoters such as Denver Ferguson, the Indianapolis gambling chieftain who consolidated it in the 1940s. Charging from Memphis to Houston and now-obscure points in between, The Chitlin' Circuit brings us into the sweaty back rooms where such stars as James Brown, B. B. King, and Little Richard got their start. With his unforgettable portraits of unsung heroes including King Kolax, Sax Kari, and Clarence "Gatemouth" Brown, Lauterbach writes of a world of clubs and con men that has managed to avoid much examination despite its wealth of brash characters, intriguing plotlines, and vulgar glory, and gives us an excavation of an underground musical America.

    From session musician to band member of Charlie Parker, Dizzy Gillespie and Miles Davis, his raw talent and passion for experimentation inaugurated a new movement in music. Positioned at the beating heart of the 50s and 60s jazz world, Coltrane and his quartet created some of the most innovative and expressive music of the age, including the hit album My Favorite Things and the landmark work A Love Supreme. Juxtaposing scenes from Coltrane's personal life - his military career, addictions, political activism and love affairs - against snapshots of his major recordings, Coltrane evokes an extraordinary life and the momentous historical events that formed its backdrop. It is a graphic novel that echoes his work in its structure and style, and forms a testament to a pioneer and legend, whose music continues to inspire to this day.

    Because of who she was and how she chose to live her life, Lady Day has been the subject of both intense adoration and wildly distorted legends. Now at last, Farah Jasmine Griffin, a writer of intellectual authority and superb literary gifts, liberates Billie Holiday from the mythology that has obscured both her life and her art.An intimate meditation on Holiday’s place in American culture and history, If You Can’t Be Free, Be A Mystery reveals Lady Day in all her complexity, humor and pain–a true jazz virtuoso whose passion and originality made every song she sang hers forever. Celebrated by poets, revered by recording artists from Frank Sinatra to Macy Gray, Billie Holiday is more popular and influential today than ever before. Now, thanks to this marvelous book, Holiday’s many fans can finally understand the singer and the woman they love.

    In the Break is an extended riff on “The Burton Greene Affair,” exploring the tangled relationship between black avant-garde in music and literature in the 1950s and 1960s, the emergence of a distinct form of black cultural nationalism, and the complex engagement with and disavowal of homoeroticism that bridges the two. Fred Moten focuses in particular on the brilliant improvisatory jazz of John Coltrane, Ornette Coleman, Albert Ayler, Eric Dolphy, Charles Mingus, and others, arguing that all black performance—culture, politics, sexuality, identity, and blackness itself—is improvisation.For Moten, improvisation provides a unique epistemological standpoint from which to investigate the provocative connections between black aesthetics and Western philosophy. He engages in a strenuous critical analysis of Western philosophy (Heidegger, Kant, Husserl, Wittgenstein, and Derrida) through the prism of radical black thought and culture. As the critical, lyrical, and disruptive performance of the human, Moten’s concept of blackness also brings such figures as Frederick Douglass and Karl Marx, Cecil Taylor and Samuel R. Delany, Billie Holiday and William Shakespeare into conversation with each other.Stylistically brilliant and challenging, much like the music he writes about, Moten’s wide-ranging discussion embraces a variety of disciplines—semiotics, deconstruction, genre theory, social history, and psychoanalysis—to understand the politicized sexuality, particularly homoeroticism, underpinning black radicalism. In the Break is the inaugural volume in Moten’s ambitious intellectual project-to establish an aesthetic genealogy of the black radical tradition.