Schirmer edition of 24 Italian Songs & Arias of the 17th and 18th Centuries has introduced millions of beginning singers to serious Italian vocal literature. Offered in two accessible keys suitable for all singers, it is likely to be the first publication a voice teacher will ask a first-time student to purchase. The classic Parisotti realizations result in rich, satisfying accompaniments which allow singers pure musical enjoyment. For ease of practice, carefully prepared accompaniments are also recorded on CD by John Keene, a New York-based concert accompanist and vocal coach who has performed throughout the United States for radio and television. Educated at the University of Southern California, Keene has taught accompanying at the university level and collaborated with Gian Carlo Menotti and Thea Musgrave on productions of their operas.

    

    Here, Andrew Hultkrans explores the myriad depths of this bizarre and brilliant record. Charting bohemian Los Angeles' descent into chaos at the end of the ‘60s, he teases out the literary and mystical influences behind Arthur Lee's lyrics, and argues that Lee was both inspired and burdened by a powerful prophetic urge.EXCERPT'Forever Changes' may be thirty-six years old at the time of this writing, but its hermetic fusion of the personal and the political feels more relevant than ever. It speaks to the present in ways that, say, a Jefferson Airplane record never could, whatever the parallels between the late '60s and our contemporary morass. For unlike most rock musicians of his time, Arthur Lee was one member of the '60s counterculture who didn't buy flower-power wholesale, who intuitively understood that letting the sunshine in wouldn't instantly vaporize the world's (or his own) dark stuff. For him, the glittering surface of the Age of Aquarius obscured an undertow of impending doom.

    100 Unhip albums contains mini-essays on a selection of the uncoolest (but musically superb) records ever released. From famous albums which have since become uncool such as Sgt. Peppers Lonely Hearts Club Band to unhip bands such as Status Quo and Queen who became crap at some point in the past few decades. Then there are the unfavoured folk, soul and jazz artists who are criminally overlooked in favour of bigger names and the downright obscure bands who put out superb records only to disappear without trace. Ian’s amusing and fact-drenched book is a must for anyone in need of new sounds to spice up their listening pleasure!

    Revised and updated to cover the Clash's induction into the Rock and Roll Hall of Fame and the band members' post-Clash careers, The Clash: Return of the Last Gang in Town now includes the first full account of Joe Strummer's "Wilderness Years," his triumphant comeback with the Mescaleros, and his sudden and tragic early death. Extensively revised and updated from both its 1995 and 2001 incarnations, The Clash traces the band members' progress from dispiriting rehearsals in damp London basements to packed American stadiums. A fascinatingly detailed account of the first band to take punk's radical politics to the masses and survive for a decade against all the odds, it also offers an intriguing investigation into the gap between rock mythology and rock reality.

    Can small artists still thrive in the Internet era? Can giant record labels avoid alienating their audiences? This is a book about the pitfalls and the opportunities that creative industries (and individuals) are confronting today — about how the old models have failed or found new footing, and about what might soon replace them. An essential read for anyone with a stake in the future of the arts, Information Doesn’t Want to Be Free offers a vivid guide to the ways creativity and the Internet interact today, and to what might be coming next.

    Now some of that knowledge has been distilled into The Wire Primers: a comprehensive guide to the core recordings of some of the most visionary and inspiring, subversive and radical musicians on the planet, past and present. Each chapter surveys the musical universe of a particular artist, group or genre by way of a contextualizing introduction and a thumbnail guide to the most essential recordings. A massive and eclectic range of music is celebrated and demystified, from rock mavericks such as Captain Beefheart and The Fall; the funk of James Brown and Fela Kuti; the future jazz of Sun Ra and Ornette Coleman; and the experimental compositions of John Cage and Morton Feldman. Genres surveyed and explained include P-funk, musique concrète, turntablism, Brazilian Tropicália, avant metal and dubstep. The Wire Primers is a vital guide to contemporary sounds, providing an accessible entry point for any reader wanting to dig below the surface of mainstream music.

    Moving away from the Marxist/Freudian approaches that had concerned him earlier, Baudrillard developed in this book a theory of contemporary culture that relies on displacing economic notions of cultural production with notions of cultural expenditure.Baudrillard uses the concepts of the simulacra—the copy without an original—and simulation. These terms are crucial to an understanding of the postmodern, to the extent that they address the concept of mass reproduction and reproduceability that characterizes our electronic media culture.Baudrillard's book represents a unique and original effort to rethink cultural theory from the perspective of a new concept of cultural materialism, one that radically redefines postmodern formulations of the body.Sheila Glaser is an editor at Artforum magazine.

     YOU’RE THE FUCKING PROBLEM, YOU UPTIGHT, CENSORIOUS, SELF-RIGHTEOUS ASSHOLE! AND YOU ARE RUINING THE WORLD WITH YOUR PSYCHOTIC WITCH-HUNTING, ENDLESS PROTESTING AND BOYCOTTING, AND MOST OF ALL YOUR ABSOLUTELY SMACKABLE LACK OF HUMOR! YOU MAKE THE SALEM WITCH TRIALS AND THE McCARTHY ERA LOOK LIKE A NICE WARM BUBBLE BATH BY COMPARISON! In The New Church Ladies, beloved author Jim Goad uses weaponized words, violent rhetoric, debunked and discredited pseudoscience, and shocking, unforgivable hate speech to explain why the people who are always fighting “hate” are the most hateful jerkoffs on the planet...and why anyone who spends their life “shaming” others for not thinking like a perpetually miserable, microchip-implanted, ideologically clubfooted, progressive brainwashed zombie Social Justice Warrior should be ashamed of themselves.

    The author of Glory Days chronicles the rich history of the infamous tune sung by the Kingsmen, including the actual lyrics, the history of censorship, and other details.

    So-called illiberal democracy and authoritarian populism are in the political ascendant; the shelves of our bookshops groan with the work of attention-grabbing thinkers insisting that permissiveness, multiculturalism and 'identity politics' have failed us and that we must now fall back on some notion of tradition. We have had our fun, and now it's time to get serious, to shore our fragments against the ruin of postmodernist meaninglessness. It's not only the usual, conservative suspects who have got on board with this argument. Authentocrats critiques the manner in which post-liberal ideas have been mobilised underhandedly by centrist politicians who, at least notionally, are hostile to the likes of Donald Trump and UKIP. It examines the forms this populism of the centre has taken in the United Kingdom and situates the moderate withdrawal from liberalism within a story which begins in the early 1990s. Blairism promised socially liberal politics as the pay-off for relinquishing commitments to public ownership and redistributive policies: many current centrists insist New Labour's error was not its capitulation to the market, but its unwillingness to heed the allegedly natural conservatism of England's provincial working classes. In this book, we see how this spurious concern for 'real people' is part of a broader turn within British culture by which the mainstream withdraws from the openness of the Nineties under the bad-faith supposition that there's nowhere to go but backwards. The self-anointing political realism which declares that the left can save itself only by becoming less liberal is matched culturally by an interest in time-worn traditional identities: the brute masculinity of Daniel Craig's James Bond, the allegedly 'progressive' patriotism of nature writing, a televisual obsession with the World Wars. Authentocrats charges liberals themselves with fuelling the post-liberal turn, and asks where the space might be found for an alternative.

    Draper's history is an intelligent and witty behind-the-scenes look at this cultural icon and its course from its hippie beginnings to a high-profile magazine. 16 pages of photographs.

    Ten Illustrated Essays About Scrubs

    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.

    Neither the band’s hip origins in the Lower East Side scene nor Flood’s platinum certification can cover up the record's singular importance at the geek fringes of culture.Flood’s significance to this audience helps us understand a certain way of being: it shows that geek identity doesn’t depend on references to Hobbits or Spock ears, but can instead be a set of creative and interpretive practices marked by playful excess—a flood of ideas. The album also clarifies an historical moment. The brainy sort of kids who listened to They Might Be Giants saw their own cultural options grow explosively during the late 1980s and early 1990s amid the early tech boom and America’s advancing leftist social tides. Whether or not it was the band's intention, Flood’s jubilant proclamation of an identity unconcerned with coolness found an ideal audience at an ideal turning point. This book tells the story.