For four glittering decades, geniuses like Jerome Kern, George Gershwin, Cole Porter, and Harold Arlen ran their fingers over piano keys, enticing unforgettable melodies out of thin air. Critically acclaimed writer Wilfrid Sheed uncovered the legends, mingled with the greats, and gossiped with the insiders. Now he’s crafted a dazzling, authoritative history of the era that “tripled the world’s total supply of singable tunes.”It began when immigrants in New York’s Lower East Side heard black jazz and blues–and it surged into an artistic torrent nothing short of miraculous. Broke but eager, Izzy Baline transformed himself into Irving Berlin, married an heiress, and embarked on a string of hits from “Always” to “Cheek to Cheek.” Berlin’s spiritual godson George Gershwin, in his brief but incandescent career, straddled Tin Pan Alley and Carnegie Hall, charming everyone in his orbit. Possessed of a world-class ego, Gershwin was also generous, exciting, and utterly original. Half a century later, Gershwin love songs like “Someone to Watch Over Me,” “The Man I Love,” and “Love Is Here to Stay” are as tender and moving as ever.Sheed also illuminates the unique gifts of the great jazz songsters Hoagy Carmichael and Duke Ellington, conjuring up the circumstances of their creativity and bringing back the thrill of what it was like to hear “Georgia on My Mind” or “Mood Indigo” for the first time. The Golden Age of song sparked creative breakthroughs in both Broadway musicals and splashy Hollywood extravaganzas. Sheed vividly recounts how Cole Porter, Richard Rodgers, Jerome Kern, and Johnny Mercer spread the melodic wealth to stage and screen.Popular music was, writes Sheed, “far and away our greatest contribution to the world’s art supply in the so-called American Century.” Sheed hung out with some of the great artists while they were still writing–and better than anyone, he knows great music, its shimmer, bite, and exuberance. Sparkling with wit, insight, and the grace notes of wonderful songs, The House That George Built is a heartfelt, intensely personal portrait of an unforgettable era.A delightfully charming, funny, and most illuminating portrait of songwriters and the Golden Age of American Popular Song. Mr. Sheed’s carefully chosen depictions and anecdotes recapture that amazingly creative period, a moment in time in which I was so fortunate to be surrounded by all that magic.”–Margaret Whiting

    punk rock music scene that led to the rise of such bands as Positive Force, Riot Grrrl, Fugazi, and Bikini Kill.

    In Pretty in Punk, Lauraine Leblanc examines what happens when girls ignore these cultural messages, parody ideas of beauty, and refuse to play the games of teenage femininity. She explores the origins and development of the punk subculture, the processes by which girls decide to “go punk,” patterns of resistance to gender norms, and tactics girls use to deal with violence and harassment.Pretty in Punk takes readers into the lives of girls living on the margins of contemporary culture. Drawing on interviews with 40 girls and women between the ages of 14-37, Leblanc examines the lives of her subjects, illuminating their forms of rebellion and survival. Pretty in Punk lets readers hear the voices of these women as they describe the ways their  constructions of femininity—from black lipstick to slamdancing—allow them to reject damaging cultural messages and build strong identities. The price they pay for resisting femininity can be steep—girls tell of parental rejection, school expulsion, institutionalization,  and harassment. Leblanc illuminates punk girls’ resistance to adversity, their triumphs over tough challenges, and their work to create individual identities in a masculine world.

    That master would become King George II and the composer was George Frideric Handel.Handel, then still only twenty-seven and largely self-taught, would be at the heart of musical activity in London for the next four decades, composing masterpiece after masterpiece, whether the glorious coronation anthem, Zadok the Priest, operas such as Giulio Cesare, Rinaldo and Alcina or the great oratorios, culminating, of course, in Messiah.Here, Jane Glover, who has conducted Handel’s work in opera houses and concert halls throughout the world, draws on her profound understanding of music and musicians to tell Handel’s story. It is a story of music-making and musicianship, of practices and practicalities, but also of courts and cabals, of theatrical rivalries and of eighteenth-century society. It is also, of course, the story of some of the most remarkable music ever written, music that has been played and sung, and loved, in this country – and throughout the world – for three hundred years.

    Here are the recollections of many of the giants of soul—Smokey Robinson, Diana Ross, Aretha Franklin, Ray Charles, James Brown, Mary Wilson, Marvin Gaye, Screaming Jay Hawkins, and Wilson Pickett. These and other interviews, many of them exclusive, add up to a brilliant anecdotal portrait of the music and the life. Gerri Hirshey is the author of We Gotta Get Out of this Place: The True, Tough Story of Women in Rock; she has also written for Rolling Stone and the New York Times.

    Aged sixty, he had just mourned the death of his father, only to be handed a diagnosis of mouth and throat cancer.This momentous time in his life, and being at the most famous junction in music history, led Radcliffe to think about the pivotal tracks in music and how the musicians who wrote and performed them - from Woodie Guthrie to Gloria Gaynor, Kurt Cobain to Bob Marley - had reached the crossroads that led to such epoch-changing music.In this warm, intimate account of music and its power to transform our lives, Radcliffe takes a personal journey through these touchstone tracks, looking at the story behind the records and his own experiences as he goes in search of these moments.

    Waking up the neighbors and setting the U.S. music scene on fire in the 1970s and through the '80s, The Ramones' story is tragic and raw, sentiments that could also describe the band's songwriter, bass player, and unsung genius, Dee Dee. A wild ride into the heart and soul of New York City, Poisoned Heart is Vera Ramones King's last testament to her former husband, who shocked the world when he died in 2002 of a drug overdose despite having been clean for years. Dee Dee defined the punk-rock lifestyle. He was a rash, often violent, heroin addict, and no one better understood his twisted mentality, or insanity, than faithful wife Vera. But Vera, herself a less destructive Nancy to Dee Dee's Sid, also came to know the Dee Dee that music fans worldwide held near and dear: a generous, loving man who had a soft-spot for bums, who grew up in the tough streets of Queens, who never stopped working, writing, and performing, who often treated his wife like a Punk Rock Princess, and whose greatest joy was the look on his fans' faces as he played them a song. For true fans of The Ramones, those who remember the 1970s as a time of music innovation and inspired creativity, groupies, wannabes, and true music-lovers everywhere, Poisoned Heart is destined to become a literary--and rock--classic.

    For intermediate to advanced players, and written by one of the acknowledged masters of jazz, it is used by universities around the world.

    "The text provides students with a comprehensive but accessible and highly practical set of tools for the understanding of music."

    But behind the music lay a ghost city of malice and corruption.Pressed under the thumb of the Bjelke-Petersen government and its toughest enforcers - the police - Brisbane's musicians, radio announcers and political activists braved ignorance, harassment and often violence to be heard."Pig City" maps the shifts in musical, political and cultural consciousness that have shaped the city's history and identity. This is Brisbane's story - the story of how a city finally grew up.

    Have you ever wished you could play the piano? Well, now you can! Scott "The Piano Guy" Houston teaches you to play the way the pros play, in a style enormously simpler than traditional classical piano and with an absolute minimum of note-reading. By focusing on playing the melody with the right hand (one note at a time) and simple chords with the left hand, Houston gives you the tools you need for a lifetime of musical enjoyment. Best of all, your tour guide to this adventure forces you to have fun along the way!

    Martini) * Minuet, BWV Anh. II 114/Anh. III 183/Anh. II 115 (J. S. Bach) * Gavotte in G Minor, Gavotte en Rondeau from Suite in G Minor for Klavier, BWV 822 (J. S. Bach) * Humoresque, Op. 101, No. 7 for Piano (A. Dvor�k) * Gavottes I and II from Suite III in C Major for Violoncello, BWV 1009 (J. Becker) * Gavotte in D Major (J. S. Bach) * Bourr�e, Bour�es I and II from Suite III in C Major for Violoncello, BWV 1009 (J. S. Bach). This title is available in SmartMusic.

    Will take 25-35 days

    Hebdige [...] is concerned with the UK's postwar, music-centred, white working-class subcultures, from teddy boys to mods and rockers to skinheads and punks.' - Rolling StoneWith enviable precision and wit Hebdige has addressed himself to a complex topic - the meanings behind the fashionable exteriors of working-class youth subcultures - approaching them with a sophisticated theoretical apparatus that combines semiotics, the sociology of devience and Marxism and come up with a very stimulating short book - Time OutThis book is an attempt to subject the various youth-protest movements of Britain in the last 15 years to the sort of Marxist, structuralist, semiotic analytical techniques propagated by, above all, Roland Barthes. The book is recommended whole-heartedly to anyone who would like fresh ideas about some of the most stimulating music of the rock era - The New York Times

    The collection is an extension of Pinknoises.com, the critically-acclaimed website founded by musician and scholar Tara Rodgers in 2000 to promote women in electronic music and make information about music production more accessible to women and girls. That site featured interviews that Rodgers conducted with women artists, exploring their personal histories, their creative methods, and the roles of gender in their work. This book offers new and lengthier interviews, a critical introduction, and resources for further research and technological engagement.Contemporary electronic music practices are illuminated through the stories of women artists of different generations and cultural backgrounds. They include the creators of ambient soundscapes, “performance novels,” sound sculptures, and custom software, as well as the developer of the Deep Listening philosophy and the founders of the Liquid Sound Lounge radio show and the monthly Basement Bhangra parties in New York. These and many other artists open up about topics such as their conflicted relationships to formal music training and mainstream media representations of women in electronic music. They discuss using sound to work creatively with structures of time and space, and voice and language; challenge distinctions of nature and culture; question norms of technological practice; and balance their needs for productive solitude with collaboration and community. Whether designing and building modular synthesizers with analog circuits or performing with a wearable apparatus that translates muscle movements into electronic sound, these artists expand notions of who and what counts in matters of invention, production, and noisemaking. Pink Noises is a powerful testimony to the presence and vitality of women in electronic music cultures, and to the relevance of sound to feminist concerns.Interviewees: Maria Chavez, Beth Coleman (M. Singe), Antye Greie (AGF), Jeannie Hopper, Bevin Kelley (Blevin Blectum), Christina Kubisch, Le Tigre, Annea Lockwood, Giulia Loli (DJ Mutamassik), Rekha Malhotra (DJ Rekha), Riz Maslen (Neotropic), Kaffe Matthews, Susan Morabito, Ikue Mori, Pauline Oliveros, Pamela Z, Chantal Passamonte (Mira Calix), Maggi Payne, Eliane Radigue, Jessica Rylan, Carla Scaletti, Laetitia Sonami, Bev Stanton (Arthur Loves Plastic), Keiko Uenishi (o.blaat)