It travels from the rainforests of Amazonas to virtual Las Vegas; from David Lynch's dream house high in the Hollywood Hills to the megalopolis of Tokyo.Ocean of Sound begins in 1889 at the Paris exposition when Debussy first heard Javanese music performed. An ethereal culture developed in response to the intangibility of 20th century communications.Author of Rap Attack 3 and Exotica, David Toop has in Ocean of Sound written an exhilarating, path-breaking account of ambient sound.

    Now Dani Filth and Gavin Baddeley lay bare the fascinating underworld of contemporary culture. Dissecting the Satanic sources that have influenced and informed Cradle of Filth, with a roadmap to every significant landmark in the domains of darkness, including the arcane secrets of Black Magic, via the sex rites of vampirism. Artfully combining Hammer horror style schlock, dripping with eroticism, backed by authentic Black Arts info and a wicked sense of humor, this will dazzle devoted disciples of darkness. Contributors include actor Christopher Lee and Satanist Anton LaVey, to serial killer expert Robert Ressler and necrophile Karen Greenlee.

    One of the most influential collections of music ever published, Style and Idea includes Schoenberg’s writings about himself and his music as well as studies of many other composers and reflections on art and society.

    In 1963, ten years after Hank's death, Doc himself is wracked by addiction. Having lost his license to practice medicine, his morphine habit isn't as easy to support as it used to be. So he lives in a rented room in the red-light district on the south side of San Antonio, performing abortions and patching up the odd knife or gunshot wound. But when Graciela, a young Mexican immigrant, appears in the neighborhood in search of Doc's services, miraculous things begin to happen. Graciela sustains a wound on her wrist that never heals, yet she heals others with the touch of her hand. Everyone she meets is transformed for the better, except, maybe, for Hank's angry ghost—who isn't at all pleased to see Doc doing well.  A brilliant excavation of an obscure piece of music history, Steve Earle's I'll Never Get Out of This World Alive is also a marvelous novel in its own right, a ballad of regret and redemption, and of the ways in which we remake ourselves and our world through the smallest of miracles.

    People literally put themselves into the skin of the "savage," in masquerades that stretch back centuries. By becoming a bear, a goat, a stag, a wild boar, a man of straw, a devil, or a monster with jaws of steel, these people celebrate the cycle of life and seasons. The costumes amaze with their extraordinary diversity and prodigious beauty. Work on this project took leading French photographer Charles Fréger to eighteen European countries in search of the mythological figure of the Wild Man.

    This excursion into the history of bizarre entertainments includes armless calligraphers, mathematical dogs, tightrope-walking fleas and assorted quacks, flimflammers and charlatans of spectacle.

    This unique collection of documents, edited and annotated by Jean-Jacques Eigeldinger, reveals Chopin as teacher and interpreter of his own music. Included in this study is extensive appendix material that presents annotated scores, and personal accounts of Chopin's playing by pupils, writers, and critics.

    Can you imagine being a struggling musician back then? It must take an incredible amount of restraint to play that gently.’ —Actor/comedian Fred Armisen, from his foreword to this book Just what is ‘yacht rock,’ you ask? Perhaps the easiest description is music that would not sound out of place being played while carousing aboard a yacht back in the good old days. But these songs were also some of the top pop gems of the 1970s and '80s. And while some associate yacht rock’s biggest songs with one-hit wonder artists, several of rock’s most renowned artists fall under this category, too - including Fleetwood Mac, the Eagles, Steely Dan, Hall & Oates, The Doobie Brothers, Toto, and more. Yacht rock seemed to have become extinct by the early twenty-first century … until a comedic video series, simply titled Yacht Rock, went viral and introduced captain’s hats and blazers to a whole new generation - as well as the emergence of a popular cover band, the Yacht Rock Revue, and of course, Jimmy Fallon’s on-air admiration of all things yacht rock. Now, yacht rock is one of the most celebrated ‘yesteryear’ styles of pop music, and has resonated with a new generation of musicians (including the Fred Armisen/Bill Hader-led Blue Jean Committee and soul/funk/electronica crossover act Thundercat). But despite all the hoopla, there has never been a book that told the entire story of the genre. Until now. Featuring interviews with many of the heavy hitters of the genre, including John Oates, Kenny Loggins, and Don Felder, The Yacht Rock Book leaves no sail unturned. This is the definitive story of the yacht rock’s creation, rise, chart-smashing success, fall, and stunning rebirth.

    The rocker settled in Berlin, where he would make his “Berlin Trilogy”—the albums Low, Heroes, and Lodger, which are now considered some of the most critically acclaimed and innovative of the late twentieth century. But Bowie’s time in Berlin was about more than producing new music. As Tobias Rüther describes in this fascinating tale of Bowie’s Berlin years, the musician traveled to West Berlin—the capital of his childhood dreams and the city of Expressionism—to repair his body and mind from the devastation of drug addiction, delusions, and mania.             Painting a vivid picture of Bowie’s life in the Schöneberg area of the city, Rüther describes the artist’s friendships and collaborations with his roommate, Iggy Pop, as well as Brian Eno and Tony Visconti. Rüther illustrates Bowie’s return to painting, days cycling to the Die Brücke museum, and his exploration of the city’s nightlife, both the wild side and the gay scene. In West Berlin, Bowie also met singer and actress Romy Haag; came to know Hansa Studios, where he would record Low and Heroes; and even landed the part of a Prussian aristocrat in Just a Gigolo, starring alongside Marlene Dietrich. Eventually Rüther uses Bowie and his explorations of the cultural and historical undercurrents of West Berlin to examine the city itself: divided, caught in the Cold War, and how it began to redefine itself as a cultural metropolis, turning to the arts to start a new history. Tying in with an exhibition at the Museum of Contemporary Art, Chicago, in September, 2014, Heroes tells the fascinating story of how the music of the future arose from the spirit of the past. It is an unforgettable look at one of the world’s most renowned musicians in one of its most inspiring cities.

    Worldwide sensation One Direction is back to share all their secrets, dreams and stories from the past year with the fans they love.Packed full of exclusive interviews and never-before-seen photos of the boys, discover everything you’ve ever wanted to know about Harry, Liam, Louis, Niall and Zayn, from their passions and influences to all the crazy on tour goss.With juicier info than ever before, this is the ultimate Christmas gift for all Directioners!

    The future, a long time coming, finally arrived. But how did we get here?In Mars by 1980, David Stubbs charts the evolution of electronic music from the earliest mechanical experiments in the late nineteenth century to the pre-World War 1 inventions of the Futurist Luigi Russolo, author of the 'Art Of Noises' manifesto. He takes us through the musique concrete of radical composers such as Edgard Varese, Pierre Schaeffer, and Karlheinz Stockhausen, to the gradual absorption of electronic instrumentation into the mainstream: be it through the BBC Radiophonic Workshop and the work of pioneers like Delia Derbyshire, grandiose prog rock, or the more DIY approach of electronica, house, and techno.It's a tale of mavericks and future dreamers overcoming Luddite resistance, malfunctioning devices, and sonic mayhem. Its beginnings are in the world of avant-classical composition, but the book also encompasses the cosmic funk of Stevie Wonder, Giorgio Moroder, and unforgettable 80s electronic pop from the likes of Depeche Mode, the Pet Shop Boys, and Laurie Anderson - right up to present day innovators on the underground scene. But above all, it's an essential story of authenticity: is this music? Is it legitimate? What drew its creators to make it? Where does it stand, in relation to rock and pop, classical and jazz music, to the modern society that generated it? And why does it resonate more strongly than ever in our own postmodern, seemingly post-futurist times? Mars by 1980 is the definitive account that answers these questions.

    Out of a wounding sense of alienation and dividedness he created a profoundly original symbolic language, in which words and images unite in a unique interpretation of self and society. He was a counterculture prophet whose art still challenges us to think afresh about almost every aspect of experience—social, political, philosophical, religious, erotic, and aesthetic. He believed that we live in the midst of Eternity here and now, and that if we could open our consciousness to the fullness of being, it would be like experiencing a sunrise that never ends.   Following Blake’s life from beginning to end, acclaimed biographer Leo Damrosch draws extensively on Blake’s poems, his paintings, and his etchings and engravings to offer this generously illustrated account of Blake the man and his vision of our world. The author's goal is to inspire the reader with the passion he has for his subject, achieving the imaginative response that Blake himself sought to excite. The book is an invitation to understanding and enjoyment, an invitation to appreciate Blake’s imaginative world and, in so doing, to open the doors of our perception.

    After speaking with dozens of victims, perpetrators, and experts, and reviewing a myriad of court cases and studies, the author explains how religious child maltreatment happens. She then takes an in-depth look at the many forms of child maltreatment found in religious contexts, including biblically-prescribed corporal punishment and beliefs about the necessity of "breaking the wills" of children; scaring kids into faith and other types of emotional maltreatment such as spurning, isolating, and withholding love; pedophilic abuse by religious authorities and the failure of religious organizations to support the victims and punish the perpetrators; and religiously-motivated medical neglect in cases of serious health problems. In a concluding chapter, Heimlich raises questions about children’s rights and proposes changes in societal attitudes and improved legislation to protect children from harm. While fully acknowledging that religion can be a source of great comfort, strength, and inspiration to many young people, Heimlich makes a compelling case that, regardless of one’s religious or secular orientation, maltreatment of children under the cloak of religion can never be justified and should not be tolerated.

    . . . In its general theoretical argument on the relations of culture to economy, but also in its specialized concentration, Noise has much that is of importance to critical theory today.” SubStance“For Attali, music is not simply a reflection of culture, but a harbinger of change, an anticipatory abstraction of the shape of things to come. The book’s title refers specifically to the reception of musics that sonically rival normative social orders. Noise is Attali’s metaphor for a broad, historical vanguardism, for the radical soundscapes of the western continuum that express structurally the course of social development.” EthnomusicologyJacques Attali is the author of numerous books, including Millennium: Winners and Losers in the Coming World Order and Labyrinth in Culture and Society.

    An exhilarating exploration of the musical language, forms, and styles of the Romantic period, it captures the spirit that enlivened a generation of composers and musicians, and in doing so it conveys the very sense of Romantic music. In readings uniquely informed by his performing experience, Rosen offers consistently acute and thoroughly engaging analyses of works by Schubert, Schumann, Mendelssohn, Bellini, Liszt, and Berlioz, and he presents a new view of Chopin as a master of polyphony and large-scale form. He adeptly integrates his observations on the music with reflections on the art, literature, drama, and philosophy of the time, and thus shows us the major figures of Romantic music within their intellectual and cultural context.Rosen covers a remarkably broad range of music history and considers the importance to nineteenth-century music of other cultural developments: the art of landscape, a changed approach to the sacred, the literary fragment as a Romantic art form. He sheds new light on the musical sensibilities of each composer, studies the important genres from nocturnes and songs to symphonies and operas, explains musical principles such as the relation between a musical idea and its realization in sound and the interplay between music and text, and traces the origins of musical ideas prevalent in the Romantic period. Rich with striking descriptions and telling analogies, Rosen's overview of Romantic music is an accomplishment without parallel in the literature, a consummate performance by a master pianist and music historian.