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Queen of Pop, superstar, maverick, and fashionista; Lady Gaga is one of the most recognisable and sensational pop stars for a generation.
A true original, Gaga found fame the hard way, playing the grimy bars and burlesque shows of New York City, before finally relocating to Los Angeles to begin work on what would become her debut album The Fame.
Constantly en vogue and always in the public eye, this is the biography of the rise of Gaga, from her early life as a teenage protege, to her life as one of the most respected musicians and most recognised entertainers on the planet.
This audiobook lifts the lid on Lady Gaga. Find out all you ever wanted to know about the eccentric star.
In the winter of 2006 Justin Vernon - aka Bon Iver - picked up a guitar, a laptop and some basic recording equipment and retreated to a remote cabin in the woods of Wisconsin to lick his wounds.
The story of how he recorded alt-folk classic For Emma, Forever Ago there has become the stuff of musical myth. He made it from the woods to international fame in just a few years but behind the 'overnight' success of Justin Vernon lies an inspirational personal story.
Bon Iver: Good Winter traces his life from his earliest days as pioneer of the collaborative musical scene in his hometown of Eau Claire, Wisconsin, through his years as frontman of the experimental rock band DeYarmond Edison and his 'lost' solo albums, to his Grammy-winning Bon Iver, Bon Iver album.
Bon Iver: Good Winter is the first in-depth account of the struggles, heartaches and hardships that led Vernon to become Bon Iver and includes contributions from all of his major collaborators and associates in the Eau Claire community as well accounts of
various side projects and his eventual vindications, triumphs and artistic achievements.
MARK BEAUMONT is an award-winning music journalist, broadcaster and author of Out Of This World: The Story Of Muse,
Jay-Z: King Of America and his debut novel .
A New York Times Book Review Editors' Choice. The Sunday Times (U.K.) Classical Music Book of 2018 and one of The Economist's Best Books of 2018.
"A magisterial portrait." --Corinna da Fonseca-Wollheim, The New York Times Book Review
A landmark biography of the Polish composer by a leading authority on Chopin and his time
Based on ten years of research and a vast cache of primary sources located in archives in Warsaw, Paris, London, New York, and Washington, D.C., Alan Walker's monumental Fryderyk Chopin: A Life and Times is the most comprehensive biography of the great Polish composer to appear in English in more than a century. Walker's work is a corrective biography, intended to dispel the many myths and legends that continue to surround Chopin. Fryderyk Chopin is an intimate look into a dramatic life; of particular focus are Chopin's childhood and youth in Poland, which are brought into line with the latest scholarly findings, and Chopin's romantic life with George Sand, with whom he lived for nine years.
Comprehensive and engaging, and written in highly readable prose, the biography wears its scholarship lightly: this is a book suited as much for the professional pianist as it is for the casual music lover. Just as he did in his definitive biography of Liszt, Walker illuminates Chopin and his music with unprecedented clarity in this magisterial biography, bringing to life one of the nineteenth century's most confounding, beloved, and legendary artists.
WINNER OF THE NATIONAL BOOK AWARD
It was the summer Coltrane died, the summer of love and riots, and the summer when a chance encounter in Brooklyn led two young people on a path of art, devotion, and initiation.
Patti Smith would evolve as a poet and performer, and Robert Mapplethorpe would direct his highly provocative style toward photography. Bound in innocence and enthusiasm, they traversed the city from Coney Island to Forty-Second Street, and eventually to the celebrated round table of Max's Kansas City, where the Andy Warhol contingent held court. In 1969, the pair set up camp at the Hotel Chelsea and soon entered a community of the famous and infamous, the influential artists of the day and the colorful fringe. It was a time of heightened awareness, when the worlds of poetry, rock and roll, art, and sexual politics were colliding and exploding. In this milieu, two kids made a pact to take care of each other. Scrappy, romantic, committed to create, and fueled by their mutual dreams and drives, they would prod and provide for one another during the hungry years.
Just Kids begins as a love story and ends as an elegy. It serves as a salute to New York City during the late sixties and seventies and to its rich and poor, its hustlers and hellions. A true fable, it is a portrait of two young artists' ascent, a prelude to fame.
Nick Drake was barely 26 years old when he died in 1974 following an accidental overdose of prescribed drugs. The British singer-songwriter made only three albums during his short life - Five Leaves Left, Bryter Layter and Pink Moon. All are now recognized as classics.
Since his death, Nick has been cited as a seminal influence by stars as diverse as REM, Elton John, and Paul Weller. While the lives of other musicians who died before their time, such as Jim Morrison, John Lennon, Jimi Hendrix, Janis Joplin and Gram Parsons, have been amply documented, there has never before been a biography of Nick Drake. Patrick Humphries' illuminating text includes exclusive interviews with friends, colleagues and musicians who knew and worked with Nick. It provides an unprecedented insight not only into the life and work of Nick Drake, but also into the music scene of the 1960s that formed his backdrop.
If a week is a long time in politics, then the 23 years since Nick's death represents a lifetime in the transitory world of pop. But the music of Nick Drake has never lost its place in his fans affections, and still its haunting beauty reaches out of fresh generations. This book is for all of them.
Praise for The Piano Shop on the Left Bank "[Carhart's] writing is fluid and lovely enough to lure the rustiest plunker back to the piano bench and the most jaded traveler back to Paris."
-San Francisco Chronicle "Captivating . . . [Carhart] joins the tiny company of foreigners who have written of the French as verbs. . . . What he tries to capture is not the sight of them, but what they see."
-The New York Times "Thoroughly engaging . . . In part it is a book about that most unpredictable and pleasurable of human experiences, serendipity. . . . The book is also about something more difficult to pin down, friendship and community."
-The Washington Post "Carhart writes with a sensuousness enhanced by patience and grounded by the humble acquisition of new insight into music, his childhood, and his relationship to the city of Paris."
-The New Yorker NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE WASHINGTON POST BOOK WORLD
By turns revealing, poetical, passionate and witty, Chronicles: Volume One is a mesmerizing window on Bob Dylan's thoughts and influences. Dylan's voice is distinctively American: generous of spirit, engaged, fanciful and rhythmic. Utilizing his unparalleled gifts of storytelling and the exquisite expressiveness that are the hallmarks of his music, Bob Dylan turns Chronicles: Volume One into a poignant reflection on life, and the people and places that helped shape the man and the art.
National Book Award winner M. T. Anderson delivers a brilliant and riveting account of the Siege of Leningrad and the role played by Russian composer Shostakovich and his Leningrad Symphony. In September 1941, Adolf Hitler's Wehrmacht surrounded Leningrad in what was to become one of the longest and most destructive sieges in Western history--almost three years of bombardment and starvation that culminated in the harsh winter of 1943-1944. More than a million citizens perished. Survivors recall corpses littering the frozen streets, their relatives having neither the means nor the strength to bury them. Residents burned books, furniture, and floorboards to keep warm; they ate family pets and--eventually--one another to stay alive. Trapped between the Nazi invading force and the Soviet government itself was composer Dmitri Shostakovich, who would write a symphony that roused, rallied, eulogized, and commemorated his fellow citizens--the Leningrad Symphony, which came to occupy a surprising place of prominence in the eventual Allied victory. This is the true story of a city under siege: the triumph of bravery and defiance in the face of terrifying odds. It is also a look at the power--and layered meaning--of music in beleaguered lives. Symphony for the City of the Dead is a masterwork thrillingly told and impeccably researched by National Book Award-winning author M. T. Anderson.
Jim Morrison and the Secret Gold Mine: Breaking Through The Doors to Hidden Reality and the Mind of God
Revealed at Last ... the Monumental Mystery Inside the Music of The Doors
The Doors were one of the most important rock groups of the 1960's, and their longevity and popularity has defied the expectations of nearly all critics. Why? Because most of them, including Robert Cristgau, Lester Bangs, Joan Didion, and Greil Marcus - were entirely keyless. They had no idea what was taking place in the music.
Jim Morrison and the Secret Gold Mine is the first book to explain the monumental vision hidden inside The Doors. Award-winning author David A. Shiang explores how Doors music transports listeners to an unseen world of transcendence and spiritual discovery. Shiang shows why Morrison's lyrics have stood the test of time and why Doors music continues to capture new and old audiences alike.
"Morrison was not only a first-rate poet but also a major thinker. The Doors journeyed into seldom-explored realms of spirituality and consciousness and brought back findings of great importance to all of us. The Doors, especially Morrison, were psycho-spiritual pioneers, and their insights and achievements extend far beyond the world of rock music into areas such as spirituality, science, philosophy, psychoanalysis, and mythology. The significance of their extraordinary vision has yet to be widely recognized."
- from the book
This book will open the eyes and ears of Doors lovers, Doors haters, and Doors newbies. Prepare yourself for a joyous thrill ride as you embark upon a musical and intellectual journey unlike any other.
Author David A. Shiang is a graduate of MIT and has a Master of Management from the Kellogg School at Northwestern University. He was a Danforth Fellow in the English PhD program at UC Berkeley also studied at L'ESSEC, Cergy, France. He is also the author of God Does Not Play Dice: the Fulfillment of Einstein's Quest for Law and Order in Nature, The Regret Cure: How to Eliminate Toxic Emotions and Never Regret Again, and The Top 10 Commandments of Jim Morrison.
From Louis Armstrong's renegade style trumpet playing to Frank Sinatra's intimate crooning, jazz critic Gary Giddins continually astonishes us with his unparalleled insight. In just a few lines, he captures the essence of Louis Armstrong, "He could telegraph with a growl or a rolling of his eyes his independence, confidence, and security. As the embodiment of jazz, he made jazz the embodiment of the individual." Giddins maintains, contrary to the opinion of most jazz enthusiasts, that Armstrongs voice was as much an integral part of creating jazz singing as his trumpet was to creating jazz. Perhaps the most remarkable chapters in the book are those that do pay tribute to the great jazz singers. Billie Holiday profoundly impacted music history, and Giddins eloquently honors her "gutted voice, drawled phrasing, and wayworn features." Many artists, such as Irving Berlin and Rosemary Clooney, have been traditionally dismissed by fans and critics as merely popular derivatives of true jazz. Giddins finally opens the doors of jazz to include these musicians. In addition to this, he devotes an entire quarter of this volume to young, active jazz artists. No other book has so boldly expanded the horizon of jazz and its influences.
Visions of Jazz is an evocative journey through the first one hundred years of jazz that will captivate--and challenge--musicians, music critics, and music lovers.
In this, the first new biography since Davis' death, John Szwed has examined Miles' life and music, and he finds them inseparable. In his music and in his life, Miles was compelled to change. As quickly as he established a new mode of music and a new self, he radically altered both. To understand Miles' shifting styles, one has to understand his personality, his demons, his changing identities, his aspirations for jazz as an art.
John Szwed has spoken to dozens of people who knew Miles at different points in his life, some of whom had seldom, if ever, been interviewed before. He has examined various archives to fill in the blanks in Davis' life, and to learn about his politics, the role of drugs, how he worked, what relationships he had with musicians, producers, and record executives. The result is the richest and most authoritative biography of Miles Davis to date, and the most persuasive interpretation of the life of a musical genius and cultural iconwhose influence is undiminished.
A pioneering bassist and composer, Mingus redefined jazz's terrain. He penned over 300 works spanning gutbucket gospel, Colombian cumbias, orchestral tone poems, multimedia performance, and chamber jazz. By the time he was 35, his growing body of music won increasing attention as it unfolded into one pioneering musical venture after another, from classical-meets-jazz extended pieces to spoken-word and dramatic performances and television and movie soundtracks. Though critics and musicians debated his musical merits and his personality, by the late 1950s he was widely recognized as a major jazz star, a bellwether whose combined grasp of tradition and feel for change poured his inventive creativity into new musical outlets.
But Mingus got headlines less for his art than for his volatile and often provocative behavior, which drew fans who wanted to watch his temper suddenly flare onstage. Impromptu outbursts and speeches formed an integral part of his long-running jazz workshop, modeled partly on dramatic models like Orson Welles' Mercury Theatre. Keeping up with the organized chaos of Mingus's art demanded gymnastic improvisational skills and openness from his musicians-which is why some of them called it "the Sweatshop." He hired and fired musicians on the bandstand, attacked a few musicians physically and many more verbally, twice threw Lionel Hampton's drummer off the stage, and routinely harangued chattering audiences, once chasing a table of inattentive patrons out of the FIVE SPOT with a meat cleaver. But the musical and mental challenges this volcanic man set his bands also nurtured deep loyalties. Key sidemen stayed with him for years and even decades.
In this biography, Santoro probes the sore spots in Mingus's easily wounded nature that helped make him so explosive: his bullying father, his interracial background, his vulnerability to women and distrust of men, his views of political and social issues, his overwhelming need for love and acceptance. Of black, white, and Asian descent, Mingus made race a central issue in his life as well as a crucial aspect of his music, becoming an outspoken (and often misunderstood) critic of racial injustice.
Santoro gives us a vivid portrait of Mingus's development, from the racially mixed Watts where he mingled with artists and writers as well as mobsters, union toughs, and pimps to the artistic ferment of postwar Greenwich Village, where he absorbed and extended the radical improvisation flowing through the work of Allen Ginsberg, Jackson Pollock, and Charlie Parker. Indeed, unlike Most jazz biographers, Santoro examines Mingus's extra-musical influences--from Orson Welles to Langston Hughes, Farwell Taylor, and Timothy Leary--and illuminates his achievement in the broader cultural context it demands.
Written in a lively, novelistic style, Myself When I Am Real draws on dozens of new interviews and previously untapped letters and archival materials to explore the intricate connections between this extraordinary man and the extraordinary music he made.
An obsessively researched biography of the three seminal music groups Coil, Current 93, and Nurse With Wound that also illuminates the history of the English underground scene.
Based on hundreds of hours of interviews with members of the seminal music groups Coil, Current 93, and Nurse With Wound, England's Hidden Reverse illuminates a shadowy but deeply influential underground scene. Together these artists and their many associates accented peculiarities of Englishness through the links and affinities they forged with earlier generations of the island's marginals and outsiders, such as playwright Joe Orton, writers like the decadent Count Eric Stenbock, ecstatic mystic novelist Arthur Machen and occult figures like Austin Osman Spare and Aleister Crowley.
While functioning as an obsessively researched biography of the three interrelated groups, David Keenan's book also works to trace their influences, explicating a reverse current that runs counter to the mainstream, drawing upon occult strains of transgressive performance, queer sensuality, and richly textured sound worlds.
This much-anticipated expanded edition of a book first published in 2002 and long out of print comes completely redesigned, with color throughout, with many new and previously unseen photographs and ephemera, including two new chapters: a final summary of how the "Reverse" has shifted gear since the book was first published, and a new essay, "Crime Calls For Night."
Hampton Hawes [1928-1977] was one of jazz's greatest pianists. Among his peers from California the self-taught Hawes was second only to Oscar Peterson. At the time of his celebration as New Star of the Year by downbeat magazine (1956), Hawes was already struggling with a heroin addiction that would lead to his arrest and imprisonment, and the interruption of a brilliant career. In 1963 President John F. Kennedy granted Hawes an Executive Pardon. In eloquent and humorous language Hampton Hawes tells of a life of suffering and redemption that reads like an improbable novel. Gary Giddins has called it "a major contribution to the literature of jazz." This book includes a complete discography and eight pages of photographs.