Once a thriving body of innovative and fluid music, jazz is now the victim of destructive professional and artistic forces, says Eric Nisenson. Corruption by marketers, appropriation by the mainstream, superficial media portrayal, and sheer lack of skill have all contributed to the demise of this venerable art form. Nisenson persuasively describes how the entire jazz ”industry” is controlled by a select cadre with a choke hold on the most vital components of the music. As the listening culture has changed, have spontaneity and improvisation been sacrificed? You can agree or disagree with Nisenson's thesis and arguments, but as Booklist says, ”his passion is engrossing.”
Sonny Rollins is arguably the most influential tenor saxophonist that jazz has produced. He began his musical career at the tender age of eleven, and within five short years he was playing with the legendary Thelonius Monk. In the late forties (before his twenty-first birthday), Rollins was in full swing, recording with jazz luminaries such as Charlie Parker, Bud Powell, Max Roach, Art Blakey, Miles Davis, and Fats Navarro. He was hailed as the best jazz tenor saxophonist alive during the years 1955 to 1959, when he was credited with pioneering the use of 3/4-time in bop music.Today, forty years later, Rollins's onstage appearances are eagerly anticipated events, where his compelling sound reaches a whole new generation of listeners. Renowned jazz writer Eric Nisenson has penned a long-overdue look at one of jazz music's brightest and most enduring stars.
It is the summer of 1976 and Salvo Ursari, a man of retirement age, is walking on a taut wire strung between the Twin Towers of New York's World Trade Center, almost fourteen hundred feet above the city. Far below him in the gaping crowd stands his wife, Anna, to whom he has made a solemn promise: This wire walk will end his career. In this daring moment, Steven Galloway opens his riveting novel about Salvo Ursari, whose life begins in 1919 amid a Transylvanian boyhood inhabited by gypsy folklore and inspired by the bravery of his persecuted people. Salvo's story moves irresistibly from a tragic fire that envelops his family, to street life in Budapest, where he learns the skills of a wire walker, to the carnivals of Europe and the competitive world of the American circus. Most fulfilled when living with paradox, Salvo feels safest while performing startling feats of balance on a wire high above the dangerous world; and most endangered if performing above a net. With compassion, warmth, and blazing originality, Ascension combines jaw-dropping storytelling, and fantastical symbolism with mesmerizing detail of Romany and circus culture, and an unforgettable walk with the amazing Salvo Ursari.
From the moment it was recorded more than 40 years ago, Miles Davis's Kind of Blue was hailed as a jazz classic. To this day it remains the bestselling jazz album of all time, embraced by fans of all musical genres. The album represented a true watershed moment in jazz history, and helped to usher in the first great jazz revolution since bebop. The Making of Kind of Blue is an exhaustively researched examination of how this masterpiece was born. Recorded with pianist Bill Evans, tenor saxophonist John Coltrane, composer/theorist George Russell and Miles himself, the album represented a fortuitous conflation of some of the real giants of the jazz world, at a time when they were at the top of their musical game. The end result was a recording that would forever change the face of American music. Through extensive interviews and access to rare recordings Nisenson pieced together the whole story of this miraculous session, laying bare the genius of Miles Davis, other musicians, and the heart of jazz itself.
From the moment it was recorded more than 40 years ago, Miles Davis's Kind of Blue was hailed as a jazz classic. To this day it remains the bestselling jazz album of all time, embraced by fans of all musical genres. The album represented a true watershed moment in jazz history, and helped to usher in the first great jazz revolution since bebop. The Making of Kind of Blue is an exhaustively researched examination of how this masterpiece was born. Recorded with pianist Bill Evans, tenor saxophonist John Coltrane, composer/theorist George Russell and Miles himself, the album represented a fortuitous conflation of some of the real giants of the jazz world, at a time when they were at the top of their musical game. The end result was a recording that would forever change the face of American music. Through extensive interviews and access to rare recordings Nisenson pieced together the whole story of this miraculous session, laying bare the genius of Miles Davis, other musicians, and the heart of jazz itself.
It is the summer of 1976 and Salvo Ursari, a man of retirement age, is walking on a taut wire strung between the Twin Towers of New York's World Trade Center, almost fourteen hundred feet above the city. Far below him in the gaping crowd stands his wife, Anna, to whom he has made a solemn promise: This wire walk will end his career. In this daring moment, Steven Galloway opens his riveting novel about Salvo Ursari, whose life begins in 1919 amid a Transylvanian boyhood inhabited by gypsy folklore and inspired by the bravery of his persecuted people. Salvo's story moves irresistibly from a tragic fire that envelops his family, to street life in Budapest, where he learns the skills of a wire walker, to the carnivals of Europe and the competitive world of the American circus. Most fulfilled when living with paradox, Salvo feels safest while performing startling feats of balance on a wire high above the dangerous world; and most endangered if performing above a net. With compassion, warmth, and blazing originality, Ascension combines jaw-dropping storytelling, and fantastical symbolism with mesmerizing detail of Romany and circus culture, and an unforgettable walk with the amazing Salvo Ursari.
Sonny Rollins is arguably the most influential tenor saxophonist that jazz has produced. He began his musical career at the tender age of eleven, and within five short years he was playing with the legendary Thelonius Monk. In the late forties (before his twenty-first birthday), Rollins was in full swing, recording with jazz luminaries such as Charlie Parker, Bud Powell, Max Roach, Art Blakey, Miles Davis, and Fats Navarro. He was hailed as the best jazz tenor saxophonist alive during the years 1955 to 1959, when he was credited with pioneering the use of 3/4-time in bop music.Today, forty years later, Rollins's onstage appearances are eagerly anticipated events, where his compelling sound reaches a whole new generation of listeners. Renowned jazz writer Eric Nisenson has penned a long-overdue look at one of jazz music's brightest and most enduring stars.
In Songbooks, critic and scholar Eric Weisbard offers a critical guide to books on American popular music from William Billings's 1770 New-England Psalm-Singer to Jay-Z's 2010 memoir Decoded. Drawing on his background editing the Village Voice music section, coediting the Journal of Popular Music Studies, and organizing the Pop Conference, Weisbard connects American music writing from memoirs, biographies, and song compilations to blues novels, magazine essays, and academic studies. The authors of these works are as diverse as the music itself: women, people of color, queer writers, self-educated scholars, poets, musicians, and elites discarding their social norms. Whether analyzing books on Louis Armstrong, the Beatles, and Madonna; the novels of Theodore Dreiser, Gayl Jones, and Jennifer Egan; or varying takes on blackface minstrelsy, Weisbard charts an alternative history of American music as told through its writing. As Weisbard demonstrates, the most enduring work pursues questions that linger across time period and genre—cultural studies in the form of notes on the fly, on sounds that never cease to change meaning.
In his first collection of essays, author and educator Eric B. Olsen offers the reader a wide range of analytical thought and cultural criticism. The book opens by examining the history of film in the twentieth century and then analyzing literature from ancient Greek drama to modern American poetry, as well as commenting on jazz and popular music. The final group of essays concerns topics as diverse as climate change, popular culture, religion, anti-intellectualism and politics. Drawing on a broad base of literary and social criticism, from the philosophical thought of Plato and Aristotle to the writings of Lionel Trilling and Richard Hofstadter, The Intellectual American is a work of confident scholarship and the herald of a new voice in American letters.
This book introduces community planning as practiced in the United States, focusing on the comprehensive plan. Sometimes known by other names—especially master plan or general plan—the type of plan described here is the predominant form of general governmental planning in the U.S. Although many government agencies make plans for their own programs or facilities, the comprehensive plan is the only planning document that considers multiple programs and that accounts for activities on all land located within the planning area, including both public and private property. Written by a former president of the American Planning Association, Community Planning is thorough, specific, and timely. It addresses such important contemporary issues as sustainability, walkable communities, the role of urban design in public safety, changes in housing needs for a changing population, and multi-modal transportation planning. Unlike competing books, it addresses all of these topics in the context of the local comprehensive plan. There is a broad audience for this book: planning students, practicing planners, and individual citizens who want to better understand local planning and land use controls. Boxes at the end of each chapter explain how professional planners and individual citizens, respectively, typically engage the issues addressed in the chapter. For all readers, Community Planning provides a pragmatic view of the comprehensive plan, clearly explained by a respected authority.
Following the same format as the acclaimed first volume, this selection of the best 250 modern jazz records and CDs places each in its musical context and reviews it in depth. Additionally, full details of personnel, recording dates, and locations are given. Indexes of album titles, track titles, and musicians are included.
Loggats, kayles, quilles, skittles, half-bowl and ninepins were all early forms of games in which the goal was to knock down small standing objects from a distance by rolling or throwing another object at them. Archaeologists have found items from Egypt around 5200 B.C. that included small stone balls and narrow pins that were possibly used for a game. Additional research has disclosed that Polynesians played a similar game, using small elliptical balls and round flat stone disks, and, like modern-day bowling, a sixty-foot throwing distance. The Historical Dictionary of Bowling contains a chronology, an introductory essay, appendixes, and an extensive bibliography. The dictionary section has over 500 cross-referenced entries on both male and female bowlers, amateur and professional, bowling coaches, writers and other contributors to the sport of bowling; descriptions and results of major tournaments and terminology of the sport. This book is an excellent access point for students, researchers, and anyone wanting to know more about the sport of Bowling.
Acclaimed for his writings on Malcolm X and Martin Luther King, Jr., as well as his passionate defense of black youth culture, Michael Eric Dyson has emerged as the leading African American intellectual of his generation. Now Dyson turns his attention to one of the most enigmatic figures of the past decade: the slain hip-hop artist Tupac Shakur. Five years after his murder, Tupac remains a widely celebrated, deeply loved, and profoundly controversial icon among black youth. Viewed by many as a "black James Dean," he has attained cult status partly due to the posthumous release of several albums, three movies, and a collection of poetry. But Tupac endures primarily because of the devotion of his loyal followers, who have immortalized him through tributes, letters, songs, and celebrations, many in cyberspace. Dyson helps us to understand why a twenty-five-year-old rapper, activist, poet, actor, and alleged sex offender looms even larger in death than he did in life. With his trademark skills of critical thinking and storytelling, Dyson examines Tupac's hold on black youth, assessing the ways in which different elements of his persona-thug, confused prophet, fatherless child-are both vital and destructive. At once deeply personal and sharply analytical, Dyson's book offers a wholly original way of looking at Tupac Shakur that will thrill those who already love the artist and enlighten those who want to understand him. "In the tradition of jazz saxophonists John Coltrane and Charlie Parker, Dyson riffs with speed, eloquence, bawdy humor, and startling truths that have the effect of hitting you like a Mack truck."-San Francisco Examiner "Such is the genius of Dyson. He flows freely from the profound to the profane, from popular culture to classical literature." -- Washington Postbr Philadelphia Inquirer "Among the young black intellectuals to emerge since the demise of the civil rights movement" -- undoubtedly the most insightful and thought-provoking is Michael Eric Dyson." -- Manning Marable, Director of African American Studies, Columbia University
Why do the vast majority of heroin users live in cities? In his provocative history of heroin in the United States, Eric C. Schneider explains what is distinctively urban about this undisputed king of underworld drugs. During the twentieth century, New York City was the nation's heroin capital—over half of all known addicts lived there, and underworld bosses like Vito Genovese, Nicky Barnes, and Frank Lucas used their international networks to import and distribute the drug to cities throughout the country, generating vast sums of capital in return. Schneider uncovers how New York, as the principal distribution hub, organized the global trade in heroin and sustained the subcultures that supported its use. Through interviews with former junkies and clinic workers and in-depth archival research, Schneider also chronicles the dramatically shifting demographic profile of heroin users. Originally popular among working-class whites in the 1920s, heroin became associated with jazz musicians and Beat writers in the 1940s. Musician Red Rodney called heroin the trademark of the bebop generation. "It was the thing that gave us membership in a unique club," he proclaimed. Smack takes readers through the typical haunts of heroin users—52nd Street jazz clubs, Times Square cafeterias, Chicago's South Side street corners—to explain how young people were initiated into the drug culture. Smack recounts the explosion of heroin use among middle-class young people in the 1960s and 1970s. It became the drug of choice among a wide swath of youth, from hippies in Haight-Ashbury and soldiers in Vietnam to punks on the Lower East Side. Panics over the drug led to the passage of increasingly severe legislation that entrapped heroin users in the criminal justice system without addressing the issues that led to its use in the first place. The book ends with a meditation on the evolution of the war on drugs and addresses why efforts to solve the drug problem must go beyond eliminating supply.
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