A comprehensive examination of Jewish influence and participation in the American popular music business, that weaves together cultural, political, musical and economic history.

Portraits of five Black women and the kind of music they sang during a period of social change. Includes Ma Rainey, Bessie Smith, Mahalia Jackson, Billie Holiday, and Aretha Franklin.

Back in the early 1940s, late at night in the clubs of Harlem, a handful of jazz musicians began to experiment with a style that no one had ever heard before. The music was fast, complicated, impossible to play for many of the older musicians -- but it soon became the lingua franca of jazz music. They called it bebop, and as the years went by, it became even more popular. Today it reigns as perhaps the best-loved style of jazz ever created. Ira Gitler conveys the excitement of this musical birth as only someone who was there can. In The Masters of Bebop, Gitler traces the advent of what was a revolution in sound. He profiles the leading players -- Charlie Parker, Dizzy Gillepie, Max Roach -- but also studies the style and music of the first disciples, such as Dexter Gordon and J. J. Johnson, to reveal bebop's pervasive influence throughout American culture. Revised with an updated discography -- and with a new chapter covering bebop right up through the end of the twentieth century -- The Masters of Bebop is the essential listener's handbook.

Please Please Me and With The Beatles, along with their associated singles, introduced the Beatles first to England and then to several countries across the world, including Canada and the United States. Although often overlooked due to the excellence of the group' s later albums, these early albums contain the exciting songs that fueled Beatlemania. These albums showcased the songwriting talents of John Lennon and Paul McCartney, as well as incredible cover versions of songs from the group' s stage show. Had the Beatles not evolved and matured, the group would still be well respected for the quality of the recordings on these two albums.In addition to the usual chapters on the British, American and Canadian perspectives, the book contains chapters on the Decca audition and the EMI artists test session. There are also chapters on the recording sessions and album covers, as well as on the news, music and films of the era to place these albums in their proper context.It is a 9" x 9" hardcover book to match the other books in Bruce Spizer' s Beatles Album Series. It is 272 pages long and contains over 290 color and original black and white images.

Fiorello LaGuardia is known best as the tempestuous mayor of New York City in the days when Franklin Delano Roosevelt sat in the White House. There had been, however, an earlier time, which matched his mayoralty years in sheer drama and perhaps surpassed them in lasting achievement-LaGuardia's years in Congress. He served in the House of Representative almost continuously from 1917 to 1933, representing two ethnically diverse congressional districts: the Fourteenth (Greenwich Village), from 1917 to 1919, and the Twentieth (East Harlem), from 1923 to 1933. Although barred from important committee posts because of his political independence and thus denied from playing a direct role in lawmaking, he was a tireless and vocal champion of Progressive causes, from allowing more immigration and removing U.S. troops from Nicaragua to speaking up for the rights and livelihoods of striking miners, impoverished farmers, oppressed minorities, and struggling families. A goad to the era's plutocrats and their enablers in government, LaGuardia fought for progressive income taxes, greater government oversight of Wall Street, and national employment insurance for workers idled by the Great Depression. In this book, first published by Cornell University Press in 1959, Howard Zinn establishes LaGuardia's tenure in Congress as a vital link between the Progressive and New Deal eras, offering a lively and informative account of his many legislative battles, his political philosophy, and the distinctly urban (specifically, New York City) sensibilities he brought to the Progressive movement.

The Beatles Magical Mystery Tour and Yellow Submarine is the latest installment in the Beatles Album Series by Beatles historian Bruce Spizer. The book covers the songs and projects undertaken by the Beatles shortly after completion of their album Sgt. Pepper's Lonely Hearts Club Band in April 1967. In following ten months, the group wrote and recorded the song "All You Need Is Love" for the Our World TV program that was broadcast by satellite throughout the world, wrote the songs for and filmed the TV spectacular Magical Mystery Tour , wrote the songs for their feature length cartoon film Yellow Submarine , and recorded the songs "Lady Madonna" and "Across The Universe" before heading to India to study transcendental meditation in mid-February 1968. The book covers these remarkable achievements from the British, American, and Canadian perspectives, and includes chapters on the packaging of the albums and the writing and recording of the songs. It also has chapters on how the Beatles influenced our world, the friendly rivalry between the Beatles and the Rolling Stones, the Beatles Saturday morning cartoons, dozens of fan recollections, and more. The book has over 150 images.

A finalist for the 2017 George Freedley Memorial Award "A compelling, absolutely unputdownable story . . . And, in case you're wondering, yes, the book is funny. In places, very funny. A remarkable story, magnificently told." -- Booklist In this richly reported, scene-driven narrative, Sam Wasson charts the meteoric rise of improv from its unlikely beginnings in McCarthy-era Chicago. We witness the chance meeting between Mike Nichols and Elaine May, hang out at the after-hours bar where Dan Aykroyd hosted friends like John Belushi, Bill Murray, and Gilda Radner, and go behind the scenes of cultural landmarks from The Graduate to The Colbert Report . Along the way, we befriend pioneers such as Harold Ramis, Chevy Chase, Steve Carell, Amy Poehler, Alan Arkin, Tina Fey, Judd Apatow, and many others. Wasson shows why improv deserves to be considered the great American art form of the last half century. " One of the most important stories in American popular culture . . . Wasson may be the first author to explain [improv's] entire history . . . For that reason alone, it's a valuable book . " -- New York Times Book Review "A compelling history . . . It holds the element of surprise--true to the spirit of its subject." -- Entertainment Weekly

These interviews with Henry Rollins conducted by RE/Search (and Search & Destroy) founder V. Vale focus on Henry's travels -- often to countries considered dangerous and off-limits. There are references to Punk Rock history, the Occupy movement, and numerous personal adventures and experiences over the past 30-plus years of combing the planet giving musical and Spoken Word performances, and generally being as creative and humorous as possible no matter what the situation may be . Whatever Henry wants to do, he does it while giving his full attention, like a kind of Zen master. RE/Search tries to reveal the full scope of his creativity, achievements and darkly sardonic perceptiveness and contempt for cliche. This book is full of both humor and inspiration.

Perhaps now best known as an acclaimed (and bestselling) author of fiction, Joe Klein has for nearly three decades been one of contemporary journalism's premiere reporters. In "Woody Guthrie: A Life", Klein's signature style of insightful narrative nonfiction brings to life a vivid chapter in the history of American culture. In 1998, the Woody Guthrie Foundation made public for the first time more than 10,000 of his papers, letters, song lyrics, and artworks, sparking renewed interest in the life of an American folk legend who influenced generations of musicians to come. The New York Times, reporting on the phenomenon, described Guthrie's appeal and legacy succinctly: "(Woody Guthrie was) one of the most influential cultural figures of the century. Guthrie inspired Bob Dylan and virtually created the modern folk tradition and singer-songwriter genre, and his music remains as vital today as when he was performing". Born in Oklahoma in 1912, Guthrie spent his early years among the farmers and migrant workers of the dust bowl. As a young man during the Great Depression, he traveled across the country by boxcar with his guitar, composing the indelible folk ballads that made him a leader of the politically vital folk movement of the pre-war era. Tragically, the onset of Huntington's disease, gradually diminished his mind, body, and work, and led to his untimely death at the age of 55. Still, Guthrie's life and music have inspired every important folk and folk rock artist since, from Pete Seeger, Bob Dylan, and Joan Baez to Bruce Springsteen, Billy Bragg, and Ani DiFranco.

This book is full of essays which Arnold Schoenberg wrote on style and idea. He talks about the relationship to the text, new and outmoded music, composition in twelve tones, entertaining through composing, the relationship of heart and mind in music, evaluation of music, and other essays. Arnold Schoenberg (13 September 1874 - 13 July 1951) was an Austrian and later American composer, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. He used the spelling Schönberg until after his move to the United States in 1934 (Steinberg 1995, 463), "in deference to American practice" (Foss 1951, 401), though one writer claims he made the change a year earlier (Ross 2007, 45). Schoenberg was known early in his career for successfully extending the traditionally opposed German Romantic traditions of both Brahms and Wagner, and later and more notably for his pioneering innovations in atonality. During the rise of the Nazi party in Austria, his music was labeled, alongside swing and jazz, as degenerate art. In the 1920s, he developed the twelve-tone technique, a widely influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale. He also coined the term developing variation, and was the first modern composer to embrace ways of developing motifs without resorting to the dominance of a centralized melodic idea. Schoenberg's approach, both in terms of harmony and development, is among the major landmarks of 20th century musical thought; at least three generations of composers in the European and American traditions have consciously extended his thinking and, in some cases, passionately reacted against it. Schoenberg was also a painter, an important music theorist, and an influential teacher of composition; his students included Alban Berg, Anton Webern, Hanns Eisler, and later John Cage, Lou Harrison, Earl Kim, Wayne Barlow, and many other prominent musicians. Many of Schoenberg's practices, including the formalization of compositional method, and his habit of openly inviting audiences to think analytically, are echoed in avant-garde musical thought throughout the 20th century. His often polemical views of music history and aesthetics were crucial to many of the 20th century's significant musicologists and critics, including Theodor Adorno, Charles Rosen, and Carl Dahlhaus. Schoenberg's archival legacy is collected at the Arnold Schönberg Center in Vienna.

During the Civil War, songs were written & sung by both sides on every aspect of the war: stirring marching songs, sentimental ballads, descriptions of battles & their aftermath, election campaign songs, songs with a political message or social conscience, minstrel songs, & satirical & humorous ditties. The musical arrangements in this book have been kept technically simple -- within the grasp of amateur guitarists. The songs are grouped by categories: the Union, the Confederacy, Lincoln, universal sentiments, soldiers songs, battles, Negro spirituals & abolitionist songs, the lighter side, & Post Bellum. In singing & playing them, a precious legacy of American history will come alive.

With his dynamic on-air personality and his trademark cry of "Burn, baby! BURN!" when spinning the hottest new records, Magnificent Montague was the charismatic voice of soul music in Chicago, New York, and Los Angeles from the mid-1950s to the mid-1960s. In this memoir Montague recounts the events of his momentous radio career, which ran from the era of segregation to that of the civil rights movement; as he does so, he also tells the broader story of a life spent in the passionate pursuit of knowledge, historical and musical. Like many black disc jockeys of his day, Montague played a role in his community beyond simply spreading the music of James Brown, Otis Redding, Aretha Franklin, and other prominent artists. Montague served as an unofficial spokesman for his black listeners, reflecting their beliefs and acting as a sounding board for their concerns. Montague was based in Los Angeles in 1965 when the Watts rioters seized on his incendiary slogan, turning the shout of musical appreciation into a rallying cry for racial violence. In Burn, Baby! BURN! Montague recalls these tumultuous times, including the personal struggle he faced over whether to remain true to his listeners or bend to political pressure and stop shouting his suddenly controversial slogan. Since the mid-1950s Montague had also expressed his passion for African American culture by becoming a zealous collector of artifacts of black history. He has built a monumental collection, taking time out from his collecting to become only the second African American to build his own radio station literally from the ground up. A compelling account of a rich and varied life, Burn, Baby! BURN! gives an insider's view of half a century of black history, told with on-the-air zest by the DJ/historian who was there to see it unfold.

Sheet music, lyrics, stories and images for 56 original Ben Sidran compositions. Ben Sidran is widely recognized as the host of National Public Radio's landmark jazz series "Jazz Alive", which received a Peabody Award, and as the host of VH-1 television's "New Visions" series, which received the Ace Award for best music series. A pianist, producer, singer and composer, he has recorded more than thirty solo albums, including the Grammy nominated Concert for Garcia Lorca, and produced recordings for such noted artists as Van Morrison, Diana Ross, Michael Franks, Rickie Lee Jones, Mose Allison and Steve Miller (with whom he co-wrote the hit song "Space Cowboy"). He is the composer of the soundtrack for the acclaimed film Hoop Dreams, and scored the documentary Vietnam: Long Time Coming, which won both the Aspen Film Festival audience award and an Emmy. Sidran has authored two books on the subject of jazz, Black Talk, a cultural history of the music, and Talking Jazz, a series of conversations with inspirational musicians. He holds a PhD. in American Studies from Sussex University, Brighton, England, but has studiously avoided the academic life, preferring instead to spend his time performing, producing and writing. His latest works include the memoir, A Life in the Music, the groundbreaking text There Was a Fire: Jews, Music and the American Dream, and The Ballad of Tommy LiPuma, along with the recordings Picture Him Happy and Swing State.

Many consider Pulitzer Prize-winning composer Milton Babbitt to be the preeminent figure in post-World War II American music. Beyond the extraordinary power of his music, he is also, as he says, "somewhat known as a talker." In fact, he is renowned as an energetic teacher and inspired lecturer. In 1983 at the University of Wisconsin-Madison, Babbitt presented a concise summary of his most essential musical insights in a series of lectures and seminars. These are gathered here, presenting for the first time in book form a comprehensive overview of the subjects that have formed the core of his teaching for the past forty years. Babbitt's central concern in these lectures is the twelve-tone tradition with which he is so closely identified. His discussion of this tradition ranges from close consideration of specific compositional problems to frank evaluation of his own position in that tradition. In his characteristically penetrating way, Babbitt discusses the most controversial issues in twentieth-century music, from serialism and atonality to the responsibility of the listener and the place of music in the university. Until now, few have had direct exposure to Babbitt's ideas. In Madison, he spoke to a variety of audiences and, because of the pedagogical context, his presentation was direct and explanatory. This volume preserves the dazzling constructions and spontaneous excitement of his spoken language. At the time of publication, Milton Babbitt was William Shubael Conant Professor of Music Emeritus at Princeton University. He has been showered with awards during his long and distinguished career, including the Pulitzer Prize (1982) and a prestigious MacArthur Fellowship (1986). He was a member of the National Institute of Arts and Letters and a Fellow of the American Academy of Arts and Sciences.

Not since perhaps Eleanor and Franklin has there been so provocative a public pair: fiercely independent and yet codependent, they spent twenty-five years discovering a way they could live together after they figured out that they couldn't live apart. In 1932 they separated; in 1933 they divorced. They reunited in Paris in 1935 and then went to New York; in 1937 they remarried and together applied for American citizenship. Except for brief periods of separation, their relationship remained what it had always been, simultaneously tenacious and tumultuous. Yet Weill and Lenya required one another on a creative level that transcended ordinary emotional, erotic, and professional bonds. Although she was musically untrained, Lenya's canny theatrical sensitivity and innate intelligence enabled her to become Weill's most trusted critic as well as his most famous interpreter, especially as Jenny in The Threepenny Opera. As Weill rhapsodized, "When I feel this longing for you, I think most of all of the sound of your voice, which I love like a very force of nature." The letters are filled with artistic news, reactions to world events, reports on work-in-progress, and reflections on the creative process and the experience of exile. We get a backstage view of German music and theater, the American musical theater in the late thirties and forties, and the Hollywood studios. Together Kurt Weill and Lotte Lenya have come to symbolize what was most vibrant about the experiment of Weimar culture in the Golden Twenties and what was most vital among the contributions to American culture by Central European emigres.

The music of clarinetists Naftule Brandwein and Dave Tarras is iconic of American klezmer music. Their legacy has had an enduring impact on the development of the popular world music genre. Since the 1970s, klezmer music has become one of the most popular world music genres, at the same time influencing musical styles as diverse as indie rock, avant-garde jazz, and contemporary art music. Klezmer is the celebratory instrumental music that developed in the Jewish communities of eastern Europe over the course of centuries and was performed especially at weddings. Brought to North America in the immigration wave in the late nineteenth century, klezmer thrived and developed in the Yiddish-speaking communities of New York and other cities during the period 1880-1950. No two musicians represent New York klezmer more than clarinetists Naftule Brandwein (1884-1963)and Dave Tarras (1897-1989). Born in eastern Europe to respected klezmer families, both musicians had successful careers as performers and recording artists in New York. Their legacy has had an enduring impact and helped to spurthe revival of klezmer since the 1970s. Using their iconic recordings as a case study, New York Klezmer in the Early Twentieth Century looks at the inner workings of klezmer dance music, from its compositional aspects to the minutiae of style. Making use of historical and ethnographic sources, the book places the music within a larger social and cultural context stretching from eastern Europe of the nineteenth century to the United Statesof the present. JOEL E. RUBIN is Associate Professor of Music at the University of Virginia and an acclaimed performer of traditional klezmer music.

What started out as a mutual affinity for kitschy Jewish album covers-think Neil Diamond baring his chest hair on the cover of "Hot August Night "or Barbra Streisand in hot pants on the cover of "Streisand Superman"-soon became a quest for identity, history, and culture between the grooves of LPs. Together, Roger Bennett and Josh Kun embarked on a thrilling journey, scouring the world to collect thousands of vinyl LPs from attics, garage sales, and dusty archives. Pieced together, these scratched, once-loved and now-forgotten audio gems tell a vibrant tale: the story of Jews in America. "And You Shall Know Us by the Trail of Our Vinyl" spans the history of Jewish recorded music from the 1940s to the 1980s, weaving an account that begins with sacred songs and ends with the holy trinity of Neil, Barbra, and Barry. The LPs found here are also a love letter to forgotten moments in Jewish American pop history, celebrating well-dressed cantors singing Christmas tunes, Long Island suburbanites dancing the mambo, and Chassidic prog-rockers. The music, much of which is no longer available in any format, is brought to life through commentary from writers Aimee Bender, Etgar Keret, Michael Wex, and Shalom Auslander; performers Sandra Bernhard and Motown legend Lamont Dozier; music critics Oliver Wang and Anne Powers; and TV pioneer Norman Lear. A gateway to a forgotten kingdom of sound, the good, the bad, and the ugly of Jewish vinyl gives this aspect of Jewish culture the attention it so richly deserves.

Have you ever wondered: How it feels to be eponymous? Why some German pigeons were painted blue in the First World War? What connects Rachmaninoff to Chief Sitting Bull? It is 1972. Bernard Robins is in London – American, innocent, uninformed and arrogant – to make his name and fortune as a pianist, composer and conductor. He lives at the Kensington Music Society, a haven for aspiring musicians, including afro-headed violinists, cellists in caftans and coloraturas from Colorado. During his time there, Bernard accidentally encounters his long lost great-uncle, Hermann Heinrich Zweck, a nonagenarian – a once eminent, now forgotten composer, who has known most of the great musical figures of the Twentieth Century and hated almost all of them. Zweck is engaged in a war against stupidity, laziness and cowardice with the entire world, and especially with Bernard and Charles Forsythe – a hapless English musicologist whose only crime, (grievous in Zweck's view) is to be both English and an academic. The romantic relationships the three principals have with strong women, ranging from promiscuity to endless love, change the lives of all concerned. Throughout the novel, Zweck engages in a battle of words with the author in a series of interruptions and monologues. Comically written by an author skilled in both writing and music, Zweck is an accessible and hilarious novel about fame, identity, music and dumplings.

In Strong on Music Vera Brodsky Lawrence uses the diaries of lawyer and music lover George Templeton Strong as a jumping-off point from which to explore every aspect of New York City's musical life in the mid-nineteenth century. This third and final volume ranges across opera, orchestral and chamber music, blackface minstrels, military bands, church choirs, and even concert saloons. Among the many striking scenes vividly portrayed in Repercussions are the rapturous reception of Verdi's Ballo in maschera in 1861; the impact of the Civil War on New York's music scene, from theaters closing as their musicians enlisted to the performance of "The Star-Spangled Banner" at every possible occasion; and open-air concerts in the developing Central Park. Throughout, Lawrence mines a treasure trove of primary source materials including daily newspapers, memoirs, city directories, and architectural drawings. Indispensable for scholars, Repercussions will also fascinate music fans with its witty writing and detailed descriptions of the cultural life of America's first metropolis. Formerly a concert pianist, Vera Brodsky Lawrence spent the last third of her life as a historian of American music (she died in 1996). She was editor of The Piano Works of Louis Moreau Gottschalk and The Complete Works of Scott Joplin . On Volume 1: "A marvelous book. There is nothing like it in the literature of American music."—Harold C. Schonberg, New York Times Book Review On Volume 2: "A monumental achievement."—Victor Fell Yellin, Opera Quarterly

The renowned American composer George Rochberg (1918-2005) distilled a lifetime of insights about Western music across some three hundred years in A Dance of Polar Opposites: The Continuing Transformation of Our Musical Language . In A Dance of Polar Opposites: The Continuing Transformation of Our Musical Language , the renowned American composer George Rochberg distilled a lifetime of insights about Western music across some three hundred years. Rochberg describes how the asymmetrical tonal language of the late eighteenth century--the era of Haydn and Mozart--evolved through the gradual incursion of symmetry into a system based on the juxtaposition of tonal and atonal, asymmetrical and symmetrical--as seen in notable composers such as Webern, Prokofiev, and Rochberg himself. A Dance of Polar Opposites takes us inside the composer's studio, reveals how he assessed his and our musicalpast, and paints a picture of what he believed our musical future may be. George Rochberg (1918-2005), one of the most respected composers and writers about music in the second half of the twentieth century, was a finalist twice for the Pulitzer Prize and longtime professor at University of Pennsylvania. His writings include The Aesthetics of Survival: A Composer's View of Twentieth-Century Music (which won the ASCAP-Deems Taylor Award);the memoir Five Lines, Four Spaces ; and a volume of letters. Jeremy Gill was a student of George Rochberg and is a composer, conductor, and pianist.