"From beloved New Yorker TV critic Emily Nussbaum comes a groundbreaking narrative detailing the fights, egos, drama, and future presidents of reality television. Cue the Sun is a rollicking, deeply reported story about how the early reality TV business metastasized into an industry that now dominates entertainment in the United States. Starting in 1948, Nussbaum pulls back the curtain on the cultural meat grinder that created a generation-defining form of entertainment, examining shows from The Real World to Survivor to The Apprentice. Through extensive interviews, Nussbaum follows the reality TV industry from its inception with shows like Candid Camera to its 90s heyday and 00s aftermath. The book dives into some of the industry's most remarkable stories--for instance, the one where a serial killer on the run once appeared on The Dating Game"--

"From the author of the definitive biography of Frank Sinatra, the story of how jazz arrived at the pinnacle of American culture in 1959, told through the journey of three towering artists-Miles Davis, John Coltrane, and Bill Evans-who came together to create the most famous and bestselling jazz album of all time, Kind of Blue The myth of the 60s depends on the 1950s being the before times of conformity, segregation, straightness-The Lonely Crowd and The Organization Man. This all carries some truth, but it does nothing to explain how, in 1959, the great indigenous art form, jazz, reached the height of its power and popularity, led there by a number of Black geniuses so iconic they go by one name-Monk, Mingus, Rollins, Coltrane, and above all, Miles. 1959 saw Miles, Coltrane, Bill Evans, and the other members of Miles's sextet come together to record what is widely considered the greatest jazz album of all time, and certainly the best-selling: Kind of Blue. 3 Shades of Blue is James Kaplan's magnificent account of the paths of the three giants Miles, Coltrane and Evans to the mountaintop of 1959 and their path on from there. It's a book about music, and business, and race, and heroin, and the towns that gave jazz its home, from New York and LA to Philadelphia, Chicago and Kansas City. It's an astonishing meditation on creativity and the strange hothouses that can produce its full flowering. It's a book about the great forebears of this golden age, particularly Charlie Parker, and the people, like Ornette Coleman, who would take the music down strange new paths. And it's about why this period has never been replicated, why the world of jazz most people visit is a museum to it. But above all this is a book about three very different men-their struggles, their choices, their tragedies, their greatness. Bill Evans had a gruesome downward spiral, John Coltrane took the mystic's path into a space far away from mainstream concerns. Miles had three or four sea changes in him before the end. The tapestry of their lives is, in Kaplan's hands, an American Odyssey, with no direction home. It is also a masterpiece, a book about jazz that is as big as America"--

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

The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present. Each book in this superlative five-volume set illuminates-through a representative sampling of masterworks- the themes, styles, and currents that give shape and direction to a significant period in the history of Western music. This first volume in Richard Taruskin's majestic history, Music from the Earliest Notations to the Sixteenth Century , sweeps across centuries of musical innovation to shed light on the early forces that shaped the development of the Western classical tradition. Beginning with the invention of musical notation more than a thousand years ago, Taruskin addresses topics such as the legend of Saint Gregory and Gregorian chant, Augustine's and Boethius's thoughts on music, the liturgical dramas of Hildegard of Bingen, the growth of the music printing business, the literary revolution and the English madrigal, the influence of the Reformation and the Counter-Reformation, and the operas of Monteverdi. Laced with brilliant observations, memorable musical analysis, and a panoramic sense of the interactions between history, culture, politics, art, literature, religion, and music, this book will be essential reading for anyone who wishes to understand this rich and diverse period.

Few can match Charles Rosen's cultivation and discernment, whether as pianist, music historian, or critic. Here he gives us a performance of literary criticism as high art, a critical conjuring of the Romantic period by way of some of its central texts. "What is the real business of the critic?" Rosen asks of George Bernard Shaw in one of his essays. It is a question he answers throughout this collection as he demonstrates and analyzes various critical approaches. In writing about the Romantic poets Lord Byron, William Wordsworth, William Cowper, and Friedrich Hölderlin, he examines the kind of criticism which attempts to uncover concealed code. He investigates the relationship between Romantic aesthetic theory and artworks, and explores the way Romantic art criticism has been practiced by critics from Friedrich Schlegel to Walter Benjamin. In essays on Honoré de Balzac, Robert Schumann, Gustave Flaubert, and others, he highlights the intersections between Romantic art and music; the artist's separation of life and artistic representations of it; and the significance of the established text. With an apt comparison or a startling juxtaposition, Rosen opens whole worlds of insight, as in his linking of Caspar David Friedrich's landscape painting and Schumann's music, or in his review of the theory and musicology of Heinrich Schenker alongside the work of Roman Jakobson. Throughout this volume we hear the voice of a shrewd aesthetic interpreter, performing the critic's task even as he redefines it in his sparkling fashion.

From the first drawing board sketch to wriggling TV character, Makin’ Toons illustrates the thrills and challenges of making animated cartoon movies as told by the industry’s most successful creators. Cartoon lovers everywhere will be treated to 47 personal interviews with animation artists and industry leaders ranging from Shrek director Andrew Adamson to Rugrats producer Gabor Csupo. These and dozens of other fascinating firsthand accounts chronicle the behind-the-scene antics and commercial dynamics behind such blockbusters as The Simpsons, South Park, Beauty and the Beast, and Dragon Tales, to name just a few. Author Allan Neuwirth—an accomplished animation artist and writer himself—spices the book with insightful comments, hilarious anecdotes, and a true “toon artist’s” sense of humor. He also includes 75 never-before-published concept drawings, character designs, storyboards, and much more. Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.

The place of poetry in modern democracy is no place, according to conventional wisdom. The poet, we hear, is a casualty of mass entertainment and prosaic public culture, banished to the artistic sidelines to compose variations on insipid themes for a dwindling audience. Robert Pinsky, however, argues that this gloomy diagnosis is as wrongheaded as it is familiar. Pinsky, whose remarkable career as a poet itself undermines the view, writes that to portray poetry and democracy as enemies is to radically misconstrue both. The voice of poetry, he shows, resonates with profound themes at the very heart of democratic culture. There is no one in America better to write on this topic. One of the country's most accomplished poets, Robert Pinsky served an unprecedented two terms as America's Poet Laureate (1997-2000) and led the immensely popular multimedia Favorite Poem Project, which invited Americans to submit and read aloud their favorite poems. Pinsky draws on his experiences and on characteristically sharp and elegant observations of individual poems to argue that expecting poetry to compete with show business is to mistake its greatest democratic strength--its intimate, human scale--as a weakness. As an expression of individual voice, a poem implicitly allies itself with ideas about individual dignity that are democracy's bedrock, far more than is mass participation. Yet poems also summon up communal life.. Even the most inward-looking work imagines a reader. And in their rhythms and cadences poems carry in their very bones the illusion and dynamic of call and response. Poetry, Pinsky writes, cannot help but mediate between the inner consciousness of the individual reader and the outer world of other people. As part of the entertainment industry, he concludes, poetry will always be small and overlooked. As an art--and one that is inescapably democratic--it is massive and fundamental.

Throughout her career, Pulitzer Prize–winning poet Maxine Kumin has been at the vanguard of discussions about feminism and sexism, the state of poetry, and our place in the natural world. The Roots of Things gathers into one volume her best essays on the issues that have been closest to her throughout her storied career. Divided into sections on "Taking Root," "Poets and Poetry," and "Country Living," these pieces reveal Kumin honing her views within a variety of forms, including speeches, critical essays, and introductions of other writers’ work. Whether she is recollecting scenes from her childhood, ruminating on the ups and downs of what she calls "pobiz" (for "poetry business"), describing the battles she’s fought on behalf of women, or illuminating the lives of animals, Kumin offers insight that can only be born of long and closely observed experience.