Rock Bottom Non Musical

The dark moments of rock history fascinate and tantalize like the pathos of Greek tragedy. The bottom sinks lower, the air seems colder, the bad endings--when they are bad--seem beyond bad. The unlucky practitioners of our most thriving form of communal experience seem to hit rock bottom in ways only the most glamorous among us can--publicly. The stories remain obscure, half-seen in the shadowlands. In her familiar style, Pamela Des Barres shines light on the people whose art remains the background music to our popular culture. Des Barres asks, "What comes first, the addiction or the rock and roll?" The first apparent rock-and-roll death occured on Christmas Eve in 1959, when Johnny Ace blew his head off in a game of Russian Roulette between shows. Buddy Holly's four-seater plane crashes. Marvin Gaye's father shoots his son. Kurt Cobain puts a gun to his head. The headlines tell it all: ROCK SINGER FACES MANSLAUGHTER CHARGE, JAMES BROWN ADDICTED TO PCP, BASSIST FOR BAND HOLE FOUND DEAD. The messed-up lives, the burned-out golden boys and girls, the violence, the route toward rock bottom--Des Barres has a line on the souls of the public figures who lived desperate private lives to entertain us all.

The Broadway musical came of age in the 1950s, a period in which some of the greatest productions made their debuts. Shows produced on Broadway during this decade include such classics as Damn Yankees, Fiorello!, Guys and Dolls, The King and I, Kismet, The Most Happy Fella, My Fair Lady, The Pajama Game, Peter Pan, The Sound of Music, and West Side Story. Among the performers who made their marks were Julie Andrews, Bob Fosse, Carol Lawrence, and Gwen Verdon, while other talents who contributed to shows include Leonard Bernstein, Oscar Hammerstein II, Alan Jay Lerner, Frederick Loewe, Cole Porter, Jerome Robbins, Richard Rodgers, and Stephen Sondheim. In The Complete Book of 1950s Broadway Musicals, Dan Dietz examines in detail every musical and revue which opened on Broadway during the 1950s. In addition to providing details on every hit and flop that debuted during the decade, this book includes revivals, and one-man and one-woman shows. Each entry contains the following information: Opening and closing dates Plot summary Cast members Number of performances Names of all important personnel including writers, composers, directors, choreographers, producers, and musical directors Musical numbers and the names of performers who introduced the songs Production data, including information about tryouts Source material Critical commentary Tony awards and nominations Details about London and other foreign productions Besides separate entries for each production, the book offers numerous appendices, such as a discography, film and television versions, published scripts, Gilbert and Sullivan operettas, and lists of productions by the New York City Center Light Opera Company, and the New York City Opera Company. A treasure trove of information, The Complete Book of 1950s Broadway Musicals provides readers with a complete view of each show. This significant resource will be of use to scholars, historians, and casual fans of one of the greatest decades in musical theatre history.

Robert Wyatt started out as the drummer and singer for Soft Machine, who shared a residency at Middle Earth with Pink Floyd and toured America with the Jimi Hendrix Experience. He brought a jazz mindset to the 1960’s rock scene, having honed his drumming skills in a shed at the end of Robert Graves’ garden in Mallorica, Spain. Wyatt's life took an abrupt turn in 1973, when he fell from a fourth-floor window at a party and was paralyzed from the waist down. He reinvented himself as a singer and composer with the extraordinary album Rock Bottom, which he followed with an idiosyncratic string of records that uniquely combine the personal and political. Along the way, Robert has worked with the likes of Brian Eno, Bjork, Jerry Dammers, Charlie Haden, David Gilmour, Paul Weller and Hot Chip. Marcus O’Dair has talked to all of them—indeed anyone who has shaped, or been shaped by Wyatt over five decades. Different Every Time is the first biography of Robert Wyatt, and it was written with his full participation. It includes illustrations by Alfreda Benge and photographs from Robert’s personal archive.

Do you know the stories behind how the greatest hits of classical music were created? Robert Ginalski discovers the secrets behind world-famous melodies. Even if you're not a classical music lover, you will get carried away by stories that break with the perceived stereotypes of classical music. The reader-friendly style, anecdotes and references to popular culture will rekindle the charm of the classics for you. Bach, Prokofiev, Mozart and Tchaikovsky are all given the author's special attention. By the end of the book you will realise that classical music is much more than what your music teacher told you in school. Better known for his work as a translator, "100 Hits of Classical Music" is Robert Ginalski's debut as an author. Ginalski perfected his craft as a writer by translating the works of Frederick Forsyth and Alistair MacLean.

Bringing together exciting new interdisciplinary work from emerging and established scholars in the UK and beyond, Litpop addresses the question: how has writing past and present been influenced by popular music, and vice versa? Contributions explore how various forms of writing have had a crucial role to play in making popular music what it is, and how popular music informs ’literary’ writing in diverse ways. The collection features musicologists, literary critics, experts in cultural studies, and creative writers, organised in three themed sections. ’Making Litpop’ explores how hybrids of writing and popular music have been created by musicians and authors. ’Thinking Litpop’ considers what critical or intellectual frameworks help us to understand these hybrid cultural forms. Finally, ’Consuming Litpop’ examines how writers deal with music’s influence, how musicians engage with literary texts, and how audiences of music and writing understand their own role in making ’Litpop’ happen. Discussing a range of genres and periods of writing and popular music, this unique collection identifies, theorizes, and problematises connections between different forms of expression, making a vital contribution to popular musicology, and literary and cultural studies.