{"id":1231710,"date":"2025-03-09T18:56:10","date_gmt":"2025-03-09T18:56:10","guid":{"rendered":"https:\/\/celebrity.land\/pt\/?p=1231710"},"modified":"2025-03-09T18:56:10","modified_gmt":"2025-03-09T18:56:10","slug":"next-week-in-music-march-10-16-12-new-books","status":"publish","type":"post","link":"https:\/\/celebrity.land\/pt\/next-week-in-music-march-10-16-12-new-books\/","title":{"rendered":"Next Week in Music | March 10-16 \u2022 12 New Books"},"content":{"rendered":"\n
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He<\/span> roomed with David Lynch<\/strong>. He married Faye Dunaway<\/strong>. He hung with Muddy Waters<\/strong>, Bob Dylan<\/strong> and Van Morrison<\/strong>. He gigged with everyone from The Velvet Underground<\/strong> to The Rolling Stones<\/strong> to Howlin\u2019 Wolf<\/strong>. He wrote chart-topping hits. He sang on one of the best live albums of all time. He is undeniably one of the greatest frontmen in rock \u2019n\u2019 roll. He is Peter Wolf<\/strong> \u2014 and the fact that he and The J. Geils Band<\/strong> still aren\u2019t in the Rock And Roll Hall Of Fame<\/strong> is a goddamn travesty, if you ask me. But even though Wolf \u2014 who just turned 79 on Friday \u2014 hasn\u2019t got his due, this unsung hero of rock will have his say when his long-overdue memoir drops in a few days. Put me down for a copy. And it\u2019s just one of a few intriguing titles on the way. See for yourself:<\/h4>\n

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\"\"Waiting On The Moon: Artists, Poets, Drifters, Grifters, and Goddesses<\/strong><\/span><\/em>
By Peter Wolf<\/strong><\/span><\/h3>\n

THE EDITED PRESS RELEASE:<\/strong> \u201cFormer J. Geils<\/strong> lead singer and songwriter Peter Wolf<\/strong> shares a treasure trove of vignettes, musings and recollections of his fascinating life during his six decades long career in the new book Waiting On The Moon: Artists, Poets, Drifters, Grifters and Goddesses.<\/em> Wolf grew up in a tiny three-room apartment in the Bronx, raised by his Bohemian intellectual mother and his father, a former Vaudeville<\/strong> singer, who influenced both his love of music and painting. Through his wanderlust he came to rub shoulders in his Zelig<\/strong>-like life with some of the most iconic artists and musicians of his generation \u2014 including a very young Bob Dylan<\/strong> as he arrived on the\u00a0folk scene. Each chapter reads as its own short story such as when Wolf reflects on his art studies in Boston \u2014 where he shared an apartment with David Lynch<\/strong> \u2014 and recalls stories of first love, his untraditional literary education, and his soulful early musical influences such as Muddy Waters<\/strong> and John Lee Hooker<\/strong>. Wolf fronted The J. Geils Band<\/strong> and their fame grew with Centerfold, Freeze Frame<\/em> and Love Stinks;<\/em> meanwhile, many other greats left their impressions on him, including Tennessee Williams<\/strong>, Alfred Hitchcock<\/strong>, Sly Stone<\/strong> and\u00a0John Lennon<\/strong>. He also sheds light on his marriage to Faye Dunaway<\/strong> during the height of her Hollywood career. Told with gentle humor and often heart-rending poignancy, Waiting On The Moon<\/em> offers revealing snapshots of artists, writers, actors, and musicians as they work \u2014 the creative forces that drive them to achievement; the demons they battle; and the patterns of their human relationships. They are meant to inspire not only empathy but also admiration. Like Christopher Isherwood<\/strong> in Goodbye to Berlin<\/em>, Wolf remains a camera with its shutter open.\u201d<\/p>\n

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\"\"One Foot on the Platform: A Rock \u2018N\u2019 Roll Journey<\/strong><\/span><\/em>
By Peter Goddard & J.A. Wainwright<\/strong><\/span><\/h3>\n

THE EDITED PRESS RELEASE:<\/strong> \u201cIn the summer of 2020, acclaimed music critic and journalist Peter Goddard<\/strong> began work on a new book that would take readers on a journey back through his 50-plus years spent writing professionally about rock music and the musical styles circling it \u2014 everything from blues and jazz to country and classical. His plan was to revisit his old haunts and their habitu\u00e9s, scenes and figures he first wrote about starting in the mid-1960s when he became Canada\u2019s first on-staff popular music critic, to show how ongoing revisions continually reframe first impressions. Tragically, Goddard died in 2022 before work on the manuscript was complete. But many of the core essays \u2014 on Bob Dylan<\/strong>, John Lennon<\/strong> and Yoko Ono<\/strong>, The Who<\/strong>, k.d. lang<\/strong>, David Bowie<\/strong>, Liza Minnelli<\/strong>, The Band<\/strong>, Neil Diamond<\/strong> and others \u2014 are here. Accompanying these new essays is a collection of some of the best writing of Goddard\u2019s career \u2014 ranging from interviews with B.B. King<\/strong>, Joni Mitchell<\/strong>, Paul Simon<\/strong>, Bruce Springsteen<\/strong>\u00a0and Janis Joplin<\/strong> to reviews of classic albums by The Beatles<\/strong>, The Rolling Stones<\/strong>\u00a0and Neil Young<\/strong>, to close readings of Leonard Cohen<\/strong>, Anne Murray<\/strong>, Led Zeppelin<\/strong>\u00a0and Gordon Lightfoot<\/strong>. Taken as a whole, One Foot On The Platform<\/em> represents more than fifty years of thought and writing by one of Canada\u2019s foremost cultural critics.\u201d<\/p>\n

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\"\"Sex & Drugs & Rock \u2018N\u2019 Roll: The Life Of Ian Dury Remastered<\/strong><\/span><\/em>
By Richard Balls<\/strong><\/span><\/h3>\n

THE EDITED PRESS RELEASE:<\/strong> \u201cIan Dury<\/strong> always met life head on, both in his relationships and in his music. As rocker, lyricist, artist and actor he was unsentimental and uncompromising. As a man he was harder to fathom \u2014 until now. This acclaimed biography shines a light on it all, chronicling his darker moments as well as his triumphs. Author Richard Balls<\/strong> talked to more than 50 of Dury\u2019s friends, as well as to Dury himself shortly before his death. This remastered edition includes the continuing success of The Blockheads<\/strong> and tells the inside story of the biopic Sex & Drugs & Rock & Roll<\/em>, a foreword by Martin Freeman<\/strong> and an afterword from Andy Serkis<\/strong>. There are vivid insights into harsh post-war schools for disabled children, the \u201950s art school scene and the ramshackle pub-rock circuit, plus a mixed bag of celebrities from Peter Blake<\/strong> to Omar Sharif<\/strong>.\u201d<\/p>\n

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\"\"London Calling New York New York: Two Songs, Two Cities<\/strong><\/span><\/em>
By Peter Silverton<\/strong><\/span><\/h3>\n

THE EDITED PRESS RELEASE:<\/strong> \u201cHow\u2019s this for a surprising musical coincidence? Frank Sinatra<\/strong> cut his version of New York, New York<\/em> within weeks of The Clash<\/strong> recording London Calling<\/em>. That nearly simultaneous expression of optimistic striving and dystopic despair is the jumping-off point for London Calling New York New York,<\/em> a tale of two cities and the songs that came to exemplify them. Peter Silverton<\/strong>, the veteran English journalist who died in 2023 not long after completing the manuscript, did numerous interviews and in-depth research to dig deep into the history and impact of the two songs on their respective cities. Combining musical scholarship, cultural analysis and personal memoir, London Calling New York New York<\/em> is rich with wit, fascinating digressions and scholarly insight. Salting the story with tales from his own colorful life, Silverton ranges back and forth across the Atlantic and over centuries, taking in the almost biological connection between the cities, the songs and their creators. From the Great Fire of London<\/strong> to a White Castle<\/strong> in the Bronx, from the Thames to the Hudson, Joe Strummer<\/strong> to George Gershwin<\/strong>, Noel Coward<\/strong> to Jay-Z<\/strong>, Silverton marshals a wealth of connections and coincidences to illuminate the creative process and its enduring cultural impact. \u201cThis is a story about two songs and the cities they came to represent, those songs\u2019 writers, the two cities\u2019 many other emblematic songs (and their writers) and the two metropolitan cultures: Their differences and their similarities,\u201d Silverton wrote. \u201cIt\u2019s also a personal story: mine. It reaches back to my decades-long light friendship with Joe Strummer<\/strong>, my presence at several significant early performances of London Calling<\/em>\u00a0and at Joe\u2019s West London cremation in December 2002.\u201d<\/p>\n

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\"\"Lonnie Holley<\/strong><\/span><\/em>
By Harmony Holiday & John Beardsley<\/strong><\/span><\/h3>\n

THE EDITED PRESS RELEASE:<\/strong> \u201cLonnie Holley<\/strong>\u2019s widely admired practice spans painting, drawing, assemblage sculpture, and performance that combines experimental music and poetry. After decades of making art, he is now getting the recognition he richly deserves. The artist\u2019s first sculptures were carved tombstones for his nieces who perished in a house fire in 1979. Over the following years, he devoted himself to making sculptures that populated his property near Birmingham, a large all-encompassing outdoor installation that was eventually destroyed in 1997. The artist\u2019s work continued unabated as he began to gain recognition and exhibit his work in the South and throughout the U.S. In his first major monograph, every facet of his practice is explored. Harmony Holiday<\/strong> considers Holley\u2019s art and music as interconnected components of the artist\u2019s overall creative vision. John Beardsley<\/strong> focuses on the artist\u2019s Birmingham roots connecting the cultural firmament of that city with other major creative communities in Alabama, most notably Boykin, more popularly known as Gee\u2019s Bend, home of the famous quilters.\u201d<\/p>\n

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\"\"David Bowie\u2019s London<\/strong><\/span><\/em>
By Paul Gorman<\/strong><\/span><\/h3>\n

THE EDITED PRESS RELEASE:<\/strong> \u201cDavid Bowie<\/strong>, though well-traveled, was fundamentally a London boy. The capital shaped his cosmopolitan worldview and influenced all aspects of his persona and artistry. From his distinctive voice with its Brixton-by-Bromley inflections to his ever-evolving personal style and musical prowess, London\u2019s impact on Bowie was profound. Born in post-war Brixton, Bowie\u2019s formative years spanned the urban inner city and suburban Bromley. He used central London as a canvas for his life and creativity, his journey through the city mirroring his artistic evolution. From seductive Soho, where he honed his craft as an uber-Mod and recorded groundbreaking early \u201970s albums, to upscale areas like Marylebone, South Kensington, and Chelsea, where he resided with various managers and collaborators, London was integral to Bowie\u2019s development. In Beckenham, Bowie explored counterculture through his community-based \u2018arts lab\u2019. Covent Garden played a significant role, hosting his performances with the experimental trio Feathers<\/strong>. This area later became home to early \u201980s nightclubs Blitz<\/strong> and Hell<\/strong>, epicentres of the New Romantic<\/strong> movement that Bowie influenced. Despite leaving the U.K. in 1974, never to return as a permanent resident, London continued to shape Bowie\u2019s artistry. His ability to reinvent himself mirrored the city\u2019s capacity for constant renewal. From mod to glam to New Romantic and beyond, Bowie\u2019s transformations reflected London\u2019s ever-changing cultural landscape. This guide charts 61 locations associated with Bowie, from childhood to global superstar.\u201d<\/p>\n

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\"\"Rihanna Is Life: A Superfan\u2019s Guide to All Things We Love about Rihanna<\/strong><\/span><\/em>
By Kathleen Perricone<\/strong><\/span><\/h3>\n

THE EDITED PRESS RELEASE:<\/strong> \u201cCelebrate your enlistment in Rihanna\u2019s Navy<\/strong> with this gorgeously illustrated, all-encompassing fan book on everything there is to know and love about the modern icon that is Rihanna. From her first muscial trio with classmates in Barbados, to signing with Def Jam<\/strong> and moving to the United States, to becoming one of the most prominent recording artists of the 21st century, and then breaking the internet with her acting and industry-shattering makeup brand, Rihanna<\/strong> has rocked the music scene and captured the hearts of fans across the globe. Gathering her incredible life story, music, and fan culture all in one place, Rihanna Is Life<\/em> captures her epic achievements, risqu\u00e9 lyrics, and her entrepreunerial spirit.\u201d<\/p>\n

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\"\"Schoenberg: Why He Matters<\/strong><\/span><\/em>
By Harvey Sachs<\/strong><\/span><\/h3>\n

THE EDITED PRESS RELEASE:<\/strong> \u201cIn his time, the Austrian American composer Arnold Schoenberg<\/strong> (1874\u20131951) was an international icon. His 12-tone system was considered the future of music itself. Today, however, leading orchestras rarely play his works, and his name is met with apathy, if not antipathy. With this interpretative account, the acclaimed biographer of Toscanini<\/strong> finally restores Schoenberg to his rightful place in the canon, revealing him as one of the 20th century\u2019s most influential composers and teachers. Harvey Sachs<\/strong> shows how Schoenberg, a thorny character who composed thorny works, raged against the \u201cProcrustean bed\u201d of tradition. Defying his critics \u2014 among them the Nazis, who described his music as \u201cdegenerate\u201d \u2014 he constantly battled the anti-Semitism that eventually precipitated his flight from Europe to Los Angeles. Yet Schoenberg, synthesizing Wagnerian<\/strong> excess with Brahmsian<\/strong> restraint, created a shock wave that never quite subsided, and, as Sachs powerfully argues, his compositions must be confronted by anyone interested in the past, present, or future of Western music.\u201d<\/p>\n

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\"\"Hating Jazz: A History of Its Disparagement, Mockery, and Other Forms of Abuse<\/strong><\/span><\/em>
By Andrew S. Berish<\/strong><\/span><\/h3>\n

THE EDITED PRESS RELEASE:<\/strong> \u201cA rock guitarist plays four notes in front of 1,000 people, while a jazz guitarist plays 1,000 notes in front of four people. You might laugh or groan at this jazz joke, but what is it about jazz that makes people want to disparage it in the first place? Andrew S. Berish<\/strong>\u2019s Hating Jazz<\/em> listens to the voices who have denounced, disparaged, and mocked the music. By focusing on the rejection of the music, Berish says, we see more holistically jazz\u2019s complicated place in American cultural life. Jazz is a display of Black creativity and genius, an art form that is deeply embedded in African American life. Though the explicit racial tenor of jazz jokes has become muted over time, making fun of jazz, either in a lighthearted or aggressive way, is also an engagement with the place of Blackness in America. An individual\u2019s taste in music may seem personal, but Berish\u2019s analysis of jazz hatred demonstrates that musical preferences and trends are a social phenomenon. Criticism of jazz has become inextricable from the ways we understand race in America, past and present. In addition to this form of criticism, Berish also considers jazz hate as a form of taste discrimination and as a conflict over genre boundaries within different jazz cultures. Both enlightening and original, Hating Jazz<\/em> shows that our response to music can be a social act, unique to our historical moment and cultural context \u2014 we react to music in certain ways because of who we are, where we are, and when we are.\u201d<\/p>\n

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\"\"Songs In The Key Of MP3: The New Icons of the Internet Age<\/strong><\/span><\/em>
By Liam Inscoe-Jones<\/strong><\/span><\/h3>\n

THE EDITED PRESS RELEASE:<\/strong> \u201cIt\u2019s 2013. You\u2019re a teenager squinting at your laptop in the dead of night, flicking between iTunes,<\/strong>\u00a0YouTube<\/strong> and PirateBay<\/strong>. Endless reams of artists unspool at the click of a button. New forms of musical discovery open up before your very eyes. This evolving digital landscape exists beyond the radio, HMV<\/strong> and even the most extensive record collection. You\u2019ve entered a whole new world and, suddenly, just about everything feels possible. In Songs in the Key of MP3: The New Icons of the Internet Age,<\/em> Liam Inscoe-Jones<\/strong> explores five artists who broke the old rules of sound, style and the music industry at large: Devont\u00e9 Hynes<\/strong> (of Blood Orange<\/strong>), FKA Twigs<\/strong>, Oneohtrix Point Never<\/strong>, Earl Sweatshirt<\/strong> and Sophie<\/strong>. Each began their careers as obscure outsiders but, over time, they helped to reshape pop culture in their image. Through these five figures and an eclectic supporting cast of dozens more like Caroline Polachek<\/strong>, Daniel Lopatin<\/strong> and Nicol\u00e1s Jaar<\/strong>, Inscoe-Jones paints a picture of the sonic landscape of the last 10 years, exploring the influence of their music on pop culture, the internet and ourselves. An unorthodox mix of criticism, biography and history, Songs In The Key Of MP3<\/em> is a book of endless curiosity and wonder; a salutary attempt to define pop culture in a fast and ephemeral age.\u201d<\/p>\n

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\"\"Our Subversive Voice: The History and Politics of English Protest Songs, 1600-2020<\/strong><\/span><\/em>
By John Street & Oskar Cox Jensen<\/strong><\/span><\/h3>\n

THE EDITED PRESS RELEASE:<\/strong> \u201cWhether accompanying a march, a sit-in, or a confrontation with police, songs and protest are inextricably linked. As a tool for activism, the protest song spells out the issues at the heart of each cause. Over a surprisingly long history, it has been used to spread ideas, inspire political imagination, and motivate political action. The protest song is \u2014 and has always been \u2014 a form of political oratory as vital to political representation as it is to performance. Investigating five centuries of English history, Our Subversive Voice<\/em> establishes that the protest song is not merely the preserve of singer-songwriters; it is a mode of political communication that has been used to confront many systems of oppression across its many genres, from street ballads to art song, grime to hymns, and music hall to punk. Our Subversive Voice<\/em> traces the history of the protest song, examines its rhetorical forms, and explores the conditions of its genesis. It recounts how these songs have addressed discrimination and inequality, exploitation and the environment, and immigration and identity, and how institutions and organizations have sought both to facilitate and to suppress them. Drawing on a large and diverse corpus of songwriters, this book argues that song does more than accompany protest: it choreographs and communicates it. The protest song, Our Subversive Voice<\/em> shows, is an enduring, affecting, and effective means of expression and an essential element in understanding the drive to create political change, in the past and for the future.\u201d<\/p>\n

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\"\"Fabric: The Fully Illustrated History Of The Famous London Club<\/strong><\/span><\/em>
By Joe Muggs<\/strong><\/span><\/h3>\n

THE EDITED PRESS RELEASE:<\/strong> \u201cWhen a small group of enthusiasts rebelled against the increasing commercialisation of the rave scene, converting a derelict meat store in London into a venue seemed the only option to stay authentic. The meat store became and remains a cathedral for undiluted dance music with a global following. This book celebrates Fabric<\/strong>\u2019s phenomenal impact on club culture over the past quarter of a century. Using oral history, photography, archival ephemera and club night artwork, Fabric<\/em> tells the story of the misfits and visionaries who made it happen, the curators and resident DJs who kept the pure beats pulsing, and the devotees who filled the floor week after week, year after year \u2014 through highs, lows and a campaign against enforced closure.\u201d<\/p>\n

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\u2018 The preceding article may include information circulated by third parties \u2019 <\/em><\/p>\n

\u2018 Some details of this article were extracted from the following source tinnitist.com \u2019 <\/em><\/p>\n

\u2018 O artigo anterior foi obtido e traduzido do site internacional da celebrity.land \u2019 Source Link <\/em><\/p>\n\n","protected":false},"excerpt":{"rendered":"

He roomed with David Lynch. He married Faye Dunaway. He hung with Muddy Waters, Bob Dylan and Van Morrison. He gigged with everyone from The Velvet Underground to The Rolling Stones to Howlin\u2019 Wolf. He wrote chart-topping hits. He sang on one of the best live albums of all time. He is undeniably one of […]<\/p>\n","protected":false},"author":2,"featured_media":1231711,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_override_counter":[],"footnotes":""},"categories":[42],"tags":[],"class_list":["post-1231710","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-musica"],"_links":{"self":[{"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/posts\/1231710","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/comments?post=1231710"}],"version-history":[{"count":0,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/posts\/1231710\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/media\/1231711"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/media?parent=1231710"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/categories?post=1231710"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/tags?post=1231710"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}