Kimbrew McLeod and Peter DiCola, “Creative License: The Law and Culture of Digital Sampling” (Duke University Press, 2011)
One hallmark of important art, in any medium, is a thoughtful relation with artistic precursors. Every artist reckons with heroes and rivals, influences and nemeses, and the old work becomes a part of the new. In Adam Bradley’s seminal monograph… Read More
Eric C. Schneider, “Smack: Heroin and the American City” (University of Pennsylvania Press, 2008)
When I arrived at college in the early 1980s, drugs were cool, music was cool, and drug-music was especially cool. The coolest of the cool drug-music bands was The Velvet Underground. They were from the mean streets of New York… Read More
Sheree Homer, “Catch that Rockabilly Fever: Personal Stories of Life on the Road and in the Studio” (McFarland, 2010)
“On July 5, 1954, Elvis Presley, Scotty Moore, and Bill Black forever changed musical history,” writes Sheree Homer in Catch that Rockabilly Fever: Personal Stories of Life on the Road and in the Studio (McFarland, 2010). It was on this… Read More
Joe Carducci, “Enter Naomi: SST, L.A. and All That…” (Redoubt Press, 2007)
SST Records was a seminal label in Los Angeles’s independent music scene of the 1980’s. Founded in 1978 by Greg Ginn, SST released records by a slew of influential bands such as Black Flag, Minutemen, Meat Puppets, Saint Vitus, Husker… Read More
Simon Morrison, “The People’s Artist: Prokofiev’s Soviet Years” (Oxford UP, 2009)
In the Soviet Union, artists lived lives that were at once charmed and cursed. Though relatively poor, the USSR poured resources into the arts. The Party created a large, well-funded cultural elite of which only two things were expected. First,… Read More
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