To Broadway, to Life!: The Musical Theater of Bock and Harnick

James Crooks (Author)

Bach's Architecture of Gratitude: On the Genius of the Mass in B Minor

Every lover of music finds themselves, at privileged moments, in ecstasy - certain that what they ar

Nick Corasaniti (Author)

I Don't Want to Go Home: The Oral History of the Stone Pony

0,"Reading Nick Corasaniti's delightful book about the storied Asbury Park, New Jersey, club is like sitting at your favorite bar listening to the old regulars tell magnificent stories."--Rolling Stone, Best Music Books of the YearA captivating oral history of the iconic music venue the Stone Pony and of the rise, fall, and rebirth of Asbury Park, New Jersey--featuring interviews with Bruce Springsteen, Steve Van Zandt, Southside Johnny, members of the E Street Band and Asbury Jukes, the Ramones, the Jonas Brothers, Jack Antonoff, and other legendary musicians.Featuring exclusive, never-before-seen photos from Danny ClinchIn 1970, Asbury Park, New Jersey, was ripped apart by race riots that left the once-proud beach town an hour away from Manhattan smoldering, suffering and left for dead.Four years later, a few miles down the coast in Seaside Heights, two bouncers, Jack Roig and Butch Pielka, tired of the daily grind, dreamt of owning their own place. Under-prepared and minimally funded, the two bought the first bar they considered, in a city where no one wanted to be, without setting one foot in the place. They named it the Stone Pony, and turned it into a rock club that Bruce ...

Samantha Ege (Author)

South Side Impresarios: How Race Women Transformed Chicago's Classical Music Scene

1,Between the world wars, Chicago Race women nurtured a local yet widely resonant Black classical music community entwined with Black civic life. Samantha Ege tells the stories of the Black women whose acumen and energy transformed Chicago's South Side into a wellspring of music making. Ege focuses on composers like Florence Price, Nora Holt, and Margaret Bonds not as anomalies but as artists within an expansive cultural flowering. Overcoming racism and sexism, Black women practitioners instilled others with the skill and passion to make classical music while Race women like Maude Roberts George, Estella Bonds, Neota McCurdy Dyett, and Beulah Mitchell Hill built and fostered institutions central to the community. Ege takes readers inside the backgrounds, social lives, and female-led networks of the participants while shining a light on the scene's audiences, supporters, and training grounds. What emerges is a history of Black women and classical music in Chicago and the still-vital influence of the world they created. A riveting counter to a history of silence, South Side Impresarios gives voice to an overlooked facet of the Black Chicago Renaissance.