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Der Rosenkavalier in Full Score
by Richard StraussThis superb edition of Richard Strauss's Der Rosenkavalier, one of the greatest masterpieces in the operatic repertoire, is reprinted complete and unabridged from a rare, limited, and numbered edition approved by Strauss and prepared by his publisher, Adolph Fürstner, prior to the opera's premiere in Dresden in 1911.Available for the first time in inexpensive format -- at far less than the cost of any comparable full-score edition -- this volume offers an easy-to-read score, with wide margins, large noteheads, and many other helpful features. Carefully printed and sturdily bound, it will provide a lifetime of pleasurable use to professional and amateur musicians as well as those who delight in following, score in hand, a live or recorded performance.Der Rosenkavalier is the most popular operatic work of the Bavarian composer in whose operas, songs, and symphonic poems the aesthetics of the Romantic movement were to reach their ultimate expression. A radiant and bittersweet celebration of love, it was Strauss's most successful collaboration with the illustrious Austrian poet Hugo von Hofmannsthal, and was an immediate sensation.Audiences then, as now, were enthralled by the melodic glories of Der Rosenkavalier's vocal ensembles, the richness of its orchestration, and the charm and depth of its characters. Throughout, it reveals the composer's bravura post-Romantic style, which was to influence numerous composers and to mesmerize audiences around the world. It remains today one of the most performed and recorded of all operatic works.
Der neue Schauder: Über das Phantastische der musikalischen Romantik
by Christian Kämpf„Es ist ein neuer Schauder, aber keine alte Furcht.“ Jean Pauls Sentenz birgt eine Ästhetik des Phantastischen in nuce. Sie gründet nicht zuletzt auf der Philosophie Friedrich Heinrich Jacobis und zielt auf den Wesenskern der Romantik. Neben Werken von Mozart, Beethoven, Schumann und Wagner werden vor diesem Hintergrund die romantische Zauberoper von Spohr, Weber und Marschner in den Mittelpunkt des Interesses gestellt sowie der sie begleitende musikästhetische Diskurs analysiert, der von Tieck, Hoffmann und Horn, A. B. Marx, Brendel und Pohl angeführt wurde. Entgegen der musikwissenschaftlichen Forschungstradition, die das Phantastische, wo nicht tabuisierte, mindestens trivialisierte, gelangt Kämpf zu einem neuen Verständnis der musikalischen Romantik, wonach sie ihre Zugehörigkeit zur Moderne und ihre Wirkkraft für die Gegenwart nicht des Phantastischen wegen verliert, sondern erst gewinnt.
Der Künstlermanagementvertrag: Erscheinungsbild, Vertragstypologie und rechtliche Untersuchung des Vertragsverhältnisses zwischen Künstler und Manager im Bereich der Musik
by Hans-Jürgen HomannDas Buch befasst sich mit der Vertragspraxis und den Rechtsfragen des Künstlermanagementvertrages im Musikbereich. Schwerpunkt des ersten Teils ist eine umfassende Vertragsanalyse der typischen Regelungen und Pflichtenprogramme zwischen Künstlern und Managern anhand von Praxis- und Musterverträgen. Im zweiten Teil wird die Rechtsnatur typischer Künstlermanagementverträge bestimmt und der Vertrag im System der Schuldverträge verortet. Anschließend werden im dritten Teil die wesentlichen Rechtsprobleme bei der Begründung, Durchführung und Beendigung von Künstlermanagementverträgen untersucht.
Der Anti-Stress-Trainer für Musiker
by Joe Orszulik Peter BuchenauDieses Buch aus der Anti-Stress-Trainer-Reihe thematisiert das Leben und die Stressfaktoren von Musikerinnen und Musikerin. Zahllose Musiker, Instrumentallehrer, Musikpädagogen, Komponisten und auch Textschreiber, die allermeist sehr euphorisch in ihre Karriere starten, sind schon bald desillusioniert, erschöpft oder leiden sogar unter Burnout. Gründe dafür sind unter anderem eine unsichere finanzielle Position, unregelmäßige Arbeitszeiten und auch eine starke körperliche Belastung. Dieses Buch informiert die Leser nicht nur über das Thema Stress bei Musikern, sondern gibt gleichzeitig viele hilfreiche Praxistipps für einen gesunden und erfolgreichen Umgang mit Stress. Der Autor, der selbst jahrelang aktiver Musiker war, gibt seine Erfahrungen und sein Wissen in diesem Buch weiter.
Depeche Mode: The Secret History (The\secret History Of Rock Ser.)
by Alan CrossAlan Cross is the preeminent chronicler of popular music.Here he provides a history of electronic pioneers Depeche Mode.This look at the group—"Music for the Masses—and Then Some"—is adapted from the audiobook of the same name.
Depeche Mode: El origen de la banda que conquisto el mundo con la musica electronica (Band Records)
by Soledad Romero Mariño Fernando López del HierroLos inicios de Depeche Mode, la banda de rock electrónico por excelencia, explicada a los más pequeños. <p><p>Synth pop, dance rock, new wave... Con su estilo único, el grupo británico Depeche Mode revolucionó la escena musical electrónica en los ochenta. Precursores del uso del sintetizador como instrumento, Vince Clarke, Dave Gahan, Martin Gore y Andy Fletcher se convirtieron a golpe de sampler en un auténtico fenómeno de masas. <p>Responsables de hits como «Enjoy the silence» o «Precious», sus influencias resuenan en grupos como los Pet Shop Boys o Coldplay.
Depeche Mode (Band Records #Volumen)
by Soledad Romero MariñoLos inicios de Depeche Mode, la banda de rock electrónico por excelencia, explicada a los más pequeños. Synth pop, dance rock, new wave... Con su estilo único, el grupo británico Depeche Mode revolucionó la escena musical electrónica en los ochenta. Precursores del uso del sintetizador como instrumento, Vince Clarke, Dave Gahan, Martin Gore y Andy Fletcher se convirtieron a golpe de sampler en un auténtico fenómeno de masas. Responsables de hits como «Enjoy the silence» o «Precious», sus influencias resuenan en grupos como los Pet Shop Boys o Coldplay.
Déodat de Séverac: Musical Identity in Fin de Siècle France
by RobertF. WatersD�at de S�rac (1872-1921) is best known for his piano music but his compositions included orchestral and vocal works, including opera, cantata and incidental music. Claude Debussy described S�rac's music as "exquisite and rich with ideas." The early works were influenced by Impressionist harmonies, church modes, cyclic techniques, folk-like melodies and Andalusian motives. S�rac's style changed dramatically in 1907 when he left Paris and began to include Catalan elements in his compositions - a transition that has hitherto gone unrecognized. Robert Waters provides a much-needed study of the life and works of S�rac, focusing on the composer's regionalist philosophy. S�rac's engagement with folk music was not a patriotic gesture in the vein of nationalistic composers, but a way of expressing regional identity within France to counter the restrictive styles sanctioned by the Paris Conservatory. His musical philosophy mirrored larger social and political debates regarding anti-centralist positions on education, politics, art and culture in fin de siecle France. Such debates involved political and social leaders whom S�rac knew and personally admired, including the writer Maurice Barr�and the poet Fr�ric Mistral. The book will appeal to those specializing in French music, European ethnic musics, piano music and French music history.
Denver Folk Music Tradition, The: An Unplugged History, from Harry Tuft to Swallow Hill and Beyond
by Paul MalkoskiIn 1962, Harry Tuft founded the Denver Folklore Center to bring together contemporary folk music fans and performers such as Joan Baez, Pete Seeger, Judy Collins and so many more. In the following decade, a core of folk enthusiasts established the Swallow Hill Music Association.These two organizations have persevered to sustain a lasting folk legacy in the Mile High City. This is the story of how the music and the people who love and live it shaped a unique, influential tradition. Join local historian and musician Paul Malkoski on a tour through more than fifty years of Denver's proud folk music scene.
Denim and Leather: The Rise and Fall of the New Wave of British Heavy Metal
by Michael HannIn the late 1970s, aggressive, young bands are forming across Britain. Independent labels are springing up to release their music. But this isn't the story of punk. Forget punk. Punk was a flash in the pan compared to this. This is the story of the New Wave of British Heavy Metal, a musical movement that changed the world. From this movement - given the unwieldy acronym NWOBHM - sprang streams that would flow through metal's subsequent development. Without NWOBHM there is no thrash metal, no death metal, no black metal. Without the rise of Iron Maiden, NWOBHM's standard bearers, leading the charge to South America and to South Asia, metal's global spread is slower. Without the NWOBHM bands - who included Def Leppard, Motorhead, Judas Priest, Diamond Head and many others - the international uniform of heavy metal - the 'battle jacket' of a denim jacket with sleeves ripped off, and covered with patches (usually sewn on by the wearer's mum), worn over a leather biker jacket - does not exist: 'Denim and leather brought us all together,' as Saxon put it.No book has ever gathered together all the principals of British heavy rock's most fertile period: Jimmy Page, Rick Allen, Michael Schenker, Robert John 'Mutt' Lange, Ritchie Blackmore, Rick Savage, Phil Collen, David Coverdale, Cronos, Biff Byford, Joe Elliott, Rob Halford, Ian Gillan, Phil Mogg, Robert Plant, Tony Wilson, Lars Ulrich, Pete Waterman to name a few.In Denim and Leather, these stars tell their own stories - their brilliant, funny tales of hubris and disaster, of ambition and success - and chart how, over a handful of years from the late 1970s to the early 1980s, a group of unlikely looking blokes from the provinces wearing spandex trousers changed heavy music forever.This is the definitive story about the greatest days of British heavy rock.
The Demons of Leonard Cohen (Canadian Studies)
by Francis Mus"With my jingle in your brain, Allow the Bridge to arch again" How are we to understand Leonard Cohen’s plea? Who speaks to whom in this oeuvre spanning six decades? In search of an answer to this question this study considers the different guises or “demons” that the Canadian singer-songwriter adopts. The countless roles assumed by Cohen’s personas are not some innocent game, but strategies in response to the sometimes conflicting demands of a “life in art”: they serve as masks that represent the performer’s face and state of mind in a heightened yet detached way. In and around the artistic work they are embodied by different guises and demons: image (the poser), artistry (the writer and singer), alienation (the stranger and the confidant), religion (the worshipper, prophet, and priest), and power (the powerful and powerless). Ultimately, Cohen’s artistic practice can be read as an attempt at forging interpersonal contact. The wide international circulation of Cohen’s work has resulted in a partial severing with the context of its creation. Much of it has filtered through the public image forged by the artist and his critics in concerts, interviews, and reflective texts. Less a biography than a reception study—supplemented with extensive archival research, unpublished documents, and interviews with colleagues and privileged witnesses—it sheds new light on the dynamic of a comprehensive body of work spanning a period of sixty years. Published in English.
Demetrius Cantemir: Volume 2: Commentary (Soas Studies In Music Ser.)
by Owen WrightThe substantial collection of notations of seventeenth-century Ottoman instrumental music made by Demetrius Cantemir is both a record of compositions of considerable intrinsic interest and a historical document of vital importance, representing as it does one of the most comprehensive accounts of any Middle Eastern repertoire before the widespread adoption of Western notation in the twentieth century. This volume contains a commentary to the edition of Cantemir's notations prepared by the same author. The introductory section provides a context for the collection, giving a biographical sketch of its compiler and relating it to the theoretical treatise it accompanies. This is followed by a substantial analysis of modal structures which examines each makam individually and then attempts to make progressively wider generalizations. The projection of melody onto the various rhythmic cycles is next examined, with particular attention being paid to the various formulaic elements which constitute much of the compositional language of the period. A final section shifts to a more diachronic perspective, surveying internal evidence for historical change and for the survival of earlier styles.
Delta Lady: A Memoir
by Rita Coolidge Michael WalkerThe two-time Grammy Award-winning singer and songwriter bares her heart and soul in this intimate memoir, a story of music, stardom, love, family, heritage, and resilience.She inspired songs—Leon Russell wrote “A Song for You” and “Delta Lady” for her, Stephen Stills wrote “Cherokee.” She co-wrote songs—“Superstar” and the piano coda to “Layla,” uncredited. She sang backup for Eric Clapton, Joe Cocker, and Stills, before finding fame as a solo artist with such hits as “We're All Alone” and “(Your Love Has Lifted Me) Higher and Higher.” Following her story from Lafayette, Tennessee to becoming one of the most sought after rock vocalists in LA in the 1970s, Delta Lady chronicles Rita Coolidge’s fascinating journey throughout the ’60s-’70s pop/rock universe.A muse to some of the twentieth century’s most influential rock musicians, she broke hearts, and broke up bands. Her relationship with drummer Jim Gordon took a violent turn during the legendary 1970 Mad Dogs & Englishmen tour; David Crosby maintained that her triangle with Stills and Graham Nash was the last straw for the group. Her volatile six-year marriage to Kris Kristofferson yielded two Grammys, a daughter, and one of the Baby Boom generation’s epic love stories. Throughout it all, her strength, resilience, and inner and outer beauty—along with her strong sense of heritage and devotion to her family—helped her to not only survive, but thrive. Co-written with best-selling author Michael Walker, Delta Lady is a rich, deeply personal memoir that offers a front row seat to an iconic era, and illuminates the life of an artist whose career has helped shape modern American culture.
Delta Blues: The Life and Times of the Mississippi Masters Who Revolutionized American Music
by Ted Gioia"The essential history of this distinctly American genre."--Atlanta Journal-Constitution In this "expertly researched, elegantly written, dispassionate yet thoughtful history" (Gary Giddins), award-winning author Ted Gioia gives us "the rare combination of a tome that is both deeply informative and enjoyable to read" (Publishers Weekly, starred review). From the field hollers of nineteenth-century plantations to Muddy Waters and B.B. King, Delta Blues delves into the uneasy mix of race and money at the point where traditional music became commercial and bluesmen found new audiences of thousands. Combining extensive fieldwork, archival research, interviews with living musicians, and first-person accounts with "his own calm, argument-closing incantations to draw a line through a century of Delta blues" (New York Times), this engrossing narrative is flavored with insightful and vivid musical descriptions that ensure "an understanding of not only the musicians, but the music itself" (Boston Sunday Globe). Rooted in the thick-as-tar Delta soil, Delta Blues is already "a contemporary classic in its field" (Jazz Review).
Deliver Me from Nowhere: The Making of Bruce Springsteen's Nebraska
by Warren ZanesThe fascinating story behind the making of Bruce Springsteen&’s most surprising album, Nebraska, revealing its pivotal role in Springsteen&’s career Without Nebraska, Bruce Springsteen might not be who he is today. The natural follow-up to Springsteen&’s hugely successful album The River should have been the hit-packed Born in the U.S.A. But instead, in 1982, he came out with an album consisting of a series of dark songs he had recorded by himself, for himself. But more than forty years later, Nebraska is arguably Springsteen&’s most important record—the lasting clue to understanding not just his career as an artist and the vision behind it, but also the man himself. Nebraska is rough and unfinished, recorded on cassette tape with a simple four-track recorder by Springsteen, alone in his bedroom, just as the digital future was announcing itself. And yet Springsteen now considers it his best album. Nebraska expressed a turmoil that was reflective of the mood of the country, but it was also a symptom of trouble in the artist&’s life, the beginnings of a mental breakdown that Springsteen would only talk about openly decades after the album&’s release. Warren Zanes spoke to many people involved with making Nebraska, including Bruce Springsteen himself. He also interviewed more than a dozen celebrated artists and musical insiders, from Rosanne Cash to Steven Van Zandt, about their reactions to the album. Zanes interweaves these conversations with inquiries into the myriad cultural touchpoints, including Terrence Malick&’s Badlands and the short stories of Flannery O&’Conner, that influenced Springsteen as he was writing the album&’s haunting songs. The result is a textured and revelatory account of not only a crucial moment in the career of an icon but also a record that upended all expectations and predicted a home-recording revolution.
Delius and the Sound of Place (Music in Context)
by Daniel M. GrimleyFew composers have responded as powerfully to place as Frederick Delius (1862–1934). Born in Yorkshire, Delius resided in the United States, Germany, and Scandinavia before settling in France, where he spent the majority of his professional career. This book examines the role of place in selected works, including 'On Hearing the First Cuckoo in Spring', Appalachia, and The Song of the High Hills, reading place as a creative and historically mediated category in his music. Drawing on archival sources, contemporary art, and literature, and more recent writing in cultural geography and the philosophy of place, this is a new interpretation of Delius' work, and he emerges as one of the most original and compelling voices in early twentieth-century music. As the popularity of his music grows, this book challenges the idea of Delius as a large-scale rhapsodic composer, and reveals a richer and more productive relationship between place and music.
Deflowered: My Life in Pansy Division
by Jon Ginoli"We're the buttfuckers of rock-and-roll, We want to sock it to your hole!" With these words written in a notebook, Jon Ginoli sets off on a journey of self-discovery and musical passion to become the founding member of Pansy Division, the first out and proud queercore punk rock band to hit the semi-big time. Set against the changing decades of music, we follow the band from their inception in San Francisco, to their search for a music label and a permanent drummer to their current status as indie rock icons. We see the highs-touring with Green Day-and the lows-homophobic fans-of striving for acceptance and success in the world of rock. Replete with the requisite tales of sex, drugs, groupies, band fights and label battles, this rollicking memoir is also an impassioned account of staying true to the artistic vision of queer rock'n'roll.
Deflowered: My Life in Pansy Division
by Jon Ginoli"We're the buttfuckers of rock-and-roll, We want to sock it to your hole!" With these words written in a notebook, Jon Ginoli sets off on a journey of self-discovery and musical passion to become the founding member of Pansy Division, the first out and proud queercore punk rock band to hit the semi-big time. Set against the changing decades of music, we follow the band from their inception in San Francisco, to their search for a music label and a permanent drummer to their current status as indie rock icons. We see the highs--touring with Green Day--and the lows--homophobic fans--of striving for acceptance and success in the world of rock. Replete with the requisite tales of sex, drugs, groupies, band fights and label battles, this rollicking memoir is also an impassioned account of staying true to the artistic vision of queer rock'n'roll.
Definitive Biography of P.D.Q. Bach
by Peter SchickeleWhat little-known son of a famous genius has been called:"A musical blight""A one-man plague""History's most justifiably neglected composer""The worst musician ever to trod organ pedals" "A pimple on the face of music"In this long-awaited hoax, possibly the most unimportant piece of scholarship in over two thousand years, Professor Peter Schickele has finally succeeded in ripping the veil of obscurity from the most unusual -- to put it kindly -- composer in the history of music: P.D.Q. Bach, the last and unquestionably the least of the great Johann Sebastian Bach's many children.From the Trade Paperback edition.
Defining Waka Musically: Songs of Male Love in Premodern Japan
by Christopher HepburnThis book considers how music, musicality, and ideologies of musicality are working within the specific construction of waka on the theme of male love in Kitamura Kigin’s Iwatsutsuji (1676) and Ihara Saikaku’s Nanshoku ōkagami (1687) by using a modified generative theory of music. This modified theory seeks to get at the interdependent meanings that may exist among the music, image, and the text of the waka in question. In all, this study guides the reader through five waka on the theme of male love and demonstrates not only how each waka is inherently musical but how the image and text may interdependently relate to the ways in which premodern Japanese song poets may not only have thought in and with sound but may have also utilized a diverse array of musical gestures to construct new objects of knowledge. In the case of this study, these new objects of knowledge seem to have aided in situating a changing musicopoetics that aligned with changing constructions of male desire.
Defining Russia Musically: Historical and Hermeneutical Essays
by Richard TaruskinThe world-renowned musicologist Richard Taruskin has devoted much of his career to helping listeners appreciate Russian and Soviet music in new and sometimes controversial ways. Defining Russia Musically represents one of his landmark achievements: here Taruskin uses music, together with history and politics, to illustrate the many ways in which Russian national identity has been constructed, both from within Russia and from the Western perspective. He contends that it is through music that the powerful myth of Russia's "national character" can best be understood. Russian art music, like Russia itself, Taruskin writes, has "always [been] tinged or tainted ... with an air of alterity--sensed, exploited, bemoaned, reveled in, traded on, and defended against both from within and from without." The author's goal is to explore this assumption of otherness in an all-encompassing work that re-creates the cultural contexts of the folksong anthologies of the 1700s, the operas, symphonies, and ballets of the 1800s, the modernist masterpieces of the 1900s, and the hugely fraught but ambiguous products of the Soviet period. Taruskin begins by showing how enlightened aristocrats, reactionary romantics, and the theorists and victims of totalitarianism have variously fashioned their vision of Russian society in musical terms. He then examines how Russia as a whole shaped its identity in contrast to an "East" during the age of its imperialist expansion, and in contrast to two different musical "Wests," Germany and Italy, during the formative years of its national consciousness. The final section, expanded from a series of Christian Gauss seminars presented at Princeton in 1993, focuses on four individual composers, each characterized both as a self-consciously Russian creator and as a European, and each placed in perspective within a revealing hermeneutic scheme. In the culminating chapters--Chaikovsky and the Human, Scriabin and the Superhuman, Stravinsky and the Subhuman, and Shostakovich and the Inhuman--Taruskin offers especially thought-provoking insights, for example, on Chaikovsky's status as the "last great eighteenth-century composer" and on Stravinsky's espousal of formalism as a reactionary, literally counterrevolutionary move.
Defensive Eating with Morrissey: Vegan Recipes from the One You Left Behind
by Joshua Ploeg Automne ZinggPoor Morrissey. He's just so... so... hungry. And meat is murder, so that narrows his options by a lot. Until now, at least! With the arrival of the Defensive Eating with Morrissey cookbook, our dear Moz no longer needs to suffer such terrible hunger, such ruthless indecision, or the emotional impact of a major blood sugar crash at the worst possible moment. These 100+ vegan recipes make enough unbelievably delicious, poetic food for him to eat his fill and have plenty left over for later. Sweetness, he's even saved enough for you.
The Defence of Tradition in Brazilian Popular Music: Politics, Culture and the Creation of Música Popular Brasileira (Ashgate Popular and Folk Music Series)
by Sean StroudSean Stroud examines how and why Música Popular Brasileira (MPB) has come to have such a high status, and why the musical tradition (including MPB) within Brazil has been defended with such vigour for so long. He emphasizes the importance of musical nationalism as an underlying ideology to discussions about Brazilian popular music since the 1920s, and the key debate on so-called 'cultural invasion' in Brazil. The roles of those responsible for the construction of the idea of MPB are examined in detail. Stroud analyses the increasingly close relationship that has developed between television and popular music in Brazil with particular reference to the post-1972 televised song festivals. He goes on to consider the impact of the Brazilian record industry in the light of theories of cultural imperialism and globalization and also evaluates governmental intervention relating to popular music in the 1970s. The importance of folklore and tradition in popular music that is present in both Mário de Andrade and Marcus Pereira's efforts to 'musically map' Brazil is clearly emphasized. Stroud contrasts these two projects with Hermano Vianna and Itaú Cultural's similar ventures at the end of the twentieth century that took a totally different view of musical 'authenticity' and tradition. Stroud concludes that the defence of musical traditions in Brazil is inextricably bound up with nationalistic sentiments and a desire to protect and preserve. MPB is the musical expression of the Brazilian middle class and has traditionally acted as a cultural icon because it is associated with notions of 'quality' by certain sectors of the media.
Def Leppard: The Definitive Visual History
by Joe Elliott Ross HalfinDef Leppard's unstoppable, anthemic hard rock has earned it sales of more than 65 million albums worldwide and a legion of dedicated fans. This fully authorized visual history of the band follows them from the new wave of British heavy metal to their massive Pyromania and Hysteria albums to the sustained power of their records and tours today. Legendary rock photographer Ross Halfin has been shooting Def Leppard since 1978, and his candid and definitive pictures have helped capture and shape the image of the band. Def Leppard includes more than 450 classic and unseen photographs, along with text from Halfin and stories and commentary by the band members and others.
Def Jam, Inc.: Russell Simmons, Rick Rubin, and the Extraordinary Story of the World's Most Influential Hip-hop Label
by Brett Ratner Stacy GuerasevaIn the early '80s, the music industry wrote off hip-hop as a passing fad. Few could or would have predicted that the improvised raps and raw beats busting out of New York City's urban underclass would one day become a multimillion-dollar business and one of music's most lucrative genres. Among those few were two visionaries: Russell Simmons, a young black man from Hollis, Queens, and Rick Rubin, a Jewish kid from Long Island. Though the two came from different backgrounds, their all-consuming passion for hip-hop brought them together. Soon they would revolutionize the music industry with their groundbreaking label, Def Jam Records.Def Jam, Inc. traces the company's incredible rise from the NYU dorm room of nineteen-year-old Rubin (where LL Cool J was discovered on a demo tape) to the powerhouse it is today; from financial struggles and scandals-including The Beastie Boys's departure from the label and Rubin's and Simmons's eventual parting-to revealing anecdotes about artists like Slick Rick, Public Enemy, Foxy Brown, Jay-Z, and DMX. Stacy Gueraseva, former editor in chief of Russell Simmons's magazine, Oneworld, had access to the biggest players on the scene, and brings you real conversations and a behind-the-scenes look from a decade-and a company-that turned the music world upside down. She takes you back to New York in the '80s, when late-night spots such as Danceteria and Nell's were burning with young, fresh rappers, and Simmons and Rubin had nothing but a hunch that they were on to something huge.Far more than just a biography of the two men who made it happen, Def Jam, Inc. is a journey into the world of rap itself. Both an intriguing business history as well as a gritty narrative, here is the definitive book on Def Jam--a must read for any fan of hip-hop as well as all popular-culture junkies.