Best Music Writing 2011

ISBN-10: 0306819635

ISBN-13: 9780306819636

Edition: 2011

List price: $18.50 Buy it from $3.00
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Best Music Writinghas become one of the most eagerly awaited annuals of them all. Celebrating the year in music writing by gathering a rich array of essays, missives, and musings on every style of music from rock to hip-hop to R&B to jazz to pop to blues, it is essential reading for anyone who loves great music and accomplished writing. Scribes of every imaginable sort--novelists, poets, journalists, musicians-- are gathered to create a multi-voiced snapshot of the year in music writing that, like the music it illuminates, is every bit as thrilling as it is riveting.
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Book details

List price: $18.50
Copyright year: 2011
Publisher: Da Capo Press, Incorporated
Publication date: 11/29/2011
Binding: Paperback
Pages: 336
Size: 5.50" wide x 8.00" long x 0.75" tall
Weight: 0.726
Language: English

Alex Ross was born in 1968. He attended St. Alban's School in Washington, D.C. and graduated from Harvard University in 1990. It was there that he studied under composer Peter Lieberson and was a D.J. on the classical and underground rock departments of the college radio station. He earned a Harvard A.B. in English summa cum laude for a thesis on James Joyce. From the years, 1992-1996, Alex Ross was a music critic at the New York Times. He also wrote for the New Republic, Slate, and The London Review of Books. In 1993 he started contributing to The New Yorker and became a staff writer in 1996. In 2007 his released his first book in the U.S. entitled The Rest is Noise: Listening to the Twentieth Century, a cultural history of music since 1900. This book received widespread crritical praise in the U.S. and earned a National Book Critics Circle Award, a spot on New York Times list of the ten best books of 2007, and a finalist citation for the Pulitzer Prize in general non-fiction. His second book - Listen to This- was published in September 2010. Alex Ross has also received a Holtzbrink fellowship at the American Academy in Berlin.

"Beethoven's Kapow" New York Magazine
"Keep Tickin and Tockin Work It All Around the Clock"Exist Yesterday
"The Grandest Duke" New York Review of Books
"Growing Up Gaga" New York Magazine
"The Mothership, lost in space" Washington Post
"Excerpt from How to Wreck a Nice Beach: The Vocoder from World War II to Hip-Hop"
"Curiosity Slowdown" Frieze
"Meet Your #operaplot 2010 Winners" The Omniscient Mussel
"A Pop Critic Takes on the Ring: Part 1, Das Rheingold" Los Angeles Times
"Word" The New Yorker
"Why We Fight #5: Why Risks are Risky" Pitchfork Media
"Tour Diary Day Four: Rock and Roll is Dead"
"Jetlagged Manifesto" Think Denk
"Making Pop for Capitalist Pigs" Chicago Reader
"The Underground Rises" Frontline's Tehran Bureau
"Pantha du Prince" Groove Magazine
"Wormrot, Defeatist, Mutant Supremacy, Psychic Limb and Curandera-October 3rd-The Acheron, Brooklyn" Sunyata: Mindful of Metal
"Giant Steps: The Survival of a Great Jazz Pianist" The New York Times
"William and the Science of Global Pop Domination" Rolling Stone
"Notes from a Wedding" Washington Post
"For the Record" Washington Post
"The Curious Case of Nicki Minaj" Out
"Gasping, But Somehow Still Alive': The Persistence of Meat Is Murder" Stereogum
"Nashville Skyline: Searching for the Heart of Country CMT News
"The Honeymooners" Oxford American
"The Long War" The New Yorker
"The 'Thriller' Diaries" Vanity Fair
"The Runaways: Wild Thing" LA Weekly
"The Fun Stuff" The New Yorker
"Direction Nowhere" At Length
"I Wish I Knew How It Would Feel to Be Free: The Secret Diary of Nina Simone" The Believer
"Darkness Invisible" The Threepenny Review
Other Notable Music Writing of 2010
List of Contributors
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