by Anna Turner and Stephen Hill Softcover, 8 x 8.75 in, 116pp Second printing of 1000 Co-published by Colpa Press and Amaya Productions, 2025Originally published in 1981 and reprinted in 2019, this classic guide to New Age music is an annotated listing of the music heard on the influential radio program Music from the Hearts of Space, hosted by Stephen Hill and Anna Turner, since 1973. You can listen to the show at https://www.hos.com/. Created and co-produced by Anna Turner and Stephen Hill (b. 1944, USA), Hearts of Space began airing on Sunday nights from 11pm to 2am on Berkeley, California's KPFA radio beginning in 1973. Nearly a decade into the program's run, Turner and Hill self-published The Hearts of Space Guide to Cosmic, Transcendent and Innerspace Music, an annotated introduction to the generous international sampling of music featured weekly on the program. The book's structure brings the nocturnal radio project into clear view, divided as it is into such "flexible/organic" categories as "ambient," "new age," "electronic space music," "cosmic rock," and many more. Shortly after the release of this guide, Hearts of Space was syndicated to 35 public radio stations through NPR; to date, there have been over 1,100 broadcasts of the program.

Softcover, 80pp New Directions Publishing, New York, June 2025  Originally published by Angel Hair Press in 1978This landmark early book by the late great Bernadette Mayer is finally available again. Mayer was a marvelous poet in every stage of her long and prolific writing life, but many fans especially relish her restless, powerful, sexy, and erudite early work. One of her signal elements is a deadpan wit, on full display here with classic poems such as “Lookin’ Like Areas of Kansas” or “What Babies Really Do,” or the marvelous “Essay”: I guess it’s too late to live on the farm I guess it’s too late to move to a farm I guess it’s too late to start farming I guess it's too late to begin farming I guess we'll never have a farm I guess we're too old to do farming [...] I don’t want to be a farmer but my mother was right I should never have tried to rise out of the proletariat Unless I can convince myself as Satan argues with Eve That we are among a proletariat of poets of all the classes Each ill-paid and surviving on nothing Or on as little as one needs to survive Steadfast as any farmer and fixed as the stars Tenants of a vision we rent out endlessly

Softcover, 80pp Pan Macmillan, February 2022A brilliant outing from one of the finest poets currently working in the English language. This is at once a sharply political and deeply personal book which explores just that intersection. "It sometimes seems that contemporary poetry divides into two sorts - those poems that did not need to be written and those written out of necessity. Denise Riley belongs to the second category - her writing is perfectly weighted, justifies its existence. It is impossible not to want to "say something back" to each of her poems in recognition of their outstanding quality. Her voice is strong and beautiful - an imperative in itself . . . remarkable"

Softcover, 134pp Duke University Press, 2005Denise Riley is renowned as a feminist theorist and a poet and for her remarkable refiguring of familiar but intransigent problems of identity, expression, language, and politics. In Impersonal Passion, she turns to everyday complex emotional and philosophical problems of speaking and listening. Her provocative meditations suggest that while the emotional power of language is impersonal, this impersonality paradoxically constitutes the personal. In nine linked essays, Riley deftly unravels the rhetoric of life’s absurdities and urgencies, its comforts and embarrassments, to insist on the forcible affect of language itself. She teases out the emotional complexities of such quotidian matters as what she ironically terms the right to be lonely in the face of the imperative to be social or the guilt associated with feeling as if you’re lying when you aren’t. Impersonal Passion reinvents questions from linguistics, the philosophy of language, and cultural theory in an illuminating new idiom: the compelling emotion of the language of the everyday.

Softcover, 335pp Wolke Verlag/ MusikTexte, Cologne, 2025Sven-Åke Johansson defies categorization. Oscillating between Free Music, Swing Jazz, composition, performance, music theater, vocal art, and visual experimentation, his work inhabits a space where genres dissolve and new forms emerge. This book is the most comprehensive collection of Johansson’s compositions, realized and unrealized concepts, alongside his distinctive drawings, sketches, and textual explorations. Just as his music shifts fluidly between acoustic ready-mades, bruitism, solo works, free ensembles, jazz combos, and theatrical experiments, his writing resists fixed identities. Texts explaining compositions double as poetic structures, aphorisms transform into song lyrics, and vocal declamations spill from Instant Composing into the realm of literature. Rather than imposing a historical framework, this book presents a vivid collage of materials, arranged in thematic constellations that reflect Johansson’s own artistic logic. At once an artist’s book and a curated volume, it offers deep insight into his creative practice. A series of interviews further illuminates his singular way of thinking and speaking, providing multiple entry points into the world of one of the most unclassifiable figures in contemporary music and art. Thomas Groetz and Bastian Zimmermann prepared the materials for this volume. Translated by Daniel Ryan Albertson.

Foreword, Commentary and Afterword by Laura Kuhn Cage’s passionate, distraught and affectionate letters to Cunningham provide a vivid portrait of the start of their life together These early letters from John Cage to Merce Cunningham will be revelatory, for while the two are widely known as a dynamic, collaborative duo, the story of how and when they came together has never been fully revealed. In the 39 letters of this collection, spanning 1942–46, Cage shows himself to be a man falling deeply in love. When they first met at the Cornish School in Seattle in the 1930s, Cage was 26 to Cunningham’s 19. Their relationship was purely that of teacher and student, and Cage was also very much married.It was in Chicago that their romantic relationship would begin. Cage was teaching at Moholy-Nagy’s School of Design when Cunningham passed through town as a dancer with the Martha Graham Company, appearing on stage on March 14, 1942. Cage’s letters, which begin in earnest a week later, are increasingly passionate, distraught, romantic and confused, and occasionally contain snippets of poetry and song. They are also more than love letters, as we see intimations that resonate with our experience of the later John Cage.​Love, Icebox takes its shape from these letters—transcribed, chronologically ordered, and in some instances reproduced in facsimile. Laura Kuhn, Cage’s assistant from 1986 to 1992 and now longtime director of the John Cage Trust, adds a foreword, afterword and running commentary. Photographic illustrations of their final 18th Street loft in New York City, as well as personal and household objects left behind, remind us of the substance and rituals of their long-shared life.

Over sixteen years, beginning in 1965, John Cage compiled anecdotes, observations and koanlike tales, originally typing everything on an IBM Selectric and using chance methods to determine the formatting of texts that twist down each page. The Siglio [hardcover] edition preserves the graphic effects, but, more important, it gives a sense of the company he kept during these years—Marcel Duchamp, R. Buckminster Fuiller, D.T. Suzuki—and of his passionate feeling about a world locked in a state of perpetual warfare. Cage has a reputation for being a Zen-inspired wit. He was also much more, an intensely engaged moral thinker. — Holland Cotter, New York Times A repository of observations, anecdotes, proclivities, obsessions, jokes and koan-like stories, Diary: How to Improve the World (You Will Only Make Matters Worse) registers John Cage’s assessment of the times in which he lived as well as his often uncanny portents about the world we live in now. With a great sense of play as well as purpose, Cage traverses vast territory, from the domestic minutiae of everyday life to ideas about how to feed the world. Cage used chance operations to determine not only the word count and the application of various typefaces but also the number of letters per line, the patterns of indentation, and color. The unusual visual variances on the page become almost musical as language takes on a physical and aural presence. While chance operations expand the possibilities of creating and shaping work beyond the limitations of individual taste and perspective, Diary nonetheless accumulates into a complex reflection of Cage’s own particular sensibilities as a thinker and citizen of the world, illuminating his social and political awareness, as well as his idealism and sense of humor: it becomes an oblique but indelible portrait of one the most influential figures of the 20th century American avant-garde. Collecting all eight parts into a single volume, co-editors Biel and Kraft used chance operations to render the entire text in various combinations of the red and blue (used in the Great Bear pamphlet publication of Part Three) as well as to apply a single set of eighteen fonts to the entire work. This expanded paperback edition reproduces the 2015 hardcover edition. It also includes a new essay by mycologist and Cage aficionado David W. Rose and, most important, a significant addendum with over twenty facsimile pages of Cage’s handwritten notebook of a ninth part in progress. These previously unpublished pages bring the reader into compelling proximity to Cage’s process and the raw material from which it is made. In the editors’ note, Kraft and Biel succinctly elucidate the procedure of chance operations and demonstrate its application, giving readers a rare opportunity to see how the text is transformed.

Edited by Claire Le Restif, Clément Dirié, Laetitia Chauvin.Texts by Claire Le Restif, Cy Lecerf Maulpoix, Elisabeth Lebovici, Fiona Corridan, Gerald Incandela, James Mackay, Jon Savage, Laetitia Chauvin, Marco Martella, Philip Hoare, Simon Fisher Turner, Simon Watney, Tilda Swinton. Published following Derek Jarman's exhibition Dead Souls Whisper (1986-1993) at Le Crédac, Ivry-sur-Seine, in 2021. JRP Editions, November 2024  Hardback, 272 pp (220 ill.)A tribute to Derek Jarman manifold and vital practice. Gathering together newly commissioned essays by international art critics and scholars devoted to specific—and sometimes lesser-known—aspects of the artist's life and work and extensive portfolios spanning his successive bodies of works, this monograph offers an accessible overview of Derek Jarman, one of the legendary cultural figures of the second half of the 20th century. Conceived as a reader, this volume includes essays by cultural critic Elisabeth Lebovici, Le Crédac Director and Curator Claire Le Restif, Manchester Art Gallery Curator Fiona Corridan, garden historian Marco Martella, and journalist and activist Cy Lecerf Maulpoix, a comprehensive interview with Jarman's collaborator James Mackay, as well as testimonies—among other Jarman's friends—by actress Tilda Swinton and musician Simon Fisher Turner, and an illustrated chronology. Jarman's militant "Queer Paintings" series (1992), his tender Super8 films from the mid-1970s, his emotional assemblages made at Prospect Cottage (Dungeness, Kent) whose cultivation was both a form of therapy and a metaphor for his own survival after he was diagnosed with AIDS in 1986, are considered together to focus on Jarman as a visual artist—a painter and an assemblagist—and how his artistic practice can be understood as a catalyst for his manifold activities and visions.

Edited by Stephen Barber.Introduction by Ros Murray.Translated from the French by Clayton Eshleman.   Diaphenes, November 2021 bilingual edition (English / French) softcover, 128ppThe translated transcripts of two radio broadcasts by Artaud: To have done with the judgement of god (1947-48) and Madness and Black Magic (1946). Correspondences from that period are also included. In the last two years of his life, following his release from the Rodez asylum, Antonin Artaud decided he wanted his new work to connect with a vast public audience, and chose to record radio broadcasts in order to carry through that aim. That determination led him to his most experimental and incendiary project, To have done with the judgement of god, 1947-48, in which he attempted to create a new language of texts, screams, and cacophonies: a language designed to be heard by millions, aimed, as Artaud said, for “road-menders”. In the broadcast, he interrogated corporeality and introduced the idea of the “body without organs”, crucial to the later work of Deleuze and Guattari. The broadcast, commissioned by the French national radio station, was banned shortly before its planned transmission, to Artaud's fury.This volume collects all of the texts for To have done with the judgement of god, together with several of the letters Artaud wrote to friends and enemies in the short period between his work's censorship and his death. Also included is the text of an earlier broadcast from 1946, Madness and Black Magic, written as a manifesto prefiguring his subsequent broadcast. Clayton Eshleman's extraordinary translations of the broadcasts activate these works in their extreme provocation.

edited by Steven Isoardi Duke University Press, 2001Despite his importance and influence, jazz musician, educator, and community leader Horace Tapscott remains relatively unknown to most Americans. In Songs of the Unsung Tapscott shares his life story, recalling his childhood in Houston, moving with his family to Los Angeles in 1943, learning music, and his early professional career. He describes forming the Pan Afrikan Peoples Arkestra in 1961 and later the Union of God's Musicians and Artists Ascension to preserve African American music and serve the community. Tapscott also recounts his interactions with the Black Panthers and law enforcement, the Watts riots, his work in Hollywood movie studios, and stories about his famous musician-activist friends. Songs of the Unsung is the captivating story of one of America’s most unassuming heroes as well as the story of L.A.'s cultural and political evolution over the last half of the twentieth century.

Softcover, 336pp Duke University Press, 2000In Blutopia Graham Lock studies the music and thought of three pioneering twentieth-century musicians: Sun Ra, Duke Ellington, and Anthony Braxton. Providing an alternative to previous analyses of their work, Lock shows how these distinctive artists were each influenced by a common musical and spiritual heritage and participated in self-conscious efforts to create a utopian vision of the future.A century after Ellington’s birth, Lock reassesses his use of music as a form of black history and compares the different approaches of Ra, a band leader who focused on the future and cosmology, and Braxton, a contemporary composer whose work creates its own elaborate mythology. Arguing that the majority of writing on black music and musicians has—even if inadvertently—incorporated racial stereotypes, he explains how each artist reacted to criticism and sought to break free of categorical confines. Drawing on social history, musicology, biography, cultural theory, and, most of all, statements by the musicians themselves, Lock writes of their influential work.Blutopia will be a welcome contribution to the literature on twentieth-century African American music and creativity. It will interest students of jazz, American music, African American studies, American culture, and cultural studies.

Volume 43, Number 3 Softcover, 288pp Duke University Press, November 2016The posthumous publication of Theodor W. Adorno’s works on music continues to reveal the special relationship between music and philosophy in his thinking. These important works have not, however, received as much scholarly attention as they deserve. Contributors to this issue seek to provide insight into some of the key themes raised in these works, including the sociology of musical genre, the historical transformation of music from the “heroic” or high-bourgeois era to late modernity, the meaning of both performance and listening in the era of mass communication, and the specific challenges or deformations of the radio on musical form, a theme that implicates many of the digital practices of our own age. There is much left to discover in these new publications, and they pose again, with renewed vigor, the question of Adorno’s Aktualität—his polyvalent, untranslatable term for, among other things, the intellectual relationship between the present and the past.

Softcover, 384pp, 17 B&W; photos Duke University Press, 2001Japan’s jazz community—both musicians and audience—has been begrudgingly recognized in the United States for its talent, knowledge, and level of appreciation. Underpinning this tentative admiration, however, has been a tacit agreement that, for cultural reasons, Japanese jazz “can’t swing.” In Blue Nippon E. Taylor Atkins shows how, strangely, Japan’s own attitude toward jazz is founded on this same ambivalence about its authenticity.Engagingly told through the voices of many musicians, Blue Nippon explores the true and legitimate nature of Japanese jazz. Atkins peers into 1920s dancehalls to examine the Japanese Jazz Age and reveal the origins of urban modernism with its new set of social mores, gender relations, and consumer practices. He shows how the interwar jazz period then became a troubling symbol of Japan’s intimacy with the West—but how, even during the Pacific war, the roots of jazz had taken hold too deeply for the “total jazz ban” that some nationalists desired. While the allied occupation was a setback in the search for an indigenous jazz sound, Japanese musicians again sought American validation. Atkins closes out his cultural history with an examination of the contemporary jazz scene that rose up out of Japan’s spectacular economic prominence in the 1960s and 1970s but then leveled off by the 1990s, as tensions over authenticity and identity persisted.With its depiction of jazz as a transforming global phenomenon, Blue Nippon will make enjoyable reading not only for jazz fans worldwide but also for ethnomusicologists, and students of cultural studies, Asian studies, and modernism.

Pilot Press, June 2025 92ppDerek Jarman’s unrealised film treatment, The Assassination of Pier Paolo Pasolini in the Garden of Earthly Delights, takes as its subject matter the events leading up to and including the murder of Italian film director Pier Paolo Pasolini following the making of his final film Saló, or the 120 Days of Sodom in 1975.   Written in 1984, the setting of Jarman’s film is inspired by the renaissance painter Hieronymus Bosch’s triptych, The Garden of Earthly Delights (1490-1500), a painting that depicts both the joys and perils of temptation, and which Jarman encountered on a visit to the Museo de Prado in Madrid the year he began working on the project. For the first time, a facsimile of the treatment is presented alongside reproductions from the film’s workbook, which show Jarman’s calligraphic notes towards the film’s sequences, themes, cinematography, lighting, sound, costume, casting and props. 2025 marks fifty years since Pasolini’s murder and thirty-two since Jarman’s death due to AIDS. Against a backdrop of funding cuts to the arts and the arrival of the HIV/AIDS epidemic that vanished away so many important artists and visionaries, The Assassination of Pier Paolo Pasolini in the Garden of Earthly Delights is a powerful elegy to the decadence of queer cinema and the tragedy of its last auteur. Derek Jarman was one of the most influential British artists of the twentieth century. His practice, as diverse as it was prolific, spanned painting, sculpture, film, writing, stage design, gardening and activism. He was an outspoken campaigner for LGBTQIA+ rights, and was one of the first public figures in the UK to raise awareness for those living with HIV/AIDS, announcing his own HIV diagnosis on the radio in 1986.

110 x 170mm, 224 pages, black and white printing, perfect bound, softcover, 2023A new revised version of the notebook of the legendary American dancer, artist and choreographer Simone Forti in which she shares her poetry as well as her thoughts on dance, the body, writing, the state of the world. A collection of experimental texts, imagined dialogues, news animations and poetic thoughts on life and politics. The book contains an afterword by Fred Dewey and a postscript by poet and Fluxus artist Jackson MacLow.

Transcribed exactly from his recorded solos Coilbound, A4, 280pp Hal Leonard Series, 2014This John Coltrane Omnibook includes 52 masterful solos, transcribed exactly as recorded, complete with chord symbols, metronome markings, and recording details–all spiral-bound for ease of use on the bandstand or in the studio.Explore 52 signature works transcribed exactly from the recorded solos of John Coltrane, including: Acknowledgement (Part I) • Airegin • Alabama • All Blues • All or Nothing at All • Bessie's Blues • Blue Train (Blue Trane) • Body and Soul • Bye Bye Blackbird • Central Park West • Chasin' the Trane • Countdown • Cousin Mary • Crescent • Eclypso • Equinox • Giant Steps • Grand Central • Impressions • In a Sentimental Mood • Just for the Love • Lazy Bird • Like Sonny (Simple Like) • Locomotion • Lonnie's Lament • Lush Life • Mr. P.C. • Moment's Notice • My Favorite Things • My One and Only Love • Naima (Niema) • Nita • Oleo • Paul's Pal • Pursuance (Part III) • Russian Lullaby • So What • Softly As in a Morning Sunrise • Some Other Blues • Spiral • Syeeda's Song Flute • Theme for Ernie • 26-2.

Transcribed exactly from his recorded solos Coilbound, A4, 285pp Hal Leonard series, 2013This John Coltrane Omnibook includes 52 masterful solos, transcribed exactly as recorded, complete with chord symbols, metronome markings, and recording details–all spiral-bound for ease of use on the bandstand or in the studio.Explore 52 signature works transcribed exactly from the recorded solos of John Coltrane, including: Acknowledgement (Part I) • Airegin • Alabama • All Blues • All or Nothing at All • Bessie's Blues • Blue Train (Blue Trane) • Body and Soul • Bye Bye Blackbird • Central Park West • Chasin' the Trane • Countdown • Cousin Mary • Crescent • Eclypso • Equinox • Giant Steps • Grand Central • Impressions • In a Sentimental Mood • Just for the Love • Lazy Bird • Like Sonny (Simple Like) • Locomotion • Lonnie's Lament • Lush Life • Mr. P.C. • Moment's Notice • My Favorite Things • My One and Only Love • Naima (Niema) • Nita • Oleo • Paul's Pal • Pursuance (Part III) • Russian Lullaby • So What • Softly As in a Morning Sunrise • Some Other Blues • Spiral • Syeeda's Song Flute • Theme for Ernie • 26-2.

Softcover, 371pp U of Michigan Press, January 2000John Coltrane was a key figure in jazz, a pioneer in world music, and an intensely emotional force whose following continues to grow. This new biography, the first by a professional jazz scholar and performer, presents a huge amount of never-before-published material, including interviews with Coltrane, photos, genealogical documents, and innovative musical analysis that offers a fresh view of Coltrane's genius.Compiled from scratch with the assistance of dozens of Coltrane's colleagues, friends, and family, John Coltrane: His Life and Music corrects numerous errors from previous biographies. The significant people in Coltrane's life were reinterviewed, yielding new insights; some were interviewed for the first time ever.The musical analysis, which is accessible to the nonspecialist, makes its own revelations--for example, that some of Coltrane's well-known pieces are based on previously unrecognized sources. The Appendix is the most detailed chronology of Coltrane's performing career ever compiled, listing scores of previously unknown performances from the 1940s and early 1950s.