(b New York, NY, Dec 18, 1970). American journalist, essayist, and editor. Lewis graduated from Morehouse College in 1993 with a degree in sociology. He has published extensively on music and popular culture in magazines including Rolling Stone, The Village Voice, The Source, The Believer, and Spin, and served in editorial positions at Vibe, XXL, Oneworld, and BET.com. His writing incorporates a collector’s love of pop culture esoterica with a deep interest in the social history of African American life, and relies heavily on personal reflection. Lewis’s collection of essays Scars of the Soul Are Why Kids Wear Bandages When They Don’t Have Bruises (New York, 2004) is a personal exploration of hip hop’s history, told through the lens of his own upbringing in the Bronx in the 1970s and 80s, as well as his subsequent work as a journalist and hip hop critic. His second book is a contribution to the Continuum Press ...
Caroline Polk O’Meara
(bc1966). American music critic and editor. He graduated from Yale University in 1988. He began writing at the Rolling Stone in the late 1980s, where he often covered hip-hop, country, and rock music. In the wake of the 1992 Los Angeles riots, Light advised readers to pay closer attention to rap, pointing out that many artists had been critiquing urban violence well before the Rodney King beating. In 1993, Light left Rolling Stone to help launch the hip-hop magazine Vibe, where he was first the music editor before being promoted to editor-in-chief at the age of 26. During his six years at Vibe, Light helped the magazine demonstrate the appeal, profitability, and significance of hip-hop culture to both readers and advertisers. He left Vibe for Spin, staying there for three years as editor-in-chief. While Light was at Spin, the magazine, known for its coverage of alternative music, expanded its coverage of mainstream artists, reaching out to a broader audience. Since leaving ...
(b Chicago, Dec 26, 1950). American writer. He learned piano and flute as a child and pursued his formal education at Syracuse University (1970–72), Mills College (1972), and Roosevelt College (1973–5); he also studied boogie-woogie, swing, and blues piano with leading players in Chicago. In 1975 he embarked on his writing career, working for Down Beat (as associate editor, 1978–81), The Wire, Musical America, Tower Pulse!, the Village Voice, the Washington Post, Billboard, the New York Times Book Review, and Jazziz. He contributed scripts for jazz shows on NPR and held editorial positions at Guitar World (1982–3), Ear (1987–92), the JVC Jazz Festival program guide published by Tower Pulse! (from 1994), and Rhythm Music (1996–7). Mandel was a founder of the Jazz Journalists’ Association: in 1992 he became its president and in 1997 editor of its website, ...
(b Vienna, July 13, 1902; d New York, Jan 7, 1987). American writer on music, of Austrian birth. He studied at the University of Vienna from 1918 to 1920, when he emigrated to the USA. Beginning his career as an advertising executive, he was later a vice-president and general manager for the record division of RCA Victor (1950–65), and he was music editor of Good Housekeeping (1941–57). He was particularly interested in popularizing music: he was responsible for the series of recordings Classical Music for People who Hate Classical Music, and wrote a number of popular biographies of composers and books on opera.How to Listen to Music over the Radio (New York, 1937) Bach on Records (New York, 1942) Beethoven on Records (New York, 1942) A Front Seat at the Opera (New York, 1948/R) The Good Housekeeping Guide to Musical Enjoyment...
George J. Buelow
(b Hamburg, Sept 28, 1681; d Hamburg, April 17, 1764). German composer, critic, music journalist, lexicographer and theorist.
Mattheson was the third and only surviving son of Johann Mattheson, a Hamburg tax collector, and Margaretha Höling of Rendsburg (Holstein). Details of Mattheson’s life come largely from his autobiography published in the Grundlage einer Ehren-Pforte. His education was exceptionally broad, perhaps because his parents hoped he would gain a position in Hamburg society. At the Johanneum he received a substantial background in the liberal arts, including musical instruction from Kantor Joachim Gerstenbüttel. He also had private instruction in dancing, drawing, arithmetic, riding, fencing, and English, French and Italian. At six he began private music lessons, studying the keyboard and composition for four years with J.N. Hanff (later organist at Schleswig Cathedral), taking singing lessons from a local musician named Woldag and instruction on the gamba, violin, flute, oboe and lute. At nine Mattheson was a child prodigy, performing on the organ and singing in Hamburg churches. His voice was of such quality that Gerhard Schott, manager of the Hamburg opera, invited him to join the company, and he sang in J.W. Franck’s opera ...
(b Camborne, England, April 17, 1920; d London, Oct 3, 1987). English writer. He became interested in jazz in the mid-1930s and established contact with record collectors such as Max Jones, Charles Fox, and Leonard Hibbs. In 1942 McCarthy and Jones founded the Jazz Sociological Society and became the editors of its journal, Jazz Music; from 1944 to 1946, to circumvent wartime rationing of paper, the journal was temporarily discontinued and instead a series of separate booklets entitled Jazz Music Books was issued. McCarthy then edited the short-lived Jazz Forum: Quarterly Review of Jazz and Literature (1946–7), and, with Dave Carey, compiled six volumes of a discography of jazz. From 1955 to 1972 he was editor of the influential periodical Jazz Monthly, which, in addition to its catholic coverage of jazz and blues, also included items on related topics such as the record industry; in March 1971...
(b Bordeaux, May 20, 1841; d St Germain-en-Laye, Paris, Feb 8, 1909). French writer. His excellent education and considerable talents helped him, while still a youth, to make his way to Paris. Encouraged by Hugo, De Banville and Gautier, he became friendly with Baudelaire, Coppée, Heredia and Villiers de l’Isle-Adam, some of the poets who contributed to Le Parnasse contemporain. After the Tannhäuser débacle at the Opéra in 1861, the discerning Mendès, eager to demonstrate his faith in Wagner, invited the composer to contribute an article to the Revue fantaisiste, the journal founded and edited by Mendès. In 1866 Mendès married a fellow Wagnerite, Judith Gautier; they separated in 1874. Mendès later established a liaison with Augusta Holmès, by whom he had three daughters.
In 1873 Wagner published the crude anti-French parody Eine Kapitulation and consequently lost favour with several of his French supporters, among them Mendès. Nevertheless, and in spite of a novel ...
Gary W. Kennedy
(b Toronto, Nov 6, 1951). Canadian writer and photographer. He studied at York University in Toronto (BFA 1973) and worked as a contributor to Coda (1973–6, 1988), DownBeat (as its Toronto correspondent, 1975–92), and Jazz Forum (as its Canadian correspondent, 1977–90), as well as writing on jazz for other periodicals; in 1978 he became the jazz critic for the Toronto Globe and Mail. Having served as a subject editor on jazz and English-language popular music for the first edition of the Encyclopedia of Music in Canada (1981), he was one of its associate editors for the second edition (1992). Miller has also written liner notes, notably providing the overview and notes for Radio Canada International’s Anthology of Canadian Jazz (1991), and has published many of his photographs of jazz musicians. Throughout his career he has concentrated on jazz musicians and the development of jazz in Canada, and he is the author of two collections of biographical essays and a history of the early years of jazz in Canada....
revised by Barry Kernfeld
(b Munich, Oct 24, 1929). American writer. He grew up in Vienna, but left in 1938 and spent the next nine years as a refugee in Denmark and Sweden. After moving to the USA in 1947 he studied history at Brandeis University (1953–6). From 1958 to 1961 he was the New York correspondent for Jazz Journal. He then served as editor of Metronome (1961), Jazz (1962–3), and Down Beat (New York editor, 1964–6, editor 1966–73) magazines; during the 1960s he also produced jazz concerts in New York and for television. In the mid-1970s he held appointments as visiting lecturer in jazz at Brooklyn College and the Peabody Institute, and in 1976 he became director of the Institute of Jazz Studies at Rutgers, in which capacity he has worked as an editor of the Journal of Jazz Studies (from 1982 the Annual Review of Jazz Studies...
Margaret Laurie and Curtis Price
[ Pierre Antoine ]
( b Rouen, Feb 25, 1663; d London, Feb 18, 1718). English writer and playwright of French birth. A Huguenot refugee, he came to London in 1685 and was naturalized a year later. His literary career began with the publication of the Gentleman's Journal (1692–4), a monthly magazine catering for a wide range of tastes, which included both comments on music and a music supplement, and which he edited and partly wrote (with unacknowledged borrowings from the Mercure de France). In this periodical Motteux offered the classic apologia for semi-opera: ‘Other Nations bestow the name of Opera only on such Plays whereof every word is sung. But experience hath taught us that our English genius will not rellish that perpetual Singing’. His dramatic works include a number of masques and musical interludes: possibly The Rape of Europa (performed with an adaptation of Fletcher's Valentinian, 1694), certainly ...