Beresford doesn't remember much about his past or how he came to live in the chutes and crawl spaces of the posh high-rise that shares his name. But when rock star and teen sensation Melody McGrath moves to an apartment on the fiftieth floor, he knows he has to be near her. Although she doesn't realize it, Melody is threatened by more dangerous forces than her manipulative stage mom and the pressures of life in the spotlight. The owner of the glamorous building has been hiding a fatal secret within its walls, and Beresford puts all his plans at risk. Will Beresford and Melody be able to escape with their lives (and love) intact? Bestselling author Whitley Strieber makes his young adult debut with this pulsing romantic thriller.

Interviews with John Cage, Robert Ashley, Yoko Ono, Laurie Anderson, Charles Amirkhanian, Michael Peppe, K. Atchley.

Three times in the last sixty years musical movements have played a vital role in confronting the rise of fascist organisations in Britain - The Stars Campaign for Interracial Friendship in the 1950s, Rock Against Racism in the late 1970s and Love Music Hate Racism in the first two decades of the 21st century. This book is a tribute to those three musical movements and the musicians, activists and youth subcultures that surrounded them, and an in-depth study of the rise of modern fascist movements and the political strategies needed to defeat them.

In the nineteenth century, copyright law expanded to include performances of theatrical and musical works. These laws transformed how people made and consumed performances. Exploring precedent-setting litigation on both sides of the Atlantic, this book traces how courts developed definitions of theater and music to suit new performance rights laws. From Gilbert and Sullivan battling to protect The Mikado to Augustin Daly petitioning to control his spectacular 'railroad scene', artists worked with courts to refine vague legal language into clear, functional theories of drama, music, and performance. Through cases that ensnared figures including Lord Byron, Laura Keene, and Dion Boucicault, this book discovers how the law theorized central aspects of performance including embodiment, affect, audience response, and the relationship between scripts and performances. This history reveals how the advent of performance rights reshaped how we value performance both as an artistic medium and as property.