With five days and nights of nonstop performances, the 34-year old CMJ Music Marathon touts itself as “one of the world’s foremost platforms for discovering new music.” But with over 1,400 shows to choose from, it’s easy to succumb to fatigue, followed by ennui.

Inspired by John Berryman’s The Dream Songs, Cave intersperses vivid images with a narrative record of life on the road—from backstage to onstage and after the shows, a catalogue of the most and least glamorous aspects of touring and performing.

After five-plus bands, countless collaborations, and decades of relentless touring, Carla Bozulich has managed to remain both prolific and, perhaps intentionally, obscure.

In a year in which the pop charts have been dominated by the manufactured likes of Katy Perry and Miley Cyrus, we have also enjoyed an unprecedented, and unexpected, resurgence of women from the indie scene. For me, this has been a lot like getting a call from an old friend who’s been out of touch for a while and remembering how much you like her.

Gender Bender earned a reputation for being wild and unpredictable at shows, often climbing the rafters, hanging upside-down above the stage, sometimes even urinating on the floor.

Every band wants you to believe that it’s all about the music. And every band’s success depends on sustaining that illusion.

When Patti Smith arrived in New York in the summer of ’67, she was self-consciously outside society. She slept in graveyards, shacked up with Robert Mapplethorpe at the Chelsea, and shamelessly pilfered art supplies to nurture Mapplethorpe’s creative spirit.

The winners of the NBCC awards were announced last night at the New School to the anticipation, and sometimes surprise, of a standing room-only crowd.