"I want to tell the people who are interested in me," says Pavarotti in his preface, "about all of the fun and excitement I have had. I have tried to explain how I feel about the things that are important to me and to pass on whatever wisdom I have gained as an artist and as a human being." Black-and-white photographs.

    Fay has gone back to primary documents: Shostakovich's many letters, concert programs and reviews, newspaper articles, and diaries of his contemporaries. An indefatigable worker, he wrote his arresting music despite deprivations during the Nazi invasion and constant surveillance under Stalin's regime. Shostakovich's life is a fascinating example of the paradoxes of living as an artist under totalitarian rule. In August 1942, his Seventh Symphony, written as a protest against fascism, was performed in Nazi-besieged Leningrad by the city's surviving musicians, and was triumphantly broadcast to the German troops, who had been bombarded beforehand to silence them. Alone among his artistic peers, he survived successive Stalinist cultural purges and won the Stalin Prize five times, yet in 1948 he was dismissed from his conservatory teaching positions, and many of his works were banned from performance. He prudently censored himself, in one case putting aside a work based on Jewish folk poems. Under later regimes he balanced a career as a model Soviet, holding government positions and acting as an international ambassador with his unflagging artistic ambitions. In the years since his death in 1975, many have embraced a view of Shostakovich as a lifelong dissident who encoded anti-Communist messages in his music. This lucid and fascinating biography demonstrates that the reality was much more complex. Laurel Fay's book includes a detailed list of works, a glossary of names, and an extensive bibliography, making it an indispensable resource for future studies of Shostakovich.

    In this spirited memoir, Plisetskaya reflects on her personal and professional odyssey, presenting a unique view of the life of a Soviet artist during the troubled period from the late 1930s to the 1990s.Plisetskaya recounts the execution of her father in the Great Terror and her mother’s exile to the Gulag. She describes her admission to the Bolshoi in 1943, the roles she performed there, and the endless petty harassments she endured, from both envious colleagues and Party officials. Refused permission for six years to tour with the company, Plisetskaya eventually performed all over the world, working with such noted choreographers as Roland Petit and Maurice Béjart. She recounts the tumultuous events she lived through and the fascinating people she met—among them the legendary ballet teacher Agrippina Vaganova, George Balanchine, Frank Sinatra, Rudolf Nureyev, and Dmitri Shostakovich. And she provides fascinating details about testy cocktail-party encounters with Khrushchev, tours abroad when her meager per diem allowance brought her close to starvation, and KGB plots to capitalize on her friendship with Robert Kennedy. Gifted, courageous, and brutally honest, Plisetskaya brilliantly illuminates the world of Soviet ballet during an era that encompasses both repression and cultural détente.Still prima ballerina assoluta with the Bolshoi Ballet, Maya Plisetskaya also travels around the world performing and lecturing. At the Bolshoi’s gala celebrating her 75th birthday, President Vladimir Putin presented her with Russia’s highest civilian honor, the medal for service to the Russian state, second degree. Tim Scholl is professor of Russian language and literature at Oberlin College. Antonina W. Bouis is the prize-winning translator of more than fifty books, including fiction, nonfiction, and memoirs by such figures as Andrei Sakharov, Elena Bonner, and Dmitri Shostakovich.

    The gulag memoirs of a brave woman, a distinguished dissident and poet--Ratushinskaya gives her account of the four years she spent in a "strict regime" labor camp at Barashevo, where she endured several types of abuse.

    Her tragic murder, at the young age of twenty-three, stripped the world of her talent and boundless potential, her tightly knit family of their beloved angel, and her husband, Chris Perez, of the greatest love he had ever known.For over a decade, Chris held on to the only personal thing he had left from his late wife: the touching and sometimes painful memories of their very private bond. Now, for the first time, Chris opens up about their unbreakable friendship, forbidden relationship, and blossoming marriage, which were cut short by Selena’s unforgivable death.Chris’s powerful story gives a rare glimpse into Selena’s sincerity and vulnerability when falling in love, strength and conviction when fighting for that love, and absolute resilience when finding peace and normalcy with her family’s acceptance of the only man she called her husband. While showcasing a side of Selena that has never been disclosed before and clarifying certain misconceptions about her life and death, To Selena, with Love is an everlasting love story that immortalizes the heart and soul of an extraordinary, unforgettable, and irreplaceable icon.

    Elena, born with a desire to explore the world beyond her borders, finds her passion in the complexity of the English language - but in the Soviet Union of the 1960s, such a passion verges on the subversive. Elena's home is no longer the majestic Russia of literature or the tsars. Instead, it is a nation humiliated by its first faltering steps after World War II, putting up appearances for the sake of its regime and fighting to retain its pride. In this deeply affecting memoir, Elena re-creates the world that both oppressed and inspired her. She recounts stories passed down to her about the horrors of the Bolshevik Revolution and probes the daily deprivations and small joys of her family's bunkerlike existence. Through Elena's captivating voice, we learn not only the personal story of Russia in the second half of the twentieth century, but also the story of one rebellious citizen whose love of a foreign language finally transports her to a new world. 'This moving memoir made me cry' The New York Times

    After his father, a paperhanger and upholsterer, died of cholera, five-year-old Gorky was taken to live with his grandfather, a polecat-faced tyrant who would regularly beat him unconscious, and with his grandmother, a tender mountain of a woman and a wonderful storyteller, who would kneel beside their bed (with Gorky inside it pretending to be asleep) and give God her views on the day's happenings, down to the last fascinating details. She was, in fact, Gorky's closest friend and the epic heroine of a book swarming with characters and with the sensations of a curious and often frightened little boy. My Childhood, the first volume of Gorky's autobiographical trilogy, was in part an act of exorcism. It describes a life begun in the raw, remembered with extraordinary charm and poignancy and without bitterness. Of all Gorky's books this is the one that made him 'the father of Russian literature'.

    This is the story of the heaviest drinking, most oversexed speed freak in the music business.Ian Fraser Kilmister was born on Christmas Eve, 1945. Learning from an early age that chicks really do appreciate a guy with a guitar, and inspired by the music of Elvis and Buddy Holly, Lemmy quickly outgrew his local bands in Wales, choosing instead to head to Manchester to experience everything he could get his hands on. And he never looked back.Lemmy tripped through his early career with the Rocking Vicars, backstage touring with Jimi Hendrix, as a member of Opal Butterflies and Hawkwind. In 1975, he went on to create speed metal and form the legendary band Motorhead.During their twenty-seven-year history, Motorhead has released 21 albums, been nominated for a Grammy, and conquered the rock world with such songs as "Ace of Spades," "Bomber," and "Overkill." Throughout the creation of this impressive discography, the Motorhead lineup has seen many changes, but Lemmy has always been firmly at the helm.White Line Fever, a headbanging tour of the excesses of a man being true to his music and his pleasures, offers a sometimes hilarious, often outrageous, but always highly entertaining ride with the frontman of the loudest rock band in the world.

    Aside from Gorbachev, Pozner is the most widely known Russian personality in America, and he earns his fame with these controversial commentaries that reveal his strongly humanistic philosophy.

    The author traces the story of Kate Bush's career, from her up-bringing in the Essex countryside through her first forays into music with a series of home recordings, to her number one debut album that propelled her to international stardom.

    A harrowing description of the forerunners of the concentration camps and the Gulag.

    A startling and affectionate portrait of an American entertainment legend by his youngest daughter, who writes about the man and his life, and about the many people who surrounded him - wives, friends, lovers, users and sycophants.

    In his much-awaited memoir, Not Dead Yet, he tells the story of his epic career, with an auspicious debut at age 11 in a crowd shot from the Beatles’ legendary film A Hard Day’s Night. A drummer since almost before he could walk, Collins received on the job training in the seedy, thrilling bars and clubs of 1960s swinging London before finally landing the drum seat in Genesis. Soon, he would step into the spotlight on vocals after the departure of Peter Gabriel and begin to stockpile the songs that would rocket him to international fame with the release of Face Value and In the Air Tonight. Whether he’s recalling jamming with Eric Clapton and Robert Plant, pulling together a big band fronted by Tony Bennett, or writing the music for Disney’s smash-hit animated Tarzan, Collins’s storytelling chops never waver. And of course he answers the pressing question on everyone’s mind: just what does Sussudio mean? Not Dead Yet is Phil Collins’s candid, witty, unvarnished story of the songs and shows, the hits and pans, his marriages and divorces, the ascents to the top of the charts and into the tabloid headlines. As one of only three musicians to sell 100 million records both in a group and as a solo artist, Collins breathes rare air, but has never lost his touch at crafting songs from the heart that touch listeners around the globe. That same touch is on magnificent display here, especially as he unfolds his harrowing descent into darkness after his “official” retirement in 2007, and the profound, enduring love that helped save him. This is Phil Collins as you’ve always known him, but also as you’ve never heard him before.'

    It is, of course, about dancing. About loving to dance as a small child in Shanghai. About ballet classes and ballet teachers, about practice and rehearsal. About making her debut--as a Snowflake, at fifteen--with the emerging Sadler's Wells Company, under the demanding rule of the brilliant and volatile Ninette de Valois. About her almost magical early success (at seventeen dancing Giselle; at eighteen, Swan Lake; at nineteen, Sleeping Beauty) and the effects on a young girl of sudden stardom. About the hard work of overcoming her limitations ("a face like a pudding," she says) and her weaknesses....And it is about the great triumphs in London, New York, Paris. About the great choreographers and dancers who worked with her and helped her: Frederick Ashton (he choreographed by flinging himself into swoops and twists that seemed to flow spontaneously from the music, suddenly saying, "What did I do? Now you do it"); the magnetic and sophisticated Robert Helpmann, of whom she was more than a little frightened "until the harmony of dancing with him began taking hold"; the handsome Michael Somes ("platoons of corps de ballet girls lost their hearts to him"). About Nureyev, who, when Fonteyn was already in her forties, galvanized her energies and talents and swept her into a new career. About her feeling for her great Russian counterpart, Ulanova. About getting older and never ceasing to dance; now, at fifty-seven, still dancing around the world.But even more, this is a book about the woman herself, who sees dancing as only a part of her life and perhaps not the most vital part--the Fonteyn who could not find love until in her thirties she suddenly met again (a visiting card brought to her dressing room; one hundred red roses) the man she had been in love with in her teens, the Panamanian diplomat Roberto Arias. And here is the infinitely moving story of their marriage, her shy assumption of her new role as ambassadress at the Court of St. James--and then, the near-fatal shooting in Panama that crippled her husband, and the drama and heroism of their life together since then.Throughout, with the freshest imaginable gift for anecdote, Margot Fonteyn takes us into her many worlds--the vicissitudes of backstage life on six continents, the tumult of Panamanian politics and revolution, the social pleasures (and embarrassments) of international fame.Above all, her autobiography is a revelation of a direct, warm-hearted person who believes that artists must take their art altogether seriously--and themselves not seriously at all; who finds her own fame difficult to grasp; who is worthy of what her audiences feel for her. Fonteyn is not only admired but loved. Her book--in its decency, its generosity, its sense of fun--makes clear why.

    His lyrics and melodies paint indelible portraits of the people, places, and experiences that shaped him. He has served as model, mentor, supporter, and friend to at least two generations of the world’s most talented and influential singer-songwriters. In songs like “Desperados Waiting for a Train,” L.A. Freeway,” “She Ain’t Going Nowhere,” and “Texas 1947,” Clark’s poetic mastery has given voice to a vision of life, love, and trouble that has resonated not only with fans of Americana music, but also with the prominent artists—including Johnny Cash, Ricky Skaggs, Jerry Jeff Walker, and others—who have recorded and performed Clark’s music. Now, in Without Getting Killed or Caught: The Life and Music of Guy Clark, writer, producer, and music industry insider Tamara Saviano chronicles the story of this legendary artist from her unique vantage point as his former publicist and producer of the Grammy-nominated album This One’s for Him: A Tribute to Guy Clark. Part memoir, part biography, Saviano’s skillfully constructed narrative weaves together the extraordinary songs, larger-than-life characters, previously untold stories, and riveting  emotions that make up the life of this modern-day poet and troubadour.