As the straight man for the absurdity surrounding him, Strahan mediates disputes with loan sharks, pimps, and jealous lovers--and creates an unforgettable portrait of the delights and debauchery of the Crescent City."Frank and funny . . . Managing Ignatius is an entrepreneurial story that captures the year-round drama of doing business on the street and the seasonal rhythms of the French Quarter."--The New York Times

    Around 1900, the phenomenon known as Wagnerism saturated European and American culture. Such colossal creations as The Ring of the Nibelung, Tristan und Isolde, and Parsifal were models of formal daring, mythmaking, erotic freedom, and mystical speculation. A mighty procession of artists, including Virginia Woolf, Thomas Mann, Paul Cézanne, Isadora Duncan, and Luis Buñuel, felt his impact. Anarchists, occultists, feminists, and gay-rights pioneers saw him as a kindred spirit. Then Adolf Hitler incorporated Wagner into the soundtrack of Nazi Germany, and the composer came to be defined by his ferocious antisemitism. For many, his name is now almost synonymous with artistic evil.In Wagnerism, Alex Ross restores the magnificent confusion of what it means to be a Wagnerian. A pandemonium of geniuses, madmen, charlatans, and prophets do battle over Wagner's many-sided legacy. As readers of his brilliant articles for The New Yorker have come to expect, Ross ranges thrillingly across artistic disciplines, from the architecture of Louis Sullivan to the novels of Philip K. Dick, from the Zionist writings of Theodor Herzl to the civil-rights essays of WEB Du Bois, from O Pioneers! to Apocalypse Now.In many ways, Wagnerism tells a tragic tale. An artist who might have rivaled Shakespeare in universal reach is undone by an ideology of hate. Still, his shadow lingers over twenty-first century culture, his mythic motifs coursing through superhero films and fantasy fiction. Neither apologia nor condemnation, Wagnerism is a work of passionate discovery, urging us toward a more honest idea of how art acts in the world.

    A must for all Rollins fans.

    His magnificent new biography of Ludwig van Beethoven peels away layers of legend to get to the living, breathing human being who composed some of the world’s most iconic music. Swafford mines sources never before used in English-language biographies to reanimate the revolutionary ferment of Enlightenment-era Bonn, where Beethoven grew up and imbibed the ideas that would shape all of his future work. Swafford then tracks his subject to Vienna, capital of European music, where Beethoven built his career in the face of critical incomprehension, crippling ill health, romantic rejection, and “fate’s hammer,” his ever-encroaching deafness. Throughout, Swafford offers insightful readings of Beethoven’s key works. More than a decade in the making, this will be the standard Beethoven biography for years to come.

    It’s as devastating and as simple as that’ Noel Gallagher Slade’s music and style dominated and defined the 1970s. With six consecutive number one singles they were the UK’s number one group and sold millions of records all over the world. At their peak, Slade enjoyed success and adulation not seen since The Beatles. Now, for the first time, the man whose outlandish costumes, glittering make-up and unmistakable hairstyle made Slade the definitive act of Glam Rock tells his story.Growing up in a council house in 1950s Wolverhampton, Dave always knew he wanted to be a musician and in the mid-sixties, with Don Powell, founded the band that in 1970 would settle on the name Slade. Their powerful guitar-driven anthems formed the soundtrack for a whole generation, and their Top of the Pops performances, led by their flamboyant, ever-smiling lead guitarist, became legendary.But So Here It Is reveals that there’s much more to Dave’s life than Top of the Pops and good times. Packed with previously unseen personal photos, the book uncovers surprising family secrets, tells the inside story of the original band’s painful break-up, explores Dave’s battles with depression, his decision to reform Slade and go back on the road and his recovery from the stroke that threatened to cut short his career.Told with great heart and humour, So Here It Is is the story of the irresistible rise of Dave Hill, Superyob; the definitive account of his journey from working-class lad to global rock star.

    Since the early 1980s, David Byrne has been riding a bike as his principal means of transportation in New York City. Two decades ago, he discovered folding bikes and started taking them on tour. Byrne's choice was made out of convenience rather than political motivation, but the more cities he saw from his bicycle, the more he became hooked on this mode of transport and the sense of liberation it provided. Convinced that urban biking opens one's eyes to the inner workings and rhythms of a city's geography and population, Byrne began keeping a journal of his observations and insights. An account of what he sees and whom he meets as he pedals through metropoles from Berlin to Buenos Aires, Istanbul to San Francisco, Manila to New York, Bicycle Diaries also records Byrne's thoughts on world music, urban planning, fashion, architecture, cultural dislocation, and much more, all conveyed with a highly personal mixture of humor, curiosity, and humility. Part travelogue, part journal, part photo album, Bicycle Diaries is an eye-opening celebration of seeing the world from the seat of a bike.

    It’s about the greatest pirate in history, the most powerful executive in the music business, a revolutionary invention and an illegal website four times the size of the iTunes Music Store. Journalist Stephen Witt traces the secret history of digital music piracy, from the German audio engineers who invented the mp3, to a North Carolina compact-disc manufacturing plant where factory worker Dell Glover leaked nearly two thousand albums over the course of a decade, to the high-rises of midtown Manhattan where music executive Doug Morris cornered the global market on rap, and, finally, into the darkest recesses of the Internet.Through these interwoven narratives, Witt has written a thrilling book that depicts the moment in history when ordinary life became forever entwined with the world online — when, suddenly, all the music ever recorded was available for free. In the page-turning tradition of writers like Michael Lewis and Lawrence Wright, Witt’s deeply-reported first book introduces the unforgettable characters—inventors, executives, factory workers, and smugglers—who revolutionized an entire artform, and reveals for the first time the secret underworld of media pirates that transformed our digital lives.An irresistible never-before-told story of greed, cunning, genius, and deceit, How Music Got Free isn’t just a story of the music industry—it’s a must-read history of the Internet itself.

    Oxford Street is a sea of long hair and flared jeans; prog rock prevails. But Ron Watts, the 100 Club’s “rock night” manager, has witnessed the impromptu and chaotic gigs at High Wycombe College of Art. He invites the Sex Pistols to start a residency in central London, and over the next eighteen months, everything changes.            Unlike many writers, Phil Strongman was actually at the 100 Club punk festival in September 1976 and witnessed punk’s violent and dramatic rise. After tracing its underground roots in New York and Detroit, Strongman shows how the Sex Pistols and the Clash, along with their confreres, took rock ’n’ roll closer to the edge than any band before them. But after the outrage over the Pistols’ legendary outburst on Bill Grundy’s TV show catapulted the band into the center of a press feeding frenzy, it was swiftly eclipsed by the blossoming of a new movement in time for the Queen’s Silver Jubilee. Punk had traveled from the underground to the mainstream in the space of six months.            Based on new interviews with Malcolm McLaren, Jah Wobble, Glen Matlock, Roadent, and many more, Strongman vividly re-creates the punk eruption and charts its spread across Britain and to the West Coast of the United States. Thirty years after its inception, UK punk has found its definitive account in Pretty Vacant.

    Groups like the Beatles and the Rolling Stones created new ideas of community, creative risk, and principled rebellion. They changed him forever. While still a teenager, he met Bruce Springsteen, a like-minded outcast/true believer who became one of his most important friends and bandmates. As Miami Steve, Van Zandt anchored the E Street Band as they conquered the Rock and Roll world.  And then, in the early '80s, Van Zandt stepped away from E Street to embark on his own odyssey. He refashioned himself as Little Steven, a political songwriter and performer, fell in love with Maureen Santoro who greatly expanded his artistic palette, and visited the world’s hot spots as an artist/journalist to not just better understand them, but to help change them. Most famously, he masterminded the recording of “Sun City,” an anti-apartheid anthem that sped the demise of South Africa’s institutionalized racism and helped get Nelson Mandela out of prison.  By the '90s, Van Zandt had lived at least two lives—one as a mainstream rocker, one as a hardcore activist. It was time for a third. David Chase invited Van Zandt to be a part of his new television show, the Sopranos—as Silvio Dante, he was the unconditionally loyal consiglieri who sat at the right hand of Tony Soprano (a relationship that oddly mirrored his real-life relationship with Bruce Springsteen).  Underlying all of Van Zandt's various incarnations was a devotion to preserving the centrality of the arts, especially the endangered species of Rock. In the twenty-first century, Van Zandt founded a groundbreaking radio show (Underground Garage), a fiercely independent record label (Wicked Cool), and developed a curriculum to teach students of all ages through the medium of music history. He also rejoined the E Street Band for what has now been a twenty-year victory lap. ​Unrequited Infatuations chronicles the twists and turns of Stevie Van Zandt’s always surprising life. It is more than just the testimony of a globe-trotting nomad, more than the story of a groundbreaking activist, more than the odyssey of a spiritual seeker, and more than a master class in rock and roll (not to mention a dozen other crafts). It's the best book of its kind because it's the only book of its kind.

    His long, intimate piece on the tour, The Rolling Stones Discover America, captures the highs and lows of the grueling tour and has become a classic of rock ‘n’ roll journalism—one that the Maysles brothers studied to guide the editing of their film, Gimme Shelter.

    January 30, 1969 was one of those moments. There are those who were on the periphery of the event that day and heard what was going on; but as one of the few remaining insiders who accompanied the Beatles up onto the cold windswept roof of the Apple building, Ken Mansfield had a front row seat to the full sensory experience of the moment and witnessed what turned out to be beginning of the end. Ken shares in The Roof: The Beatles Final Concert, the sense that something special was taking place before his eyes that would live on forever in the hearts and souls of millions. As the US manager of Apple, Ken Mansfield was on the scene in the days, weeks, and months leading up to this monumental event. He shares his insights into the factors that brought them up onto that roof and why one of the greatest bands of all time left it all on that stage. Join Ken as he reflects on the relationships he built with the Fab Four and the Apple corps and what each player meant to this symphony of music history.

    There he stumbled into the elaborate world of Mingering Mikea soul superstar of the 1960s and '70s who released an astonishing 50 albums and at least as many singles in just 10 years. But Hadar had never heard of him, and he realized why on closer inspection: every album in the crates was made of cardboard. Each package was intricately crafted, complete with gatefold interiors, extensive liner notes, and grooves drawn onto the "vinyl." Some albums were even covered in shrinkwrap, as if purchased at actual record stores. The crates contained nearly 200 LPs and 45s by Mingering Mike, as well as other artists like Joseph War, the Big "D," and Rambling Ralph, on labels such as Sex Records, Decision, and Ming/War. There were also soundtracks to imaginary films, a benefit album for sickle cell anemia, and a tribute to Bruce Lee. Hadar put his detective skills to work and soon found himself at the door of the elusive man responsible for this alternate universe of funk. Their friendship blossomed and Mike revealed the story of his life and his many albums, hit singles, and movie soundtracks. A solitary boy raised by his brothers, sisters, and cousins, Mike lost himself in a world of his own imaginary superstardom, basing songs and albums on his and his family's experiences. Early teenage songs obsessed with love and heartache soon gave way to social themes surrounding the turbulent era of civil rights protests and political upheavalbrought even closer to home when Mike himself went underground dodging the Vietnam War.In Mingering Mike, Hadar tells the story of a man and his myth: the kid who dreamed of being a star and the fantastical "careers" of the artists he created. All of Mingering Mike's best albums and 45s are presented in full color, finally bringing to the star the adoring audience he always imagined he had.

    Pivotal are the questions surrounding why Johnson was ignored by the core black audience of his time yet now celebrated as the greatest figure in blues history.Trying to separate myth from reality, biographer Elijah Wald studies the blues from the inside -- not only examining recordings but also the recollections of the musicians themselves, the African-American press, as well as examining original research. What emerges is a new appreciation for the blues and the movement of its artists from the shadows of the 1930s Mississippi Delta to the mainstream venues frequented by today's loyal blues fans.

    To this day, it remains the bestselling jazz album of all time, embraced by fans of all music genres. The album represented a true watershed moment in jazz history, and helped to usher in the first great jazz revolution since bebop.The Making of Kind of Blue is an exhaustively researched examination of how this masterpiece was born. Recorded with pianist Bill Evans; tenor saxophonist John Coltrane; composer/theorist George Russell; and Miles himself, the album represented a fortuitous conflation of some of the real giants of the jazz world, at a time when they were at the top of their musical game. The end result was a recording that would forever change the face of American music.Through extensive interview and access to rare recordings, Eric Nisenson pieced together the whole story of this miraculous session, laying bare the genius of Miles Davis, other musicians, and the heart of jazz itself.

    The dream became reality, and On the Road with Bob Dylan is the ultimate behind-the-scenes look at what happened when Dylan and the Rolling Thunder Revue took to the streets of America.With the intimate detail of a diary, Larry “Ratso” Sloman’s mesmerizing description of the legendary tour both transports us to a celebrated period in rock history and provides us with a vivid snapshot of Dylan during this extraordinary time. This reissue of the 1978 classic resonates more than ever as it chronicles one of the most glittering rock circuses ever assembled, with a cast that includes Joan Baez, Robbie Robertson, Joni Mitchell, Allen Ginsberg, Ramblin’ Jack Elliott, and a wild entourage of groupies, misfits, sinners, and saints who trailed along for the ride. Sloman candidly captures the all-night revelry and musical prowess—from the backstage antics to impromptu jams—that made the tour a nearly mystical experience. Complete with vintage photos and a new introduction by renowned Texas musician, mystery writer, and Revue member Kinky Friedman, this is an unparalleled treat for Dylan fans old and new. Without question, On the Road with Bob Dylan is a remarkable, revealing piece of writing and a rare up-close and personal view of Dylan on tour.