He dreamt that music was a rich meadow of possibility, a liberating leap to a sparkling future, an industry of human happiness - and he wanted to be part of it. Thus began his 50-year love affair with rock and roll. From his time at the NME and Smash Hits to Radio One, Old Grey Whistle Test, Live Aid, Q, Select, Mojo and The Word magazines, he's been at the molten core of its evolution, and watched its key figures from a unique perspective. This funny and touching personal memoir maps out his eventful journey. It tells stories and settles scores. It charts the peaks and disappointments. It flags up surprising heroes and barbecues the dull and self-deluded. It puts a chaotic world to rights and pours petrol on the embers of a glorious industry now in spiralling decline.

    

    Amy lived a rock-star lifestyle to the max, replacing an addiction to drugs with a battle against alcohol. When she died, aged 27, she joined a long list of musicians whose lives had been tragically cut short at the same age - the likes of Jimi Hendrix, Kurt Cobain and Jim Morrison. She burst onto the scene with her debut album, "Frank," in 2003. But it was her follow-up, "Back To Black," in 2006 that won her millions of fans right around the world as she won five Grammy Awards for the album. Her chart success, though, would always be measured against a personal life full of trauma. She wrote "Back To Black" about Blake Fielder-Civil, who she married in 2007. But they spent little time together as a married couple as Blake was sent to prison. Theirs was a stormy romance, and despite divorcing they would remain in love with each other until she died. There were always plenty of other men in Amy's life, though. In the end she died alone in her bed. A bodyguard kept her protected from the outside world, but nobody could protect her from herself...

    a world where salvation and ambition and teenage angst collide in strange ways no outsider could ever understand, unless you read American Band." --Michael Bamberger, author of Wonderland: A Year in the Life of an American High School Every fall, marching bands take to the field in a uniquely American ritual. From the stands, it looks easy. You don’t see them sweat. For millions of kids, band is more than a show. It’s a rite of passage—a first foray into leadership and adult responsibility, and a chance to learn what it means to be part of a community. Nowhere is band more serious than at Concord High School in Elkhart, Indiana, where the entire town is involved with the success of its defending state champion band, the Marching Minutemen. In the place where this tradition may have originated, in the city that became the band instrument capital of the world, band is a religion. But it’s not the only religion, as director Max Jones discovers. After four decades, Jones’s single-minded devotion to musical excellence has fallen out of step with a younger generation increasingly focused on personal salvation. In what his students do not know is his final season of directing, he has assembled his most ambitious show ever, for the strongest senior class he has ever directed. Amid conflicting notions of greatness, the band marches through a season that starts in hope and promise, progresses through uncertainty and disappointment, and ends, ultimately, in redemption. AMERICAN BAND is an unusually intimate chronicle of life, in all its triumph, disappointment, and drama, in the kind of community in which most of America lives. It is an especially timely portrait, capturing as it does the spirit of the heartland at a time of profound change. If you have ever been—or yearned to be—part of something bigger than yourself, you will be rooting for the kids whose voices fill this book.

    Karlen interviewed Prince for three Rolling Stone cover stories, wrote “3 Chains o’ Gold,” Prince’s “rock video opera,” as well as the star’s last testament, which may be buried with Prince’s will underneath Prince’s vast and private compound, Paisley Park. According to Prince's former fiancée Susannah Melvoin, Karlen was “the only reporter who made Prince sound like what he really sounded like.” Karlen quit writing about Prince a quarter-century before the mega-star died, but he never quit Prince, and the two remained friends for the last thirty-one years of the superstar’s life. Well before they met as writer and subject, Prince and Karlen knew each other as two of the gang of kids who biked around Minneapolis’s mostly-segregated Northside. (They played basketball at the Dairy Queen next door to Karlen’s grandparents, two blocks from the budding musician.) He asserts that Prince can’t be understood without first understanding ‘70s Minneapolis, and that even Prince’s best friends knew only 15 percent of him: that was all he was willing and able to give, no matter how much he cared for them. Going back to Prince Rogers Nelson's roots, especially his contradictory, often tortured, and sometimes violent relationship with his father, This Thing Called Life profoundly changes what we know about Prince, and explains him as no biography has: a superstar who calls in the middle of the night to talk, who loved The Wire and could quote from every episode of The Office, who frequented libraries and jammed spontaneously for local crowds (and fed everyone pancakes afterward), who was lonely but craved being alone. Readers will drive around Minneapolis with Prince in a convertible, talk about movies and music and life, and watch as he tries not to curse, instead dishing a healthy dose of “mamma jammas.”"

    Her spontaneous, explosive approach to political action has involved jumping over barbed wire, kissing police officers, giving guerilla performances in crowded subway cars, and going on a hunger strike to protest the abuse of prisoners. She’s been horse-whipped by police in Sochi, temporarily blinded when officers threw green paint in her eyes, and monitored by the Russian government. But what made Nadya an activist icon overnight happened on February 21, 2012, when she was arrested for performing an anti-Putin protest song in a Moscow church.She was sent to a Russian prison for 18 months and emerged as an international symbol of radical resistance, as calls to “Free Pussy Riot” resounded around the world. With her emblematic ski mask, black lipstick, and unwavering bravery, Nadya has become an emissary of hope and optimism despite overwhelming and ugly political corruption.Read & Riot is structured around Nadya’s ten rules for revolution (Be a pirate! Make your government shit its pants! Take back the joy!) and illustrated throughout with stunning examples from her extraordinary life and the philosophies of other revolutionary rebels throughout history. Rooted in action and going beyond the typical “call your senator” guidelines, Read & Riot gives us a refreshing model for civil disobedience, and encourages our right to question every status quo and make political action exciting—even joyful.

    In his provocative commentary to this new edition the philosopher Slavoj Žižek argues that Trotsky’s attack on the illusions of liberal democracy has a vital relevance today.

    This study surveys the history of the social movement, puts forward a theory of collective action to explain its surges and declines, and offers an interpretation of the power of movement that emphasizes its effects on personal lives, policy reforms and political culture. While covering cultural, organizational and personal sources of movements' power, the book emphasizes the rise and fall of social movements as part of political struggle and as the outcome of changes in political opportunity structure. This second edition has an entirely new chapter, major additions to the bibliography, new illustrative materials in many of the chapters and a new conclusion.

    Chronicling leading musicians from their first encounters with jazz to the development of a unique improvisatory voice, Paul Berliner documents the lifetime of preparation that lies behind the skilled improviser's every idea.The product of more than fifteen years of immersion in the jazz world, Thinking in Jazz combines participant observation with detailed musicological analysis, the author's experience as a jazz trumpeter, interpretations of published material by scholars and performers, and, above all, original data from interviews with more than fifty professional musicians: bassists George Duvivier and Rufus Reid; drummers Max Roach, Ronald Shannon Jackson, and Akira Tana; guitarist Emily Remler; pianists Tommy Flanagan and Barry Harris; saxophonists Lou Donaldson, Lee Konitz, and James Moody; trombonist Curtis Fuller; trumpeters Doc Cheatham, Art Farmer, Wynton Marsalis, and Red Rodney; vocalists Carmen Lundy and Vea Williams; and others. Together, the interviews provide insight into the production of jazz by great artists like Betty Carter, Miles Davis, Dizzy Gillespie, Coleman Hawkins, and Charlie Parker.Thinking in Jazz overflows with musical examples from the 1920s to the present, including original transcriptions (keyed to commercial recordings) of collective improvisations by Miles Davis's and John Coltrane's groups. These transcriptions provide additional insight into the structure and creativity of jazz improvisation and represent a remarkable resource for jazz musicians as well as students and educators.Berliner explores the alternative ways—aural, visual, kinetic, verbal, emotional, theoretical, associative—in which these performers conceptualize their music and describes the delicate interplay of soloist and ensemble in collective improvisation. Berliner's skillful integration of data concerning musical development, the rigorous practice and thought artists devote to jazz outside of performance, and the complexities of composing in the moment leads to a new understanding of jazz improvisation as a language, an aesthetic, and a tradition. This unprecedented journey to the heart of the jazz tradition will fascinate and enlighten musicians, musicologists, and jazz fans alike.

    From his childhood in war-torn Britain and his pivotal role in the recording studios that launched the British Invasion of the '60s to his milestone achievements, his dark, nefarious excesses with Led Zeppelin, and his emergence as a revered cultural icon and honored philanthropist, this biography - the first ever written about Jimmy Page - portrays all his spiritual, artistic, and personal dimensions. Swinging London, the Sunset Strip, Bron-yr-Aur, Kashmir, and Clarksdale: Magus, Musician, Man traverses through all of Page's hallowed stomping grounds and tells, at last, the complete story of one of rock 'n' roll's most enigmatic and influential talents.

    He is ingenious, farsighted, and able to excavate the worlds of others, even the flakiest and most fanatical, with uncanny sympathy. Here, he reports back from the far reaches of belief, whether in the clear mountain air of "Sweet Fuck All, Colorado" or in a midnight congregation of urban anarchists celebrating a victory over police.From Dr. Cornel West to legendary banjo player Dock Boggs, from the youth evangelist Ron Luce to America's largest "Mind, Body, Spirit Expo," Sharlet profiles religious radicals, realists, and escapists. Including extended journeys published here for the first time, Sweet Heaven When I Die offers a portrait of our spiritual landscape that calls to mind Joan Didion's classic Slouching Towards Bethlehem.

    Self-taught, his appetite for knowledge--history, science, mankind--formed the basis of his insight to human nature. The Temper of Our Time examines the influence of the juvenile mentality, the rise of automation, the black revolution, the regression of the back-to-nature movement, the intellectual vs. learning, and other relevent issues.

    Moving from gospel to soul, funk to freestyle, Young sifts through the shadows, the bootleg, the remix, the grey areas of our history, literature, and music.

    Written in a style familiar to his millions of listeners, rich with warmth and irony, Terry introduces his post-emergency Ireland, his chain-smoking maiden-aunts, his quick-witted mother and hard-working father and explains exactly how he's managed to avoid a hard day's work from childhood to knighthood.

    It was written in 1873, in the aftermath of the rise of the German Empire and the clash between Bakunin and Karl Marx in the first International. Bakunin assesses the strength of a European state system dominated by Bismarck. Then, in the most remarkable part of the book, he assails the Marxist alternative, predicting that a dictatorship of the proletariat will in fact be a dictatorship over the proletariat, and will produce a new class of socialist rulers. Instead, he outlines his vision of an anarchist society and identifies the social forces he believes will achieve an ananarchist revolution. Statism and Anarchy had an immediate influence on the to the people movement of Russian populism, and Bakunin's ideas inspired other anarchist movements. This is the only complete and reliable rendition of Statism and Anarchy in English, and in a lucid introduction Marshall Shatz locates Bakunin in his immediate historical and intellectual context, and assesses the impact of his ideas on the wider development of European radical thought. A guide to further reading and a chronology of events are appended as aids to students encountering Bakunin's thought for the first time.