I wasn’t submissive or begging him to come back, I was kicking his ass, kicking him out, kicking my own ass too. My Blondie character was an inflatable doll but with a dark, provocative, aggressive side. I was playing it up, yet I was very serious.’ BRAVE, BEAUTIFUL AND BORN TO BE PUNK DEBBIE HARRY is a musician, actor, activist and the iconic face of New York City cool. As the front-woman of Blondie, she and the band forged a new sound that brought together the worlds of rock, punk, disco, reggae and hip-hop to create some of the most beloved pop songs of all time. As a muse, she collaborated with some of the boldest artists of the past four decades. The scope of Debbie Harry’s impact on our culture has been matched only by her reticence to reveal her rich inner life – until now.In an arresting mix of visceral, soulful storytelling and stunning visuals that includes never-before-seen photographs, bespoke illustrations and fan art installations, Face It upends the standard music memoir while delivering a truly prismatic portrait. With all the grit, grime, and glory recounted in intimate detail, Face It recreates the downtown scene of 1970s New York City, where Blondie played alongside the Ramones, Television, Talking Heads, Iggy Pop and David Bowie.Following her path from glorious commercial success to heroin addiction, the near-death of partner Chris Stein, a heart-wrenching bankruptcy, and Blondie’s break-up as a band to her multifaceted acting career in more than thirty films, a stunning solo career and the triumphant return of her band, and her tireless advocacy for the environment and LGBTQ rights, Face It is a cinematic story of a woman who made her own path, and set the standard for a generation of artists who followed in her footsteps – a memoir as dynamic as its subject.

    The book focuses on the scene surrounding the extreme heavy metal subgenre black metal in Norway in the early 1990s, with a focus on the string of church burnings and murders that occurred in the country around 1993.

    Indeed, fist-pumping hits like Twisted Sister's "We're Not Gonna Take It," Mötley Crüe's "Girls, Girls, Girls," and Guns N' Roses' "Welcome to the Jungle" are as inextricably linked to the era as Reaganomics, Pac-Man, and E.T.From the do-or-die early days of self-financed recordings and D.I.Y. concert productions that were as flashy as they were foolhardy, to the multi-Platinum, MTV-powered glory years of stadium-shaking anthems and chart-topping power ballads, to the ultimate crash when grunge bands like Nirvana forever altered the entire climate of the business, Tom Beaujour and Richard Bienstock's "Nothin' But a Good Time" captures the energy and excess of the hair metal years in the words of the musicians, managers, producers, engineers, label executives, publicists, stylists, costume designers, photographers, journalists, magazine publishers, video directors, club bookers, roadies, groupies, and hangers-on who lived it.

    Richard Meltzer (a.k.a. R. Meltzer) took his training as a young philosopher and applied it with unalloyed enthusiasm to the lyrics, sound, and culture of rock and roll. Never before had anyone noticed the relationship between the philosophy of Heidegger and a tune by Little Anthony and the Imperials, heard the cries of agony in the Shangri Las' “Remember (Walkin' in the Sand)”, or transcribed every "papa-ooma-mow-mow" in the Trashmen's “Surfin' Bird.”From Dionne Warwick to Plato, Jim Morrison to Bert Brecht, Conway Twitty to Miguel de Unamuno, Meltzer subverts high and low culture in his search for meaning, emotion, and codes in popular music. At once an earnest investigation and a crypto put-on, the book can be read for its nuggets of information and insights or for its humor. Here with Greil Marcus's new introduction, yet another generation of readers can be outraged and inspired.

    Sherill Tippins, author of the acclaimed February House, delivers a masterful and endlessly entertaining history of the Chelsea and of the successive generations of artists who have cohabited and created there, among them John Sloan, Edgar Lee Masters, Thomas Wolfe, Dylan Thomas, Arthur Miller, Allen Ginsberg, Bob Dylan, Janis Joplin, Leonard Cohen, Patti Smith, Robert Mapplethorpe, Andy Warhol, Sam Shepard, Sid Vicious, and Dee Dee Ramone. Now as legendary as the artists it has housed and the countless creative collaborations it has sparked, the Chelsea has always stood as a mystery as well: Why and how did this hotel become the largest and longest-lived artists’ community in the known world? Inside the Dream Palace is the intimate and definitive story.Today the Chelsea stands poised in limbo between two futures: Will this symbol of New York's artistic invention be converted to a profit-driven business catering to the top one percent? Or will the Chelsea be given a rebirth through painstaking effort by the community that loves it? Set against these two competing possibilities, Inside the Dream Palace could not be more fascinating or timely.

    During his six-decade career, he has played with all the greats. His career sky-rocketed when Crosby, Stills & Nash played only their second gig together at Woodstock in 1969. With the addition of Neil Young, the band would go on to play the first rock stadium tour in 1974. Stephen Stills is the only person to have been inducted twice in one night into The Rock and Roll Hall of Fame

    This classic biography charts the phenomenal rise of The Stone Roses to the icons they are today, using interviews, rehearsal tapes and the archives of author John Robb who was with them from the beginning. Robb's exclusive inside knowledge of The Stone Roses creates a compelling and intimate insight into how the band single-handedly set the blueprint for the resurgence of UK rock 'n' roll in the 1990s: Ian Brown's new lazy-style vocals, Reni's fluid, funk-tinged, ground-breaking drumming, and the guitar genius of John Squire. From the band members' early years to the inception of the Roses, through the tours and success, their influences and style, to the demise of the original line-up and their solo careers; every high and low is documented in minute detail. This is the definitive, most revered account of one of the most influential British bands in pop music history.

    In her illuminating, fascinating, sometimes heartbreaking memoir, Up All Night, the legendary "Nightbird" tells the story of her colorful career--her rise to success in a male-dominated music industry; her close and personal dealings with rock royalty like Bruce Springsteen (whose music she first introduced to New York radio), Sir Paul McCartney, and Steven Tyler (whom she dated)--and details openly and honestly her battle against breast cancer for the very first time.

    Based on ten years of original, exclusive interviews with the man himself and conversations with a legion of musical associates like Queens of the Stone Age frontman Josh Homme, DC punk legend Ian MacKaye, and Nevermind producer Butch Vig, this is Grohl's story. He speaks candidly and honestly about Kurt Cobain, the arguments that almost tore Nirvana apart, the feuds that threatened to derail the Foo Fighters's global success, and the dark days that almost caused him to quit music for good.Dave Grohl has emerged as one of the most recognizable and respected musicians in the world. He is the last true hero to emerge from the American underground. This Is a Call vividly recounts this incredible rock 'n' roll journey.

    But even more than any of their eminent peers, David Crosby, Stephen Stills, Graham Nash, and Neil Young channeled and broadcast all the radical anger, romantic idealism, and generational angst of their time. Each of the members had already made their marks in huge bands (The Hollies, Buffalo Springfield, The Byrds), but together, their harmonies were transcendent. The vast emotional range of their music, from delicate acoustic confessionals to raucous counter-culture anthems, was mirrored in the turbulence of their personal lives. Their trademark may have been vocal harmony, but few—if any—of their contemporaries could match the recklessness of their hedonistic and often combative lifestyles, when the four tenacious, volatile, and prodigal songwriters pursued chemical and sexual pleasure to life-threatening extremes. Including full color photographs, CSNY chronicles these four iconic musicians and the movement they came to represent, concentrating on their prime as a collective unit and a cultural force: the years between 1969, when Woodstock telegraphed their arrival to the world, and 1974, when their arch-enemy Richard Nixon was driven from office, and the band (to quote Graham Nash himself) “lost it on the highway.” Even fifty years later, there are plenty of stories left to be told about Crosby, Stills, Nash, and Young—and music historian Peter Doggett is here to bring them to light in the meticulously researched CSNY, a quintessential and illuminative account of rock’s first supergroup in their golden hour for die-hard fans, nostalgic flower-children, and music history aficionados alike.

    If anything, today, the cult of Jawbreaker-in their own words, "the little band that could but would probably rather not"-is now many times greater than it was when they broke up in 1996. Like the best work of Fugazi, The Clash, and Operation Ivy, the album is now is a rite of passage and a beloved classic among partisans of intelligent, committed, literary punk music and poetry.Why, when a thousand other artists came and went in that confounding decade of the 90s, did Jawbreaker somehow come to seem like more than just another band? Why do they persist, today, in meaning so much to so many people? And how did it happen that, two years after releasing their masterpiece, the band that was somehow more than just a band to its fans-closer to equipment for living-was no longer?Ronen Givony's 24 Hour Revenge Therapy is an extended tribute in the spirit of Nicholson Baker's U & I a passionate, highly personal, and occasionally obsessive study of one of the great confessional rock albums of the 90s. At the same time, it offers a quizzical look back to the toxic authenticity battles of the decade, ponders what happened to the question of "selling out," and asks whether we today are enriched or impoverished by that debate becoming obsolete.

    Dubbed the 'man in black', guitarist Ritchie Blackmore found fame with Seventies rock giants Deep Purple, then walked away from them to create Rainbow, only to abandon them and form another band in 1997 - Blackmore's Night.

    The battles over property taxes and a ballot initiative calling for a ban on homosexuals teaching in public schools gave way to the madness of the Jonestown massacre and the murders of Mayor George Moscone and city supervisor Harvey Milk at the hands of their former colleague, Dan White.In the year that followed this season of insanity, it made sense that a band called Dead Kennedys played Mabuhay Gardens in North Beach, referring to Governor Jerry Brown as a "zen fascist," calling for landlords to be lynched and yuppie gentrifiers to be sent to Cambodia to work for "a bowl of rice a day," critiquing government welfare and defense policies, and, at a time when each week seemed to bring news of a new serial killer or child abduction, commenting on dead and dying children. But it made sense only (or primarily) to those who were there, to those who experienced the heyday of "the Mab."Most histories of the 1970s and 1980s ignore youth politics and subcultures. Drawing on Bay Area zines as well as new interviews with the band and many key figures from the early San Francisco punk scene, Michael Stewart Foley corrects that failing by treating Dead Kennedys' first record, Fresh Fruit for Rotting Vegetables, as a critical historical document, one that not only qualified as political expression but, whether experienced on vinyl or from the stage of "the Mab," stimulated emotions and ideals that were, if you can believe it, utopian.

    This is a new and major biography of the first-ever all-electronic pop group and one of the most influential bands in popular music history, Kraftwerk.

    The recording engineer heard a car pull into the lot, and soon the biggest man he had ever seen walked through the door. Six foot three, 500 pounds, the guy looked like a house carrying an 'ukulele. When he stepped into the studio, the floated floor shifted unnervingly beneath the engineer's feet. Israel Kamakawiwo'ole engulfed the engineer's hand in his and said, "Hi, bruddah." The product of that impromptu late-night recording session, a delicate medley of "Somewhere Over the Rainbow" and "What a Wonderful World," has driven sales of 1993's Facing Future to nearly two million copies. Each time the medley is licensed to appear in advertisements, in movies, even on American Idol, Mainlanders embrace it anew as a touch of the unfamiliar in their otherwise staid record collections. But in Hawai'i, a state struggling like no other with the responsibility of its native heritage, Facing Future is much more. Gaining unprecedented access to Israel's family, friends, bandmates, lawyer, and label, Dan Kois tells the remarkable story of Bruddah Iz and the album that changed his life--and his death.