French of Family Affair) "singing" songs by Bob Dylan, and tons more

    Disco and salsa. The loft jazz scene and the downtown composers known as Minimalists. In the mid-1970s, New York City was a laboratory where all the major styles of modern music were reinvented--all at once, from one block to the next, by musicians who knew, admired, and borrowed from one another. Crime was everywhere, the government was broke, and the city's infrastructure was collapsing. But rent was cheap, and the possibilities for musical exploration were limitless.Love Goes to Buildings on Fire is the first book to tell the full story of the era's music scenes and the phenomenal and surprising ways they intersected. From New Year's Day 1973 to New Year's Eve 1977, the book moves panoramically from post-Dylan Greenwich Village, to the arson-scarred South Bronx barrios where salsa and hip-hop were created, to the Lower Manhattan lofts where jazz and classical music were reimagined, to ramshackle clubs like CBGBs and The Gallery, where rock and dance music were hot-wired for a new generation. As they remade the music, the musicians at the center of the book invented themselves: Willie Colón and the Fania All-Stars renting Yankee Stadium to take salsa to the masses, New Jersey locals Bruce Springsteen and Patti Smith claiming the jungleland of Manhattan as their own, Grandmaster Flash transforming the turntable into a musical instrument, David Byrne and Talking Heads proving that rock music "ain't no foolin' around." Will Hermes was there--venturing from his native Queens to the small dark rooms where the revolution was taking place--and in Love Goes to Buildings on Fire he captures the creativity, drive, and full-out lust for life of the great New York musicians of those years, who knew that the music they were making would change the world.

    The founder of Adbusters magazine, Lasn aims to stop the branding of America by changing the way information flows; the way institutions wield power; the way television stations are run; and the way the food, fashion, automobile, sports, music, and culture industries set agendas. With a courageous and compelling voice, Lasn deconstructs the advertising culture and our fixation on icons and brand names. And he shows how to organize resistance against the power trust that manages the brands by "uncooling" consumer items, by "dermarketing" fashions and celebrities, and by breaking the "media trance" of our TV-addicted age.A powerful manifesto by a leading media activist, Culture Jam lays the foundations for the most significant social movement of the early twenty-first century -- a movement that can change the world and the way we think and live.

    Rare Book

    Drawn from over 180 interviews with friends, rivals, lovers, and collaborators, some of whom have never before spoken about their relationship with Bowie, this oral history weaves a hypnotic spell as it unfolds the story of a remarkable rise to stardom and an unparalleled artistic path. Tracing Bowie's life from the English suburbs to London to New York to Los Angeles, Berlin, and beyond, its collective voices describe a man profoundly shaped by his relationship with his schizophrenic half-brother Terry; an intuitive artist who could absorb influences through intense relationships and yet drop people cold when they were no longer of use; and a social creature equally comfortable partying with John Lennon and dining with Frank Sinatra. By turns insightful and deliciously gossipy, DAVID BOWIE is as intimate a portrait as may ever be drawn. It sparks with admiration and grievances, lust and envy, as the speakers bring you into studios and bedrooms they shared with Bowie, and onto stages and film sets, opening corners of his mind and experience that transform our understanding of both artist and art. Including illuminating, never-before-seen material from Bowie himself, drawn from a series of Jones's interviews with him across two decades, DAVID BOWIE is an epic, unforgettable cocktail-party conversation about a man whose enigmatic shapeshifting and irrepressible creativity produced one of the most sprawling, fascinating lives of our time.

    For most of the 19th century, a wide variety of expressive forms--Shakespearean drama, opera, orchestral music, painting & sculpture, as well as the writings of such authors as Dickens & Longfellow--enjoyed both high cultural status & mass popularity. In the 19th century Americans (in addition to whatever specific ethnic, class & regional cultures they were part of) shared a public culture less hierarchically organized, less fragmented into relatively rigid adjectival groupings than their descendants were to experience. By the 20th century this cultural eclecticism & openness became increasingly rare. Cultural space was more sharply defined, less flexible than it had been. The theater, once a microcosm of America--housing both the entire spectrum of the population & the complete range of entertainment from tragedy to farce, juggling to ballet, opera to minstrelsy--now fragmented into discrete spaces catering to distinct audiences & separate genres of expressive culture. The same transition occurred in concert halls, opera houses & museums. A growing chasm between 'serious' & 'popular', 'high' & 'low' culture came to dominate the expressive arts."If there is a tragedy in this development," Levine notes, "it is not only that millions of Americans were now separated from exposure to such creators as Shakespeare, Beethoven & Verdi, whom they had enjoyed in various formats for much of the 19th century, but also that the rigid cultural categories, once they were in place, made it so difficult for so long for so many to understand the value & importance of the popular art forms that were all around them. "Too many of those who considered themselves educated & cultured lost for a significant period--& many have still not regained--their ability to discriminate independently, to sort things out for themselves & understand that simply because a form of expressive culture was widely accessible & highly popular it was not therefore necessarily devoid of any redeeming value or artistic merit."Note: first presented as The William E. Massey Sr. Lectures in the History of American Civilization in 1986,

    Led by Glenn Danzig, a singer possessed of vision and blessed with an incredible baritone, the Misfits pioneered a death rock sound that would reverberate through the various musical subgenres that sprung up in their wake.This Music Leaves Stains now presents the full story behind the Misfits and their ubiquitous, haunting skull logo, a story of unique talent, strange timing, clashing personalities, and incredible music that helped shape rock as we know it today. James Greene, Jr., maps this narrative from the band's birth at the tail end of the original punk movement through their messy dissolve at the dawn of the 1980s right on through the legal warring and inexplicable reunions that helped carry the band into the 21st century.Music junkies of any stripe will surely find themselves engrossed in this saga that finally pieces together the full story of the greatest horror punk band that ever existed, though Misfits fans will truly marvel at the thorough and detailed approach James Greene, Jr. has taken in outlining the rise, fall, resurrection, and influence of New Jersey's most frightening musical assembly.

    Somewhere between the exhilarating rise of Girl Power in the 1990s and today, the pursuit of physical perfection has been recast as the source of female empowerment. And commercialization has spread the message faster and farther, reaching girls at ever-younger ages. But how dangerous is pink and pretty, anyway? Being a princess is just make-believe; eventually they grow out of it . . . or do they?In search of answers, Peggy Orenstein visited Disneyland, trolled American Girl Place, and met parents of beauty-pageant preschoolers tricked out like Vegas showgirls. The stakes turn out to be higher than she ever imagined. From premature sexualization to the risk of depression to rising rates of narcissism, the potential negative impact of this new girlie-girl culture is undeniable—yet armed with awareness and recognition, parents can effectively counterbalance its influence in their daughters' lives.

    The term stuck, and soon began its long and consequential history.In this sweeping account, Mitchell Duneier traces the idea of the ghetto from its beginnings in the sixteenth century and its revival by the Nazis to the present day. We meet pioneering black thinkers such as Horace Cayton, a graduate student whose work on the South Side of Chicago established a new paradigm for thinking about Northern racism and black poverty in the 1940s. We learn how the psychologist Kenneth Clark subsequently linked the slum conditions in Harlem with black powerlessness in the civil rights era, and we follow the controversy over Daniel Patrick Moynihan’s report on the black family. We see how the sociologist William Julius Wilson refocused the debate on urban America as the country retreated from racially specific remedies, and how the education reformer Geoffrey Canada sought to transform the lives of inner-city children in the ghetto.By expertly resurrecting the history of the ghetto from Venice to the present, Duneier’s Ghetto provides a remarkable new understanding of an age-old concept. He concludes that if we are to understand today’s ghettos, the Jewish and black ghettos of the past should not be forgotten.

    From the ruins of the earliest cities to the present, Reader explores how cities coalesce, develop and thrive, how they can decline and die, how they remake themselves. He investigates their parasitic relationship with the countryside around them, the webs of trade and immigration they rely upon to survive, how they feed and water themselves and dispose of their wastes. It is a sweeping exploration of what the city is and has been, fit to stand alongside Lewis Mumford's 1962 classic The City in History.

    Taken both by Connolly and an assortment of punk enthusiasts, BANNED IN DC is a set of vibrant shots that portray the anarchic spirit, pure energy, and camaraderie of the DC scene in a series of 450 black and white photographs. Major figures in the hardcore movement, like Dischord Records co-owner and then-Minor Threat member Ian MacKaye and Bad Brains vocalist HR, share space with naked musicians, ubiquitous scenesters, shaven-headed audience members, and riotous punks, in a freewheeling combination of pictures and quotes. Vividly capturing the scene's idealistic intensity, BANNED IN DC is an invaluable document of Washington hardcore's exuberance and aspirations.

    Once a dirty word brushed away with a grimace, "feminist" has been rebranded as a shiny label sported by movie and pop stars, fashion designers, and multi-hyphenate powerhouses like Beyoncé It drives advertising and marketing campaigns for everything from wireless plans to underwear to perfume, presenting what's long been a movement for social justice as just another consumer choice in a vast market. Individual self-actualization is the goal, shopping more often than not the means, and celebrities the mouthpieces. But what does it mean when social change becomes a brand identity? Feminism's splashy arrival at the center of today's media and pop-culture marketplace, after all, hasn't offered solutions to the movement's unfinished business. Planned Parenthood is under sustained attack, women are still paid 77 percent -- or less -- of the man's dollar, and vicious attacks on women, both on- and offline, are utterly routine. Andi Zeisler, a founding editor of Bitch Media, draws on more than twenty years' experience interpreting popular culture in this biting history of how feminism has been co-opted, watered down, and turned into a gyratory media trend. Surveying movies, television, advertising, fashion, and more, Zeisler reveals a media landscape brimming with the language of empowerment, but offering little in the way of transformational change. Witty, fearless, and unflinching, We Were Feminists Once is the story of how we let this happen, and how we can amplify feminism's real purpose and power.

    Crowds gathered – At ground level and above. People climbed onto roofs and postboxes, skipped lunch to gather and listen: For the first time in more than two years, The Beatles were playing live.Ringing from the rooftops, disturbing the well-to-do ears of the tailors below, they upset the establishment and bewildered the police. It was filmed by director Michael Lindsay-Hogg, who hoped the footage would act as the finale to a celebratory TV special. When it finally surfaced, it was in the bleak, tumultuous documentary Let It Be. And The Beatles would never play live again.Tony Barrell examines the concert within the context of its time. He speaks to those who were there: the fans, film-makers, roadies, Apple Corps staff and police. He explores the politics of 1968, when peace gave way to protest, and how music promotion began to collide with cinéma vérité and reality TV. The Beatles on the Roof makes essential reading for anyone interested in the band’s reinventions and relationships, revealing why the rooftop concert happened at all, why it happened the way that it did, and why it would never happen again.

    The activist, writer, and mother of three grew so fond of her bustling community that it became a touchstone for her landmark book The Death and Life of Great American Cities. But consummate power broker Robert Moses, the father of many of New York’s most monumental development projects, saw things differently: neighborhoods such as Greenwich Village were badly in need of “urban renewal.” Notorious for exacting enormous human costs, Moses’s plans had never before been halted–not by governors, mayors, or FDR himself, and certainly not by a housewife from Scranton.The epic rivalry of Jacobs and Moses, played out amid the struggle for the soul of a city, is one of the most dramatic and consequential in modern American history. In Wrestling with Moses, acclaimed reporter and urban planning policy expert Anthony Flint recounts this thrilling David-and-Goliath story, the legacy of which echoes through our society today.The first ordinary citizens to stand up to government plans for their city, Jacobs and her colleagues began a nationwide movement to reclaim cities for the benefit of their residents. Time and again, Jacobs marshaled popular support and political power against Moses, whether to block traffic through her beloved Washington Square Park or to prevent the construction of the Lower Manhattan Expressway, a ten-lane elevated superhighway that would have destroyed centuries-old streetscapes and displaced thousands of families and businesses.Like A Civil Action before it, Wrestling with Moses is the tale of a local battle with far-ranging significance. By confronting Moses and his vision, Jacobs forever changed the way Americans understood the city, and inspired citizens across the country to protest destructive projects in their own communities. Her story reminds us of the power we have as individuals to confront and defy reckless authority.

    By moving our jobs out to the suburbs where we live and shop, we have created Edge Cities. Garreau has spent three years visiting Edge Cities and presents a groundbreaking book about who we are, how we got that way, where we are headed and what we value.