Meanwhile, country songs by female artists played in the background, telling powerful stories about life, men, hard times, and surviving. In her family, she writes, “country music was foremost a language among women. It’s how we talked to each other in a place where feelings aren’t discussed.” And no one provided that language better than Dolly Parton. Smarsh challenged a typically male vision of the rural working class with her first book, Heartland, starring the bold, hard-luck women who raised her. Now, in She Come By It Natural, originally published in a four-part series for The Journal of Roots Music, No Depression, Smarsh explores the overlooked contributions to social progress by such women—including those averse to the term “feminism”—as exemplified by Dolly Parton’s life and art. Far beyond the recently resurrected “Jolene” or quintessential “9 to 5,” Parton’s songs for decades have validated women who go unheard: the poor woman, the pregnant teenager, the struggling mother disparaged as “trailer trash.” Parton’s broader career—from singing on the front porch of her family’s cabin in the Great Smoky Mountains to achieving stardom in Nashville and Hollywood, from “girl singer” managed by powerful men to leader of a self-made business and philanthropy empire—offers a springboard to examining the intersections of gender, class, and culture. Infused with Smarsh’s trademark insight, intelligence, and humanity, She Come By It Natural is a sympathetic tribute to the icon Dolly Parton and—call it whatever you like—the organic feminism she embodies.

    In fact, it’s her confidence and individuality that have propelled her into the spotlight. But the road hasn’t been easy. After being rejected by talent scouts, music reps, and eventually national television, Lindsey forged her own path, step by step. Here, for the first time, she shares every triumph and trial she has faced until now. Beginning in a humble yet charmed childhood, this book follows Lindsey through a humorous adolescence, to her life as a struggling musician, through her personal struggles with anorexia, and finally all the way to her success as a world-class entertainer. Lindsey’s magnetizing story is at once remarkable and universal—a testimony that there is no singular recipe for success. And a witness that, despite what people may say, sometimes it’s okay to be The Only Pirate at the Party.

    "Elvis by the Presleys" is a uniquely fascinating treasure and serves as the essential companion to a major television special on CBS and, from Sony BMG, a longer-form documentary DVD and its related CD. Culled from hours of new family interviews conducted for the television special and DVD (much of it appearing exclusively in this book), enhanced with Elvis quotes, and illustrated with private family photographs and images of personal memorabilia from the archives of Graceland/Elvis Presley Enterprises, "Elvis by the Presleys" is an extraordinary document about an extraordinary figure. In all, the book is the compelling result of a historic gathering of voices of those who not only witnessed from the wings Elvis Presley's public life, but also knew the superstar out of the spotlight. His former wife Priscilla Presley, their daughter Lisa Marie Presley, his cousin Patsy Presley Geranen, Priscilla's parents, and members of the combined and extended families sensitively and candidly share their intimate perspective on the real person, while at the same time celebrating one of America's greatest stars. As Priscilla Presley puts it in" Elvis by the Presleys," "Who can think of Elvis without thinking of Graceland?" Here Graceland is seen as a teeming family retreat, where the kitchen was the center of operations; where tag football games were played in the yard; where folks drove golf carts up and down the hills; and where Elvis spent many of his happiest times. "Elvis by the Presleys" reveals life at Graceland like never before. We witness the arc of his love affair with Priscilla; Elvis as a father to his adored Lisa Marie; his obsessions and passions; and the strength of his musical legacy, which continues unabated to this day. There are Christmas cards here, too; contracts and invoices; selections from Lisa Marie's childhood scrapbook; and even a picture of the champagne bottle (signed) from Elvis and Priscilla's wedding. Here, now, is the tumultuous story of the life of a lovely yet complex man; a portrait of the career of a brilliantly accomplished yet often frustrated artist; an insider's tale of enduring love, related with warmth and unguarded candor . . . and a story told the way only a family can tell it. 2-hour CBS special airs May 2005 4-hour Sony BMG documentary DVDand its companion CD in stores May 2005 The DVD is a longer-form presentation of the footage edited for the special. Both the special and the DVD are comprised of the family interviews, private home movies, performance footage and interviews, and photography -- some of the material rare, some never before available to the public. The CD of Elvis's music features Elvis classics, hidden treasures, rarities and family favorites.

    Just as Nicks (and Lindsay Buckingham) gave Fleetwood Mac the shot of adrenaline they needed to become real rock stars--according to Christine McVie--Gold Dust Woman is vibrant with stories and with a life lived large and hard: ●How Nicks and Buckingham were asked to join Fleetwood Mac and how they turned the band into stars ●The affairs that informed Nicks' greatest songs ●Her relationships with the Eagles' Don Henley and Joe Walsh, and with Fleetwood himself ●Why Nicks married her best friend's widower ●Her dependency on cocaine, drinking and pot, but how it was a decade-long addiction to Klonopin that almost killed her ●Nicks' successful solo career that has her still performing in venues like Madison Square Garden ●The cult of Nicks and its extension to chart-toppers like Taylor Swift and the Dixie Chicks

    As the creator and star of Mister Rogers’ Neighborhood, he was a champion of compassion, equality, and kindness. Rogers was fiercely devoted to children and to taking their fears, concerns, and questions about the world seriously.The Good Neighbor, the first full-length biography of Fred Rogers, tells the story of this utterly unique and enduring American icon. Drawing on original interviews, oral histories, and archival documents, Maxwell King traces Rogers’s personal, professional, and artistic life through decades of work, including a surprising decision to walk away from the show to make television for adults, only to return to the neighborhood with increasingly sophisticated episodes, written in collaboration with experts on childhood development. An engaging story, rich in detail, The Good Neighbor is the definitive portrait of a beloved figure, cherished by multiple generations.

    Here, Michaelangelo Matos tells the story of how it emerged from an extraordinary period of creativity to become one of the landmark recordings of the 1980s. He also illustrates beautifully how - if a record is great enough and lucky enough to hit you at the right time - it can change your way of looking at the world.EXCERPTThe most immediately striking thing about Sign 'O' the Times is the jazzy sensibility running through it. Prince's father was a jazz musician, his mother a vocalist; he'd been a fan of chops-heavy jazz-fusion as well as rock and R&B growing up. But when Prince began recording for Warner Bros., he abjured the brass sections that dominated groups like Earth, Wind & Fire and Parliament-Funkadelic, opting instead for stacked synthesizer patterns and a spare, cold feel that markedly contrasted with lush, overarranged disco and the wild, thick underbrush of the era's giant funk ensembles; Rickey Vincent, author of Funk: The Music, the People, and the Rhythm of the One, dubbed it "naked funk." Getting away from traditional R&B instrumentation is an underappreciated aspect of Prince's crossover success; Prince is also said to have actively disliked the sound of horns early in his career.

    As the 1970s ended, Waits felt increasingly constrained and trapped by his persona and career. Bitter and desperately unhappy, he moved to New York in 1979 to change his life. It wasn't working. But at his low point, he got the phone call that changed everything: Francis Ford Coppola tapped Tom to write the score for One From the Heart. Waits moved back to Los Angeles to work at Zoetrope's Hollywood studio for the next 18 months. He cleaned up, disciplined himself as a songwriter and musician, collaborated closely with Coppola, and met a script analyst named Kathleen Brennan - his "only true love."They married within 2 months at the Always and Forever Yours Wedding Chapel at 2am. Swordfishtrombones was the first thing Waits recorded after his marriage, and it was at Kathleen's urging that he made a record that conceded exactly nothing to his record label, or the critics, or his fans. There aren't many love stories where the happy ending sounds like a paint can tumbling in an empty cement mixer.Kathleen Brennan was sorely disappointed by Tom's record collection. She forced him out of his comfortable jazzbo pocket to take in foreign film scores, German theatre, and Asian percussion. These two stories of a man creating that elusive American second act, and also finding the perfect collaborator in his wife give this book a natural forward drive.

    This new edition has been updated by his friend and former Rolling Stone comrade Mitch Glazer and includes an epilogue about the memorial concerts for Timothy that James Taylor helped organize.

    Time is simply how you live your life.” —Craig SagerThanks to an eccentric wardrobe filled with brightly-colored suits and a love of sports that knows no bounds, Craig Sager is one of the most beloved and recognizable broadcasters on television. So when the sports world learned that he was diagnosed with acute myeloid leukemia (AML) there was an outpouring of love and support from everyone who was inspired by his colorful life and his fearless decision to continue doing the job he loved—despite being told that he would have only three-to-six months to live. Since then Sager has undergone three stem cell transplants—with his son as the donor for two of them—and more than twenty chemotherapy cycles.In Living Out Loud, Craig Sager shares incredible stories from his remarkable career and chronicles his heroic battle. Whether he’s sprinting across Wrigley Field mid-game as a college student with cops in pursuit, chasing down Hank Aaron on the field for an interview after Aaron broke Babe Ruth’s home run record, running with the bulls in Pamplona, or hunkering down to face the daunting physical challenges of fighting leukemia, Craig Sager is always ready to defy expectations, embrace life, and live it to the fullest.Including a foreword by Charles Barkley and with unique insight from his son Craig Sager II, this entertaining, honest, and introspective account of a life lived in sports reveals the enduring lessons Sager has learned throughout his career and reminds you that no matter what life throws at you, to always look at the bright side.

    David Bowie is holed up in his Bel-Air mansion, drifting into drug-induced paranoia and confusion. Obsessed with black magic and the Holy Grail, he's built an altar in the living room and keeps his fingernail clippings in the fridge. There are occasional trips out to visit his friend Iggy Pop in a mental institution. His latest album is the cocaine-fuelled Station To Station (Bowie: "I know it was recorded in LA because I read it was"), which welds R&B rhythms to lyrics that mix the occult with a yearning for Europe, after three mad years in the New World. Bowie has long been haunted by the angst-ridden, emotional work of the Die Brucke movement and the Expressionists. Berlin is their spiritual home, and after a chaotic world tour, Bowie adopts this city as his new sanctuary. Immediately he sets to work on Low, his own expressionist mood-piece.

    Even Young himself has been equivocal, describing it in one breath as his finest album, dismissing it in the next as an MOR aberration. Here, Sam Inglis explores the circumstances of the album s creation and asks who got it right: the critics, or the millions who have bought Harvest in the 30 years since its release? Excerpt The White Falcon s split pickup might have been just a gimmick from the early days of stereo, but the way Neil Young uses it on Alabama is remarkable. His muted picking brings stabbing notes first from one speaker, then the other, as though we were hearing not one but two guitarists, playing with an unnatural empathy. The electric guitar has seldom sounded so menacing, and Young s growling rhythm and piercing lead notes are tracked perfectly by Kenny Buttrey s bare-bones drumming. The build to the chorus is beautifully judged, and when Young and his celebrity backing singers let rip, there s an almost physical sense of release.

    Political rock ‘n' roll is always something of an oxymoron: rock audiences by and large don't tune in to be lectured to. But what can it mean that a band that made pop songs as political theory actively resisted making that theory legible?Coming to terms with the impact of Entertainment! requires us to take the mondegreen—the misunderstood lyric—seriously. The old joke has it that the title of R.E.M.'s debut album should have been not Murmur, but Mumble: true, so far as it goes. But that's the title, too, of rock ‘n' roll's Greatest Hits compilation—and that strategic inarticulateness itself, which creates such an important role for the listener, has an important politics.

    From there he joined the ever-popular Move, then helped form the groundbreaking Electric Light Orchestra. After co-founder Roy Wood left in 1972, Lynne turned what had been a struggling rock and classical fusion into one of Britain s most consistently successful and popular acts. Following a run of hit singles, albums, and sell-out concerts throughout the world, he laid the group to rest in 1986 and combined a solo career as an artist and producer with membership of the ultimate supergroup, the Traveling Wilburys. His production credits include Roy Orbison, Tom Petty, Del Shannon, George Harrison, and even the Beatles on their two final singles in the mid- 90s. Jeff Lynne: The Electric Light Orchestra, Before and After is the first-ever biography of one of the most prolific and highly regarded performers of the last fifty years. Rich in backstage anecdotes of overheated orchestras, frontmen rivalries, tour mishaps, cross-group partnerships, unlikely collaborations, and self-imposed exile from the stage in the quest for inspiration, this book will leave fans and general readers delighted and inspired by a career at the epicentre of twentieth-century rock. ** This electronic edition contains 35 photographs **

    RJ Wheaton offers an imagistic, in-depth investigation of Dummy that imitates the cumulative structure of the album itself, piecing together portraits and interviews, impressions of time and place, cultural criticism, and a thorough exploration of the music itself. The book focuses both on the creation and production of Dummy and the reception and response it engendered. How did so many people, collectively, make a quintessential headphone album into a nightclub album? How did they turn the product of a niche local scene into an international success? With fresh input from Portishead sound engineer Dave McDonald and collaborator Tim Saul, coupled with extensive research, this is the compelling story of how an innovative, experimental album became the iconic sound for the better part of a decade – and an aesthetic template for the experience of music in the digital age.33 1/3 is a series of short books about popular music, focusing on individual albums by artists ranging from James Brown to Celine Dion and from J Dilla to Neutral Milk Hotel. Each album covered in the series occupies such a specific place in music history, so each book-length treatment is different. Jonathan Lethem, Colin Meloy, Daphne Brooks, Gina Arnold and Alan Warner are just some of the authors who have contributed to the series so far. Widely acclaimed by fans, musicians and scholars alike. More

    It was the first Brian Eno album tobe composed almost completely in the confines of a recording studio, over a scant few months in the summer of 1975. The album was a proofof concept for Eno's budding ideas of "the studio as musicalinstrument," and a signpost for a bold new way of thinking aboutmusic. In this book, Geeta Dayal unravels Another Green World's abundantmysteries, venturing into its dense thickets of sound. How was analbum this cohesive and refined formed in such a seemingly ad hoc way?How were electronics and layers of synthetic treatments used to createan album so redolent of the natural world? How did a deck of cardsfigure into all of this? Here, through interviews and archivalresearch, she unearths the strange story of how Another Green Worldformed the link to Eno's future foreshadowing his metamorphosisfrom unlikely glam rocker to sonic painter and producer.