And there were those hits: “Wild One,” “Volare,” and “Forget Him,” to name a few. He was far more than just a teen idol. Bobby’s voice and boy next door charm earned him a spot singing, acting, and dancing with Ann-Margret in the film adaptation of the hit musical comedy, Bye Bye Birdie. His comedic talents made him a nighttime fixture during the golden age of TV variety shows, and his phrasing and musicianship led to dozens of headlining gigs in the casino showrooms of Las Vegas and Atlantic City. Frank Sinatra anointed him as his favorite pop singer of the early ‘60s. But early success took a toll on his life. Bobby Rydell’s brutally honest street corner narrative evolved during an eighteen-month collaboration with Allan Slutsky, the award-winning author and producer of the widely acclaimed book and documentary film, Standing in the Shadows of Motown. Inspiring, gut-busting, and, at times, heartbreaking, Teen Idol On The Rocks gives you a front row seat to the turbulent, six decade journey of one of rock and roll’s earliest, and most celebrated teen idols.

    It could not anticipate what was to come after, neither could it grasp what had happened in literary theory in the light of where it was to lead.

    In this book Eugene Thacker suggests that we look to the genre of horror as offering a way of thinking about the unthinkable world. To confront this idea is to confront the limit of our ability to understand the world in which we live – a central motif of the horror genre.In the Dust of This Planet explores these relationships between philosophy and horror. In Thacker’s hands, philosophy is not academic logic-chopping; instead, it is the thought of the limit of all thought, especially as it dovetails into occultism, demonology, and mysticism. Likewise, Thacker takes horror to mean something beyond the focus on gore and scare tactics, but as the under-appreciated genre of supernatural horror in fiction, film, comics, and music. This relationship between philosophy and horror does not mean the philosophy of horror, if anything, it means the reverse, the horror of philosophy: those moments when philosophical thinking enigmatically confronts the horizon of its own existence. For Thacker, the genre of supernatural horror is the key site in which this paradoxical thought of the unthinkable takes place.

    The book contains the crazy, funny and sometimes horrifying anecdotes musicians have told about a lifestyle both invigorating and at times self-destructive. The metal genre has always been populated by colorful individuals who have thwarted convention and lived by their own rules. For many, vice has been virtue, and the opportunity to record albums and tour has been an invitation to push boundaries and open a Pandora ’s Box of wild experiences. Even before they joined bands, the urge for metalheads to rebel and a seemingly contradictory need to belong was ingrained in their DNA. Whether they were oddballs who didn’t fit in or angry kids from troubled backgrounds, metal gave them a sense of identity and became more than a form of music. From the author of the classic collection of Metal music-making tales Louder Than Hell comes a collection that goes behind the music with the lead singers, guitarists, bassists, drummers, stage hands, roadies, groupies, fans, and more. These are the stories of the parties, the tours, the rage, the joy, . . . the Heavy Metal life!

    Willie riffs on everything: music, wives, Texas, politics, horses, religion, marijuana, children, the environment, poker, hogs, Nashville, karma, and more. He shares the outlaw wisdom he has acquired over eight decades, along with favorite jokes and insights from friends and others close to him. Rare family pictures, beautiful artwork created by his son Micah Nelson, and lyrics to classic songs punctuate these charming and poignant memories. Willie Nelson has touched millions, and none more deeply than his family, friends, and bandmates, several of whom share, for the first time, intimate stories about the Red Headed Stranger.From teaching a granddaughter to play the guitar to touring with the Highwaymen, from picking cotton while growing up in Texas to being home with the tribe on Maui, Willie takes you on the tour bus and, through candid observations and vivid recollections, gives you a front-row seat to his remarkable world. But beware: "You know you shouldn't be reading this BS, it could ruin you for all time to come," he says. "You could end up a social outcast like me, an outlaw!"At once a road journal written in his inimitable, homespun voice and a fitting tribute to America's greatest traveling bard, Roll Me Up and Smoke Me When I Die—introduced by Kinky Friedman, another favorite son of Texas—is a deeply personal look into the heart and soul of a unique man and one of the greatest artists of our time, a songwriter and performer whose legacy will endure for generations to come.

    He chose the name “Harmony in My Head,” based on his favorite Buzzcocks tune. As lead man for Black Flag, Rollins was present at the raw beginnings of punk and knew many of its stars. But Rollins’ taste encompassed more than punk, and the show became a cult favorite featuring artists as disparate as the Stooges, Miriam Makeba, the Simpletones, Slim Galliard, and the Weirdos. An inspired Rollins began compiling extensive annotations for each song he played, a mix of history, anecdote, and Rollins’s trademark trenchant opinions. His show can still be heard online in streaming audio, and his notes live on in this irresistible collection.

    But she was a born performer, destined to be on the stage. Unlike fake starlets who become famous overnight, Gaga earned her success the hard way, working night after night at sleazy bars and clubs, performing at every club in New York, getting booed offstage, and in the process, finding herself—as a singer, a dancer, a performer, and an artist. She has shocked the public with her crazy outfits, individual sense of style, and headstrong manner. She has sold millions of records, performed to millions of people, and through it all, she has won hearts with her brashness and honesty.

    Sometimes funny, sometimes poignant, this is the story of a young woman's accidental career as a cocktail lounge piano player, and the adventures and encounters that follow.

    Stigmata brings together her most recent essays for the first time.Acclaimed for her intricate and challenging writing style, Cixous presents a collection of texts that get away -- escaping the reader, the writers, the book. Cixous's writing pursues authors such as Stendhal, Joyce, Derrida, and Rembrandt, da Vinci, Picasso -- works that share an elusive movement in spite of striking differences. Along the way these essays explore a broad range of poetico-philosophical questions that have become characteristic of Cixous' work: * love's labours lost and found* feminine hours* autobiographies of writing* the prehistory of the work of artStigmata goes beyond theory, becoming an extraordinary writer's testimony to our lives and our times.

    Geographically and culturally boundless, with contributions from Great Britain, Ireland, America, Canada, Australia, India, the Caribbean, and Southern Africa; influenced by great novelists working in other languages; and encompassing a range of genres, the story of the novel in English unfolds like a richly varied landscape that invites exploration rather than a linear journey. In The Novel: A Biography, "Michael Schmidt does full justice to its complexity.Like his hero Ford Madox Ford in The March of Literature," Schmidt chooses as his traveling companions not critics or theorists but "artist practitioners," men and women who feel "hot love" for the books they admire, and fulminate against those they dislike. It is their insights Schmidt cares about. Quoting from the letters, diaries, reviews, and essays of novelists and drawing on their biographies, Schmidt invites us into the creative dialogues between authors and between books, and suggests how these dialogues have shaped the development of the novel in English.Schmidt believes there is something fundamentally subversive about art: he portrays the novel as a liberalizing force and a revolutionary stimulus. But whatever purpose the novel serves in a given era, a work endures not because of its subject, themes, political stance, or social aims but because of its language, its sheer invention, and its resistance to cliche--some irreducible quality that keeps readers coming back to its pages."

     What do all these people have in common? Fame, of course, and undeniable talent. But most of all, they were cool. Birth of the Cool is a stunningly illustrated, brilliantly written cultural history of the American avant-garde in the 1940s and 1950s -- the decades in which cool was born. From intimate interviews with cool icons like poet Allen Ginsberg, bop saxophonist Jackie McLean, and Living Theatre cofounder Judith Malina, award-winning journalist and poet Lewis MacAdams extracts the essence of cool. Taking us inside the most influential and experimental art movements of the twentieth century -- from the Harlem jazz joints where Dizzy Gillespie and Charlie Parker invented bebop to the back room at Max's Kansas City when Andy Warhol was holding court to backstage at the Newport Folk Festival the night Bob Dylan went electric, from Surrealism to the Black Mountain School to Zen -- MacAdams traces the evolution of cool from the very fringes of society to the mainstream. Born of World War II, raised on atomic-age paranoia, cast out of the culture by the realities of racism and the insanity of the Cold War, cool is now, perversely, as conventional as you can get. Allen Ginsberg suited up for Gap ads. Volvo appropriated a phrase from Jack Kerouac's On the Road for its TV commercials. How one became the other is a terrific story, and it is presented here in a gorgeous package, rich with the coolest photographs of the black-and-white era from Robert Doisneau, Henri Cartier-Bresson, Man Ray, and many others. Drawing a direct line between Lester Young wearing his pork-pie hat and his crepe-sole shoes staring out his hotel window at Birdland to the author's three-year-old daughter saying "cool" while watching a Scooby-Doo cartoon at the cusp of a new millennium, Birth of the Cool is a cool book about a hot subject...maybe even the coolest book ever.

    A child prodigy as a pianist and a virtuoso conductor of symphonics and operas, Barenhoim has known and worked with many of the most distinguished and exciting musicians of the 20th century, including Rubinstein, Furtwangler, Zubin Meta, Pierre Boulez, Fisher-Diskau, Pablo Casals, and not least his wife, Jacqueline du Pre. Recent years have included his work at the annual Wagner festival Bayreuth; in Berlin at the rebirth of the State Opera House; taking over from George Solti's 22-year regin in Chicago; his summer festival in Weimar, Germany, where young Arabs and Israelis can play music together; and his worldwide travels. Barenboim has revised and updated his memoir, giving us trenchant thoughts on Israel today, the problems facing young musicians, and the changing world of music at the beginning of the 21st century.-One of the world's greatest musicians, Barenboim has a dedicated following who will be interested in reading about his life in his own words.-Barenboim was married to celebrated cellist Jacqueline du Pre, the subject of the controversial film Hilary and Jackie.-His championship of peaceful coexistence with Palestinians is highly controversial, as is his insistence on playing Wagner in Israel.

    Greg Carlisle, author of the landmark Wallace study Elegant Complexity, provides an introduction that sets the scene and speculates on the future of Wallace studies. Editor David Hering provides a provocative look at the triangular symbols in Infinite Jest. Adam Kelly explores the intriguing question of why Wallace is considered to be at the forefront of a new sincerity in American fiction. Thomas Tracey discusses trauma in Oblivion. Gregory Phipps examines Infinite Jest's John "No Relation" Wayne and the concept of the ideal athlete. Daniel Turnbull compares Wallace's Kenyon College commencement address to the ethics of Iris Murdoch. These 17 essays stem from the first ever academic conference devoted the work of David Foster Wallace. Held in Liverpool, England, in 2009, the conference sparked a worldwide discussion of the place of Wallace's work in academia and popular culture. Essential for all Wallace scholars, fans of Wallace's fiction and nonfiction will also find the collection full of insights that span Wallace's career. Yes, there are footnotes.

    But hip-hop deejays and producers have collectively developed an artistic system that features a complex aesthetic, a detailed array of social protocols, a rigorous set of ethical expectations and a rich historical consciousness. Based on ten years of research among hip-hop producers, Making Beats is the first work of scholarship to explore the goals, methods and values of this surprisingly insular community. Focusing on a variety of subjects--from hip-hop artists' pedagogical methods to the Afro-diasporic roots of the sampling process to the social significance of "digging" for rare records--Joseph G. Schloss examines the way hip-hop artists have managed to create a form of expression that reflects their creative aspirations, moral beliefs, political values and cultural realities.

    These lectures, Mr. Bernstein's most recent venture in musical explication, will make fascinating reading as well. Virgil Thomson says of the lectures: "Nobody anywhere presents this material so warmly, so sincerely, so skillfully. As musical mind-openers they are first class; as pedagogy they are matchless."Mr. Bernstein considers music ranging from Hindu ragas through Mozart and Ravel, to Copland, suggesting a worldwide, innate musical grammar. Folk music, pop songs, symphonies, modal, tonal, atonal, well-tempered and ill-tempered works all find a place in these discussions. Each, Mr. Bernstein suggests, has roots in a universal language central to all artistic creation. Using certain linguistic analogies, he explores the ways in which this language developed and can be understood as an aesthetic surface. Drawing on his insights as a master composer and conductor, Mr. Bernstein also explores what music means below the surface: the symbols and metaphors which exist in every musical piece, of whatever sort. And, finally, Mr. Bernstein analyzes twentieth century crises in the music of Schoenberg and Stravinsky, finding even here a transformation of all that has gone before, as part of the poetry of expression, through its roots in the earth of human experience.These talks, written and delivered when Leonard Bernstein was Charles Eliot Norton Professor of Poetry at Harvard University, are the newest of the author's literary achievements. In addition to a distinguished career as conductor, pianist, and composer, Mr. Bernstein is the recipient of many television Emmys for the scripts of his Young People's Concerts, Omnibus programs, and others, and is the author of The Infinite Variety of Music and The Joy of Music, for which he received the Christopher Award.