He was an icon of rugged individualism who had been to hell and back, telling the tale as never before. In his unforgettable autobiography, Johnny Cash tells the truth about the highs and lows, the struggles and hard-won triumphs, and the people who shaped him.In his own words, Cash set the record straight -- and dispelled a few myths -- as he looked unsparingly at his remarkable life: from the joys of his boyhood in Dyess, Arkansas to superstardom in Nashville, Tennessee, the road of Cash's life has been anything but smooth. Cash writes of the thrill of playing with Elvis, the comfort of praying with Billy Graham; of his battles with addiction and of the devotion of his wife, June; of his gratitude for life, and of his thoughts on what the afterlife may bring. Here, too, are the friends of a lifetime, including Willie Nelson, Roy Orbison, Bob Dylan, and Kris Kristofferson. As powerful and memorable as one of his classic songs, Cash is filled with the candor, wit, and wisdom of a man who truly "walked the line."

    In this riveting account, he tells of his journey from a prison cell to Mecca, describing his transition from hoodlum to Muslim minister. Here, the man who called himself "the angriest Black man in America" relates how his conversion to true Islam helped him confront his rage and recognize the brotherhood of all mankind. An established classic of modern America, "The Autobiography of Malcolm X" was hailed by the New York Times as "Extraordinary. A brilliant, painful, important book." Still extraordinary, still important, this electrifying story has transformed Malcom X's life into his legacy. The strength of his words, the power of his ideas continue to resonate more than a generation after they first appeared.

    While vinyl records have enjoyed a renaissance in recent years, good 78s are exponentially harder to come by and play. A recent eBay auction for the only known copy of a particular record topped out at $37,100. Do Not Sell at Any Price explores the rarified world of the 78rpm record—from the format’s heyday to its near extinction—and how collectors and archivists are working frantically to preserve the music before it’s lost forever.Through fascinating historical research and beguiling visits with the most prominent 78 preservers, Amanda Petrusich offers both a singular glimpse of the world of 78 collecting and the lost backwoods blues artists whose 78s from the 1920s and 1930s have yet to be found or heard by modern ears. We follow the author’s descent into the oddball fraternity of collectors—including adventures with Joe Bussard, Chris King, John Tefteller, Pete Whelan, and more—who create and follow their own rules, vocabulary, and economics and explore the elemental genres of blues, folk, jazz, and gospel that gave seed to the rock, pop, country, and hip-hop we hear today. From Thomas Edison to Jack White, Do Not Sell at Any Price is an untold, intriguing story of preservation, loss, obsession, art, and the evolution of the recording formats that have changed the ways we listen to (and create) music.

    Everyone's wearing black. And on-stage a tenor is blowing his heart out, a searching, jagged saxophone journey played out against a moody, walking bass and the swish of a drummer's brushes. To a great many listeners--from African American aficionados of the period to a whole new group of fans today--this is the very embodiment of jazz. It is also quintessential hard bop. In this, the first thorough study of the subject, jazz expert and enthusiast David H. Rosenthal vividly examines the roots, traditions, explorations and permutations, personalities and recordings of a climactic period in jazz history. Beginning with hard bop's origins as an amalgam of bebop and R&B, Rosenthal narrates the growth of a movement that embraced the heavy beat and bluesy phrasing of such popular artists as Horace Silver and Cannonball Adderley; the stark, astringent, tormented music of saxophonists Jackie McLean and Tina Brooks; the gentler, more lyrical contributions of trumpeter Art Farmer, pianists Hank Jones and Tommy Flanagan, composers Benny Golson and Gigi Gryce; and such consciously experimental and truly one-of-a-kind players and composers as Andrew Hill, Sonny Rollins, John Coltrane, Thelonious Monk, and Charles Mingus. Hard bop welcomed all influences--whether Gospel, the blues, Latin rhythms, or Debussy and Ravel--into its astonishingly creative, hard-swinging orbit. Although its emphasis on expression and downright badness over technical virtuosity was unappreciated by critics, hard bop was the music of black neighborhoods and the last jazz movement to attract the most talented young black musicians. Fortunately, records were there to catch it all. The years between 1955 and 1965 are unrivaled in jazz history for the number of milestones on vinyl. Miles Davis's Kind of Blue, Charles Mingus's Mingus Ah Um, Thelonious Monk's Brilliant Corners, Horace Silver's Further Explorations--Rosenthal gives a perceptive cut-by-cut analysis of these and other jazz masterpieces, supplying an essential discography as well. For knowledgeable jazz-lovers and novices alike, Hard Bop is a lively, multi-dimensional, much-needed examination of the artists, the milieus, and above all the sounds of one of America's great musical epochs.

    You want to know what it takes to rise above your circumstances when all the cards are stacked against you? Ask me.Comedian Patricia Williams, who for years went by her street-name "Rabbit," was born and raised in Atlanta’s most troubled neighborhood at the height of the crack epidemic. One of five children, Pat watched as her alcoholic mother struggled to get by on charity, cons and petty crimes. At seven Pat was taught to roll drunks for money. At 12, she was targeted for sex by a man eight years her senior; by 13 she was pregnant. By 15 Pat was a mother of two. Alone at 16, Pat was determined to make a better life for her children. But with no job skills and an eighth-grade education, her options were limited. She learned quickly that hustling and humor were the only tools she had to survive. Rabbit is an unflinching memoir of cinematic scope and unexpected humor that offers a rare glimpse into the harrowing reality of life on America’s margins, resilience, determination, and the transformative power of love.

    Broom's mother Ivory Mae bought a shotgun house in the then-promising neighborhood of New Orleans East and built her world inside of it. It was the height of the Space Race and the neighborhood was home to a major NASA plant--the postwar optimism seemed assured. Widowed, Ivory Mae remarried Sarah's father Simon Broom; their combined family would eventually number twelve children. But after Simon died, six months after Sarah's birth, the Yellow House would become Ivory Mae's thirteenth and most unruly child.A book of great ambition, Sarah M. Broom's The Yellow House tells a hundred years of her family and their relationship to home in a neglected area of one of America's most mythologized cities. This is the story of a mother's struggle against a house's entropy, and that of a prodigal daughter who left home only to reckon with the pull that home exerts, even after the Yellow House was wiped off the map after Hurricane Katrina. The Yellow House expands the map of New Orleans to include the stories of its lesser known natives, guided deftly by one of its native daughters, to demonstrate how enduring drives of clan, pride, and familial love resist and defy erasure. Located in the gap between the "Big Easy" of tourist guides and the New Orleans in which Broom was raised, The Yellow House is a brilliant memoir of place, class, race, the seeping rot of inequality, and the internalized shame that often follows. It is a transformative, deeply moving story from an unparalleled new voice of startling clarity, authority, and power.

    Cohen is also a man of complexities and seeming contradictions: a devout Jew, who is also a sophisticate and a ladies' man, as well as an ordained Buddhist monk whose name, Jikan—"ordinary silence"—is quite the appellation for a writer and singer whose life has been anything but ordinary.I'm Your Man is the definitive account of that extraordinary life. Starting in Montreal, Cohen's birthplace, acclaimed music journalist Sylvie Simmons follows his trail, via London and the Greek island of Hydra, to New York in the sixties, where Cohen launched his career in music. From there she traces the arc of his prodigious achievements to his remarkable retreat in the mid-nineties and his reemergence for a sold-out world tour almost fifteen years later. Whether navigating Cohen's journeys through the backstreets of Mumbai or his countless hotel rooms along the way, Simmons explores with equal focus every complex, contradictory strand of Cohen's life and presents a deeply insightful portrait of the vision, spirit, depth, and talent of an artist and a man who continues to move people like no one else.

    Grieving and still new to adulthood, she confronted the twin pulls of life and death in the aftermath of unimaginable trauma and now explores the way this experience lastingly shaped the artist she became.Pulitzer Prize–winning poet Natasha Trethewey explores this profound experience of pain, loss, and grief as an entry point into understanding the tragic course of her mother’s life and the way her own life has been shaped by a legacy of fierce love and resilience. Moving through her mother’s history in the deeply segregated South and through her own girlhood as a “child of miscegenation” in Mississippi, Trethewey plumbs her sense of dislocation and displacement in the lead-up to the harrowing crime that took place on Memorial Drive in Atlanta in 1985.

    In this intimate account of a very public life, she tells of her first (non-consensual) sexual experience, her romance with the Yankee Clipper, and her prescient vision of herself as "the kind of girl they found dead in the hall bedroom with an empty bottle of sleeping pills in her hand." The Marilyn in these pages is a revelation: a gifted, intelligent, vulnerable woman who was far more complex than the unwitting sex siren she portrayed on screen. Lavishly illustrated with photos of Marilyn, this special book celebrates the life and career of an American icon—-from the unique perspective of the icon herself.

    She moved from New York to San Francisco, where she landed at a big-data startup in the heart of the Silicon Valley bubble: a world of surreal extravagance, dubious success, and fresh-faced entrepreneurs hell-bent on domination, glory, and, of course, progress.Anna arrived amidst a massive cultural shift, as the tech industry rapidly transformed into a locus of wealth and power rivaling Wall Street. But amid the company ski vacations and in-office speakeasies, boyish camaraderie and ride-or-die corporate fealty, a new Silicon Valley began to emerge: one in far over its head, one that enriched itself at the expense of the idyllic future it claimed to be building.Part coming-age-story, part portrait of an already-bygone era, Anna Wiener’s memoir is a rare first-person glimpse into high-flying, reckless startup culture at a time of unchecked ambition, unregulated surveillance, wild fortune, and accelerating political power. With wit, candor, and heart, Anna deftly charts the tech industry’s shift from self-appointed world savior to democracy-endangering liability, alongside a personal narrative of aspiration, ambivalence, and disillusionment.Unsparing and incisive, Uncanny Valley is a cautionary tale, and a revelatory interrogation of a world reckoning with consequences its unwitting designers are only beginning to understand.

    Pivotal are the questions surrounding why Johnson was ignored by the core black audience of his time yet now celebrated as the greatest figure in blues history.Trying to separate myth from reality, biographer Elijah Wald studies the blues from the inside -- not only examining recordings but also the recollections of the musicians themselves, the African-American press, as well as examining original research. What emerges is a new appreciation for the blues and the movement of its artists from the shadows of the 1930s Mississippi Delta to the mainstream venues frequented by today's loyal blues fans.

    But he needed to create a new sound, a music that had nothing to do with anyone except himself. The path he chose was difficult and risky. Nevertheless, he persisted. His work now stands with the greatest music of all time, and continues to inspire devotion, adoration, and joy nearly 50 years after his death.           Coltrane was also one of the few musicians whose life, thoughts, and words are as inspiring as his music. This book collects, for the first time, those words.            Coltrane was a gracious interviewee. His responses were thoughtful and measured; he rarely said anything negative about others (though he could be highly self-critical). Interviewers noted how different Coltrane seemed from his music--this quiet man whose music was so volcanic.            Coltrane on Coltrane includes every known Coltrane interview, many in new transcriptions, and several previously unpublished; articles, reminiscences, and liner notes that rely on interviews; and some of Coltrane’s personal writings and correspondence.            John Coltrane never wrote an autobiography. This book is as close to one as possible.

    The one-act play invites listeners into Sharon's unorthodox childhood, growing up in an apartment on the top floor of the St. Agnes Branch of the New York Public Library, where her father served as the building's custodian. A love of literature and boundless imagination helped the playwright as a young woman persevere over dragons of all forms.Directed by Maria Mileaf, Feeding the Dragon premiered at City Theatre in Pittsburgh and was subsequently produced by Hartford Stage and Primary Stages.©2018 Sharon Washington (P)2018 AO Media, LLC.

    One went on to be a Rhodes Scholar, decorated combat veteran, White House Fellow, and business leader. The other is serving a life sentence in prison. Here is the story of two boys and the journey of a generation. In December 2000, the Baltimore Sun ran a small piece about Wes Moore, a local student who had just received a Rhodes Scholarship. The same paper also ran a series of articles about four young men who had allegedly killed a police officer in a spectacularly botched armed robbery. The police were still hunting for two of the suspects who had gone on the lam, a pair of brothers. One was named Wes Moore.  Wes just couldn’t shake off the unsettling coincidence, or the inkling that the two shared much more than space in the same newspaper. After following the story of the robbery, the manhunt, and the trial to its conclusion, he wrote a letter to the other Wes, now a convicted murderer serving a life sentence without the possibility of parole. His letter tentatively asked the questions that had been haunting him: Who are you? How did this happen?That letter led to a correspondence and relationship that have lasted for several years. Over dozens of letters and prison visits, Wes discovered that the other Wes had had a life not unlike his own: Both had grown up in similar neighborhoods and had had difficult childhoods, both were fatherless; they’d hung out on similar corners with similar crews, and both had run into trouble with the police. At each stage of their young lives they had come across similar moments of decision, yet their choices would lead them to astonishingly different destinies.Told in alternating dramatic narratives that take readers from heart-wrenching losses to moments of surprising redemption, The Other Wes Moore tells the story of a generation of boys trying to find their way in a hostile world.

    In this riveting and timely memoir, the groundbreaking journalist unpacks lessons on race, identity, and success through her own journey, from navigating her way as the unstoppable child of an unlikely interracial marriage in small-town California to finding herself on the frontlines of a modern movement for the next generation of change makers. Welteroth moves beyond the headlines and highlight reels to share the profound lessons and struggles of being a barrier-breaker across so many intersections. As a young boss and often the only Black woman in the room, she’s had enough of the world telling her—and all women—they’re not enough. As she learns to rely on herself by looking both inward and upward, we’re ultimately reminded that we’re more than enough.