Matthew Bannister said he was going to reinvent the station, the most popular in Europe. But things didn't go exactly to plan. The station lost millions of listeners. Its most famous DJs left, and their replacements proved to be disasters. Radio 1's commercial rivals regarded the internal turmoil with glee. For a while a saviour arrived, in the shape of Chris Evans. But his behaviour caused further upheavals, and his eventual departure provoked another mass desertion by listeners. What was to be done? In the middle of this crisis, Radio 1 bravely (or foolishly) allowed the writer Simon Garfield to observe its workings from the inside. For a year he was allowed unprecedented access to management meetings and to DJs in their studios, to research briefings and playlist conferences. Everyone interviewed spoke in passionate detail about their struggle to make their station credible and successful once more. The result is a gripping and often hilarious portrait a much loved national institution as it battles back from the brink of calamity.

    On an unsettled and unwelcoming prairie landscape, the Borlands build a house, plant crops, and eke out a meager existence. While life is difficult—and self-reliance is necessary with no neighbors for miles—the experience brings the family close and binds them closer to the terrible and beautiful natural patterns that govern their lives. Borland would grow up to study journalism and become an acclaimed nature writer, and it was these childhood years on the prairie that shaped the author’s heart and mind.

    Very few people suspected, and even fewer actually knew, that the Duchess cuckolded him—and almost gave him up—for a gay playboy twenty years her junior.Blond and slender, Jimmy Donahue was the archetypal post-war playboy. He could fly a plane, speak several languages, play the piano, and tell marvelous jokes. People loved him for his wit, charm and personality. The grandson of millionaire Frank W. Woolworth, Jimmy knew he would never need to work. Instead, he set about carving for himself a career of mischief. Some said evil. Gay at a time when the homosexual act was still illegal, Jimmy was notorious within America’s upper class, and loved to shock. Though press agents arranged for him to be seen with female escorts, his pursuits, until he met the Duchess of Windsor, were exclusively homosexual. He was thirty-five when he was befriended by the Duke and Duchess of Windsor in 1950. The Duchess was fifty-four, and despite the difference in age, there was an instant attraction. A burgeoning sexual relationship – a perverse sort of love – was formed between Jimmy and the Duchess. Together with the Duke, they became an inseparable trio, the closest of friends. As Jimmy had planned, the royal couple became obsessed with him.With information from surviving contemporaries, Dancing with the Devil is the extraordinary tale of three remarkable people and their unique and twisted relationship.

    However, if you look too closely at space, it becomes nothing but lumps of rock and sundry gases. Sometimes it's necessary to take a step back, and let a few billion years go by, before any of the true wonder and scope of the cosmos becomes apparent.Similarly, the late 20th century author, humorist and thinker Douglas Adams was big - vastly, hugely and thoroughly mind-bogglingly so, both in physical terms, and as a writer who has touched millions of readers, firing up millions of cerebellums all over planet Earth, for over 35 years - and for nearly half of that time, he hasn't even been alive.It would be ridiculous to pretend that Douglas Adams's life and work has gone unexamined since his dismayingly early death at 49 but throughout the decade since the last book to tackle the subject, the universes Adams created have continued to develop, to beguile and expand minds, and will undoubtedly do so for generations to come.An all-new approach to the most celebrated creation of Douglas Adams is therefore most welcome, and The Frood tells the story of Adams's explosive but agonizingly constructed fictional universe, from his initial inspirations to the posthumous sequel(s) and adaptations, bringing together a thousand tales of life as part of the British Comedy movements of the late 70s and 80s along the way. With the benefit of hindsight and much time passed, friends and colleagues have been interviewed for a fresh take on the man and his works.

    On the afternoon of Sunday, the first of February 2015, Cadel Evans crossed the finish line in the first-ever race of the event that would immortalise his name: the Cadel Evans Great Ocean Road Race. At that moment, an extraordinary cycling career, spanning 20 years and more than 750 professional races, came to a close. Now, looking back on his journey, Cadel Evans tells his story of the races and moments that mattered, taking you with him as he places in the top ten in six Tours de France and becomes Australia's first and only Tour de France champion; as he wins the Mountain Bike World Cup twice and Australia's first and only UCI Road World Championship; as he claims the points jersey in the Giro d'Italia; and as he wins a succession of other great races, including the Tour of Austria (twice), Tour de Romandie (twice), Settimana Internazionale Coppi e Bartali, Tirreno-Adriatico, Flèche Wallonne, Criterium International and Giro del Trentino. Ranging from the dirt tracks of his early 1990s mountain-biking days to the Tour de France's famous podium in 2011 and beyond, The Art of Cycling is a tale of potential realised and ambition fulfilled. It's also the inspiring story of a young boy from the Australian bush, whose focus, talent and dedication conquered the elite world of international cycling in an era when few Australians competed, let alone won. Famous in the sport for his meticulous preparation and as an athlete who pridedhimself on his ability to give his all, Evans writes with forensic detail about the triumphs, the frustrations, the training, the preparation, the psychology of the sport, his contemporaries, the legends, the controversies and, above all, his enduring love of cycling.

    His essays and commentaries, such as the recent “Shivers Down the Spine,” “A Time for Anger,” and “Journalism Under Fire,” are argued over and passed along as soon as they appear in print or on the Internet. Identifying what he sees as a political system increasingly at the mercy of a corporate ruling class, Moyers urges a reengagement with the spirit of community that makes the work of democracy possible. Not only a trenchant critique of what is wrong, Moyers on America is also a call to arms for the progressive promise of the people of America, in whom his faith is strong.

    ​     He was also a kid who did the same kind of harebrained things most teenagers do.​  Only steps away from the Oval Office, he fought with a foreign head of state for space in a restroom. ​​ He devised a shortcut that tripped countless alarms and summoned an agitated band of Secret Service agents. He spilled ice ​water on Frank Sinatra's sock.    And that was just the small stuff. ​A funny, fast-paced memoir, Downstairs at the White House is richly decorated with presidents, first ladies, celebrities . . . and events that shook America.   ​

    

    Originally published in 1983, Curse features all of the zany, hallucinogenic wordplay and feral artwork for which the Hunter S. Thompson/Ralph Steadman duo became known and loved. This curious book, considered an oddity among Hunter's oeuvre, was long out of print, prompting collectors to search high and low for an original copy. TASCHEN's signed, limited edition sold out before the book even hit the stores, but this unlimited version, in a different, smaller format, makes The Curse of Lono accessible to everyone.

    1 of Red Sox Nation, those seven words meant "No more ‘1918’ chants. No more smug glances from Yankee fans. No more worrying about living an entire life -- that’s eighty years, followed by death -- without seeing the Red Sox win a Series." But once he was able -- finally -- to type those life-changing words, Bill Simmons decided to look back at his "Sports Guy" columns for the last five years to find out how the miracle came to pass. And that’s where the trouble began. The result is Now I Can Die in Peace, a hilarious and fresh new look at some of the best sportswriting in America, with sharp, critical commentary (and fresh insights) from the guy who wrote it in the first place.

     Hickman’s memoir chronicles his life as a significant member of the church and his position as Brigham Young’s underling. Hickman does not shy away from sharing the plethora of crimes he committed but he controversially claims that they were ordered by Young. J. H. Beadle, the editor of this account, examines the history of the Mormon church and the reasons behind the church’s lack of action over Hickman’s brutal crimes. He also questions how Hickman remained in positions of power despite knowledge of his murderous ways being publicly known. Hickman’s account sheds light on these issues as well as providing a unique insight into the mind of an infamous murderer and is an important addition to the history of the nineteenth century Mormon church. William Adams "Wild Bill" Hickman was an American frontiersman. He also served as a representative to the Utah Territorial Legislature. Hickman was baptized into Church of Jesus Christ of Latter Day Saints in 1839 by John D. Lee. He later served as a personal bodyguard for Joseph Smith, Jr. and Brigham Young. Hickman was reputedly a member of the Danites. He died in Wyoming in 1883.

    Mary Tyler Moore made her name as Dick Van Dyke’s wife on the eponymous show, a cute, unassuming housewife that audiences loved. But when her writer/producers James Brooks and Allan Burnes dreamed up an edgy show about a divorced woman with a career, network executives replied: Americans won’t watch television about New York City, divorcees, men with mustaches, or Jews. But Moore and her team were committed, and when the show finally aired, in spite of tepid reviews, fans loved it.Jennifer Armstrong introduces readers to the show’s creators; its principled producer, Grant Tinker; and the writers and actors who attracted millions of viewers. As the first situation comedy to employ numerous women as writers and producers, The Mary Tyler Moore Show became a guiding light for women in the 1970s. The show also became the centerpiece of one of greatest evenings of comedy in television history, and Jennifer Armstrong describes how the television industry evolved during these golden years.

    He first came to international prominence in 1979, when he was recruited from the cult metal band Quiet Riot to play with Ozzy Osbourne, who had been fired from Black Sabbath for his drink and drug addictions and was in urgent need of a co-writer to kickstart a solo career. How and why Ozzy and Randy went on to find enormous success is one of the key themes of Crazy Train, named after the first and most famous Osbourne/Rhoads co-composition. It was Randy's pioneering combination of neo-classical soloing, catchy riffage and unforgettable songwriting which propelled Ozzy. The two albums that Randy recorded with Quiet Riot and the two with Ozzy showcase the young guitarist's immense ability, although the full extent of his talent may never have been revealed. In 1982 he died in an air crash. The parallels between Crazy Train and the author's best-selling To Live Is To Die: The Life And Death Of Metallica's Cliff Burton (Jawbone 2009) are intentional and obvious. Both books deal with a musical prodigy who died tragically in his mid-20s; both men have a vast following and a profile which has risen in the years since their deaths; and both men have a large coterie of friends, family and associates prepared to tell their stories for the very first time.

    As Dorothy in The Wizard of Oz Judy Garland had charmed the world, singing and dancing down a golden path to fame; now she was middle-aged and wracked with personal problems, habitually late for rehearsals, often not showing up at all. When she made what proved to be her final appearance on Stage 43 in Television City (dressed, rather ironically, as a clown), one stagehand, assessing her thin and haggard figure, sighed no more yellow-brick road. In The Other Side of the Rainbow--now reissued with a new preface--Mel Torme takes us on a Hollywood roller-coaster ride through the triumphs and disasters of this short-lived show, at the same time revealing a personal side of Judy Garland rarely glimpsed. While she was notoriously hard to work with, and her affection for the Blue Lady (Blue Nun leibfraumilch), vodka, and pills was well-known even at this time, Torme shows that Judy was still capable of breathtaking performances, that she could still earn the sobriquet High Priestess of the entertainment world. Torme signed on to The Judy Garland Show as its musical director, writing special tunes, putting together medleys, at times even coaching Judy from an off-camera position. He was there from the start, survived an almost total purge of show staff, and left just before the final telecast. Consequently, we see it all from center stage: Mickey Rooney saving a virtually unrehearsed early show from failure, Lena Horne storming over Judy's lack of professionalism, Cary Grant refusing to do his oft-imitated JU-dy, JU-dy, JU-dy (insisting he had never said it), daughter Liza Minelli singing a duet with her beaming mother, and Judy herself, alone on the set, belting out a powerfully moving rendition of The Battle Hymn of the Republic only weeks after the assassination of JFK. (Her desire to do a special program dedicated to Kennedy's memory was nixed by CBS: this was her unexpected and defiant response.) Behind the scenes we witness Judy at her best (Torme remembers of feeling chills of delight as Garland sang Mama's Gone, Goodbye during their first session together), her funniest (telling dirty stories to the production crew), and her worst, drunk and hysterical, waking her colleagues with early morning telephone calls. Known as The Dawn Patrol, Torme and others would leave their beds and rush to Garland's Brentwood home to offer whatever assistance they could. Brimming with anecdotes, illustrated with rare photographs of Judy on the television stage, and informed by the insights of a fellow performer who saw it all, The Other Side of the Rainbow offers a rare and compassionate look at one of America's most beloved and misunderstood entertainment icons.

    They died only a few miles apart and yet there cannot be a bigger contrast between their legacies. Edward had been born into poverty in west London on the eve of the twentieth century, had a job washing railway carriages, was conscripted into the army at the age of eighteen and sent to the Western Front from where he would never return.He lies buried miles from home in a small military cemetery on the outskirts of an obscure town close to the French border in western Belgium. No-one has ever visited him.Like thousands of other young boys, Edward’s life and death were forgotten.By delving into and uncovering letters, poems and war diaries to reconstruct his great uncle’s brief life and needless death; Charlie fills in the blanks of Edward’s life with the experiences of similar young men giving a voice to the voiceless. Edward Connelly’s tragic story comes to represent all the young men who went off to the Great War and never came home.This is a book about the unsung heroes, the ordinary men who did their duty with utmost courage, and who deserve to be remembered.