On the Lower East Side, two boys playing at a pier discover a floating human torso wrapped tightly in oilcloth. Blueberry pickers near Harlem stumble upon neatly severed limbs in an overgrown ditch. Clues to a horrifying crime are turning up all over New York, but the police are baffled: There are no witnesses, no motives, no suspects.The grisly finds that began on the afternoon of June 26, 1897, plunged detectives headlong into the era's most baffling murder mystery. Seized upon by battling media moguls Joseph Pulitzer and William Randolph Hearst, the case became a publicity circus. Reenactments of the murder were staged in Times Square, armed reporters lurked in the streets of Hell's Kitchen in pursuit of suspects, and an unlikely trio — a hard-luck cop, a cub reporter, and an eccentric professor — all raced to solve the crime.What emerged was a sensational love triangle and an even more sensational trial: an unprecedented capital case hinging on circumstantial evidence around a victim whom the police couldn't identify with certainty, and who the defense claimed wasn't even dead. The Murder of the Century is a rollicking tale — a rich evocation of America during the Gilded Age and a colorful re-creation of the tabloid wars that have dominated media to this day.

    If you always assumed the musicians you listened to were the same people you saw onstage, you are in for a big surprise!"--Dusty Street, host of Classic Vinyl on Sirius XM Satellite RadioIf you were a fan of popular music in the 1960s and early '70s, you were a fan of the Wrecking Crew--whether you knew it or not.On hit record after hit record by everyone from the Byrds, the Beach Boys, and the Monkees to the Grass Roots, the 5th Dimension, Sonny & Cher, and Simon & Garfunkel, this collection of West Coast studio musicians from diverse backgrounds established themselves in Los Angeles, California as the driving sound of pop music--sometimes over the objection of actual band members forced to make way for Wrecking Crew members. Industry insider Kent Hartman tells the dramatic, definitive story of the musicians who forged a reputation throughout the business as the secret weapons behind the top recording stars.Mining invaluable interviews, the author follows the careers of such session masters as drummer Hal Blaine and keyboardist Larry Knechtel, as well as trailblazing bassist Carol Kaye--the only female in the bunch--who went on to play in thousands of recording sessions in this rock history. Readers will discover the Wrecking Crew members who would forge careers in their own right, including Glen Campbell and Leon Russell, and learn of the relationship between the Crew and such legends as Phil Spector and Jimmy Webb. Hartman also takes us inside the studio for the legendary sessions that gave us Pet Sounds, Bridge Over Troubled Water, and the rock classic "Layla," which Wrecking Crew drummer Jim Gordon cowrote with Eric Clapton for Derek and the Dominos. And the author recounts priceless scenes such as Mike Nesmith of the Monkees facing off with studio head Don Kirshner, Grass Roots lead guitarist (and future star of The Office) Creed Bratton getting fired from the group, and Michel Rubini unseating Frank Sinatra's pianist for the session in which the iconic singer improvised the hit-making ending to "Strangers in the Night."The Wrecking Crew tells the collective, behind-the-scenes stories of the artists who dominated Top 40 radio during the most exciting time in American popular culture.

    Her column, Rock, Etc., ran for seven years and established Willis as a leader in cultural commentary and a pioneer in the nascent and otherwise male-dominated field of rock criticism. As a writer for a magazine with a circulation of nearly half a million, Willis was also the country’s most widely read rock critic. With a voice at once sharp, thoughtful, and ecstatic, she covered a wide range of artists—Bob Dylan, The Who, Van Morrison, Elvis Presley, David Bowie, the Rolling Stones, Creedence Clearwater Revival, Joni Mitchell, the Velvet Underground, Sam and Dave, Bruce Springsteen, and Stevie Wonder—assessing their albums and performances not only on their originality, musicianship, and cultural impact but also in terms of how they made her feel.Because Willis stopped writing about music in the early 1980s—when, she felt, rock ’n’ roll had lost its political edge—her significant contribution to the history and reception of rock music has been overshadowed by contemporary music critics like Robert Christgau, Lester Bangs, and Dave Marsh. Out of the Vinyl Deeps collects for the first time Willis’s Rock, Etc. columns and her other writings about popular music from this period (includingliner notes for works by Lou Reed and Janis Joplin) and reasserts her rightful place in rock music criticism.More than simply setting the record straight, Out of the Vinyl Deeps reintroduces Willis’s singular approach and style—her use of music to comment on broader social and political issues, critical acuity, vivid prose, against-the-grain opinions, and distinctly female (and feminist) perspective—to a new generation of readers. Featuring essays by the New Yorker’s current popular music critic, Sasha Frere-Jones, and cultural critics Daphne Carr and Evie Nagy, this volume also provides a lively and still relevant account of rock music during, arguably, its most innovative period.

    As it originated in Manhattan’s Lower East Side in the early 1970s, punk rock was the apotheosis of a Jewish cultural tradition that found its ultimate expression in the generation born after the Holocaust. Beginning with Lenny Bruce, “the patron saint of punk,” and following pre-punk progenitors such as Lou Reed, Jonathan Richman, Suicide, and the Dictators, this fascinating mixture of biography, cultural studies, and musical analysis delves into the lives of these and other Jewish punks—including Richard Hell and Joey Ramone—to create a fascinating historical overview of the scene. Reflecting the irony, romanticism, and, above all, the humor of the Jewish experience, this tale of changing Jewish identity in America reveals the conscious and unconscious forces that drove New York Jewish rockers to reinvent themselves—and popular music.

    Million Dollar Bash tells for the first time the whole story of the Basement Tapes, recorded in summer 1967 when Bob Dylan's career was at a crossroads. Recovering from a mysterious motorcycle crash, he gathered together a few musician friends in Woodstock, New York, and informally recorded a bunch of songs intended to be heard by no one but themselves. Instead, they changed music forever. In this new book, musician and author Sid Griffin examines the recordings in detail, demonstrating on every page a musician's insight into the Basement Tapes, the men who recorded them, and the times in which they were made. Every Dylan fan needs this book.

    Female class relations, ``ladies'' and working women, were symbiotic. The laborers had their sexual and social demeanor regulated by their middle-class sisters, who had the leisure to act as ``self-appointed exemplars of virtue.'' The women of the working class come to life in Stansell's identification of their lot. Adrift from family ties, they entered the labor force, many resorting to prostitution and crime, which provoked the philanthropy of genteel bourgeois women, social reformers and the rise of the settlement house movement. The neighborhoods of the poor, the tenements and bawdy houses of 19th century New York are portrayed as important elements in women's history. Stansell teaches at Princeton University.

    The Devil’s Playground is classic and colorful American history, from the first years of the twentieth century through the Runyonesque heyday of nightclubs and theaters in the 1920s and ’30s, to the district’s decline in the 1960s and its glittering corporate revival in the 1990s.First, Traub gives us the great impresarios, wits, tunesmiths, newspaper columnists, and nocturnal creatures who shaped Times Square over the century since the place first got its name: Oscar Hammerstein, Florenz Ziegfeld, George S. Kaufman, Damon Runyon, Walter Winchell, and “the Queen of the Nightclubs,” Texas Guinan; bards like A. J. Liebling, Joe Mitchell, and the Beats, who celebrated the drug dealers and pimps of 42nd Street. He describes Times Square’s notorious collapse into pathology and the fierce debates over how best to restore it to life.Traub then goes on to scrutinize today’s Times Square as no author has yet done. He writes about the new 42nd Street, the giant Toys “R” Us store with its flashing Ferris wheel, the new world of corporate theater, and the sex shops trying to leave their history behind.More than sixty years ago, Liebling called Times Square “the heart of the world”—not just the center of the world, though this crossroads in Midtown Manhattan was indeed that, but its heart. From the dawn of the twentieth century through the 1950s, Times Square was the whirling dynamo of American popular culture and, increasingly, an urban sanctuary for the eccentric and the untamed. The name itself became emblematic of the tremendous life force of cities everywhere.Today, Times Square is once again an awe-inspiring place, but the dark and strange corners have been filled with blazing light. The most famous street character on Broadway, “the Naked Cowboy,” has his own website, and Toys “R” Us calls its flagship store in Times Square “the toy center of the universe.” For the giant entertainment corporations that have moved to this safe, clean, and self-consciously gaudy spot, Times Square is still very much the center of the world. But is it still the heart?

    Today's new music-makers are looking back at the bands that broke the ground, and the Ramones are it: the original high priests of punk, the stars of rock 'n roll high school, the royal avatars of rock, raunch, and rebellion. 60 photographs and illustrations.

    Diehl—lifetime resident of the Big Apple and author of The Late, Great Pennsylvania Station and Subways—relates the true story of New York City during World War II. From the Brooklyn Naval Yard to Times Square nightclubs, from children’s Mickey Mouse gas-masks to victory gardens in Rockefeller Center, Over Here! is a nostalgic portrait of the Greatest Generation and the Empire City. Including anecdotes from famous New Yorkers and visitors such as Angela Lansbury, Walter Cronkite, and Barbara Walters, and richly illustrated with more than 80 period photographs, Over Here! is an inspiring tribute to New York City during the Great War.

    The 1975 album Blood on the Tracks seemed to prove, finally, that an uncertain age had found its poet. Then Dylan faltered. His instincts, formerly unerring, deserted him. in the 1980s, what had once appeared unthinkable came to pass: the “voice of a generation” began to sound irrelevant, a tale told to grandchildren.Yet in the autumn of 1997, something remarkable happened. Having failed to release a single new song in seven long years, Dylan put out the equivalent of two albums in a single package. In the concluding volume of his ground- breaking study, Ian Bell explores the unparalleled second act in a quintessentially american career. It is a tale of redemption, of an act of creative will against the odds, and of a writer who refused to fade away.Time Out of Mind is the story of the latest, perhaps the last, of the many Bob Dylans.

    With a voice like Ace Frehley's guitar, Klosterman hacks his way through hair-band history, beginning with that fateful day in 1983 when his older brother brought home Mötley Crüe's Shout at the Devil. The fifth-grade Chuck wasn't quite ready to rock -- his hair was too short and his farm was too quiet -- but he still found a way to bang his nappy little head. Before the journey was over, he would slow-dance to Poison, sleep innocently beneath satanic pentagrams, lust for Lita Ford, and get ridiculously intellectual about Guns N' Roses. C'mon and feel his noize.

    His journals reveal an artist who loved music, who knew the history of rock, and who was determined to define his place in that history. Here is a mesmerizing, incomparable portrait of the most influential musician of his time.

    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.

    In between, this vast, sprawling carnival of a book takes in Coney Island and the Lower East Side, midgets and gangsters, Bowery bars and opium dens, even Sigmund Freud and Carl Jung. It is, in short, a novel as big, lively, and ambitious as Gotham itself, and if you can stomach some of the more garish local color, it's every bit as much fun. Set at the turn of the century, in a New York as polyglot as any city on earth, Dreamland opens with an act of misplaced--and very stupid--compassion. Eastern European immigrant Kid Twist intervenes when villainous gangster Gyp the Blood is on the verge of murdering a young newsboy for sport. But surprise: that's no street urchin--that's Trick the Dwarf, self-proclaimed Mayor of Little City and a Coney Island tout, who dresses up as a boy, he says, as "a way I had of leaving myself behind." Trick hides Kid Twist in the hind parts of the Tin Elephant Hotel; Kid Twist meets Esther Abramowitz, impoverished seamstress and labor agitator, then falls in love; Trick woos Mad Carlotta, a three-foot beauty who thinks she's the Empress of Mexico; and Freud and Jung sail for America, where they squabble about psychoanalysis. There are also a few subplots involving police corruption, Tammany Hall, and the Triangle Shirtwaist Fire--but who's counting? Suffice to say that it all really does come together in the end, and you won't be bored for one step of the way. Baker served as chief historical researcher for Harold Evans's The American Century, and it's clear that he put his time there to good use; Dreamland is full of vivid historical detail, from Lower East Side slang to the lyrics of popular songs. If this is middlebrow entertainment, it's middlebrow in the same way as Dickens: extravagantly plotted, elegantly written, and compassionate to the core. --Mary Park

    97 Orchard: An Edible History of Five Immigrant Families in One New York Tenement