At the same time, the uplifting harmonies and sunny lyrics that propelled Karen Carpenter and her brother, Richard, to international fame belied a different sort of tragedy--the underconsumption that led to Karen's death at age thirty-two from the effects of an eating disorder.In Why Karen Carpenter Matters, Karen Tongson (whose Filipino musician parents named her after the pop icon) interweaves the story of the singer's rise to fame with her own trans-Pacific journey between the Philippines--where imitations of American pop styles flourished--and Karen Carpenter's home ground of Southern California. Tongson reveals why the Carpenters' chart-topping, seemingly whitewashed musical fantasies of "normal love" can now have profound significance for her--as well as for other people of color, LGBT+ communities, and anyone outside the mainstream culture usually associated with Karen Carpenter's legacy. This hybrid of memoir and biography excavates the destructive perfectionism at the root of the Carpenters' sound, while finding the beauty in the singer's all too brief life.

    Iggy Pop, Danny Fields, Dee Dee and Joey Ramone, Malcom McLaren, Jim Carroll, and scores of other famous and infamous punk figures lend their voices to this definitive account of that outrageous, explosive era. From its origins in the twilight years of Andy Warhol's New York reign to its last gasps as eighties corporate rock, the phenomenon known as punk is scrutinized, eulogized, and idealized by the people who were there and who made it happen.

    In a post-civil rights era defined by deindustrialization and globalization, hip-hop crystallized a multiracial, polycultural generation's worldview, and transformed American politics and culture. But that epic story has never been told with this kind of breadth, insight, and style.Based on original interviews with DJs, b-boys, rappers, graffiti writers, activists, and gang members, with unforgettable portraits of many of hip-hop's forebears, founders, and mavericks, including DJ Kool Herc, Afrika Bambaataa, Chuck D, and Ice Cube, Can't Stop Won't Stop chronicles the events, the ideas, the music, and the art that marked the hip-hop generation's rise from the ashes of the 60's into the new millennium.

    Unfettered by logic or time, she draws us into her private wonderland with no design, yet heeding signs–including a talking sign that looms above her, prodding and sparring like the Cheshire Cat. In February, a surreal lunar year begins, bringing with it unexpected turns, heightened mischief, and inescapable sorrow. In a stranger’s words, “Anything is possible: after all, it’s the Year of the Monkey.” For Smith–inveterately curious, always exploring, tracking thoughts, writing–the year evolves as one of reckoning with the changes in life’s gyre: with loss, aging, and a dramatic shift in the political landscape of America. Smith melds the western landscape with her own dreamscape. Taking us from California to the Arizona desert; to a Kentucky farm as the amanuensis of a friend in crisis; to the hospital room of a valued mentor; and by turns to remembered and imagined places, this haunting memoir blends fact and fiction with poetic mastery. The unexpected happens; grief and disillusionment set in. But as Smith heads toward a new decade in her own life, she offers this balm to the reader: her wisdom, wit, gimlet eye, and above all, a rugged hope for a better world. Riveting, elegant, often humorous, illustrated by Smith’s signature Polaroids, Year of the Monkey is a moving and original work, a touchstone for our turbulent times.

    In these pages, I’ve tried to do this.” —Bruce Springsteen, from the pages of Born to RunIn 2009, Bruce Springsteen and the E Street Band performed at the Super Bowl’s halftime show. The experience was so exhilarating that Bruce decided to write about it. That’s how this extraordinary autobiography began. Over the past seven years, Bruce Springsteen has privately devoted himself to writing the story of his life, bringing to these pages the same honesty, humor, and originality found in his songs. He describes growing up Catholic in Freehold, New Jersey, amid the poetry, danger, and darkness that fueled his imagination, leading up to the moment he refers to as “The Big Bang”: seeing Elvis Presley’s debut on The Ed Sullivan Show. He vividly recounts his relentless drive to become a musician, his early days as a bar band king in Asbury Park, and the rise of the E Street Band. With disarming candor, he also tells for the first time the story of the personal struggles that inspired his best work, and shows us why the song “Born to Run” reveals more than we previously realized. Born to Run will be revelatory for anyone who has ever enjoyed Bruce Springsteen, but this book is much more than a legendary rock star’s memoir. This is a book for workers and dreamers, parents and children, lovers and loners, artists, freaks, or anyone who has ever wanted to be baptized in the holy river of rock and roll. Rarely has a performer told his own story with such force and sweep. Like many of his songs (“Thunder Road,” “Badlands,” “Darkness on the Edge of Town,” “The River,” “Born in the U.S.A.,” “The Rising,” and “The Ghost of Tom Joad,” to name just a few), Bruce Springsteen’s autobiography is written with the lyricism of a singular songwriter and the wisdom of a man who has thought deeply about his experiences.

    More than perhaps any other act, Sonic Youth has brought “fringe” art to the mainstream, helping spawn an alternative arts scene that prospers to this day: a world of punk rock, underground films and comics, experimental music, conceptual art, contemporary classical compositions, and even fashion. In Goodbye 20th Century, David Browne tells the full glorious story of “the Velvet Underground of their generation,” an account based on extensive research, fresh interviews with the band and those who have worked with them (from Glenn Branca and Lydia Lunch to Sofia Coppola and Spike Jonze), and unprecedented access to unreleased recordings and documents. This is a richly detailed portrait of an iconic band and the times they helped create.

    Best known in recent years for producing U2's sensational albums, Eno began his career as a synthesizer player for Roxy Music. He has since released many solo albums, both rock and ambient, written music for film and television soundtracks, and collaborated with David Bowie, David Byrne, Robert Fripp, and classical and experimental composers. His pioneering ambient sound has been enormously influential, and without him today's rock would have a decidedly different sound. Drawing on Eno's own words to examine his influences and ideas, this book—featuring a new afterword and an updated discography and bibliography—will long remain provocative and definitive.

    Grounded in authority and brimming with style, Playing Changes is the first book to take the measure of this exhilarating moment: it is a compelling argument for the resiliency of the art form and a rejoinder to any claims about its calcification or demise."Playing changes," in jazz parlance, has long referred to an improviser's resourceful path through a chord progression. Playing Changes boldly expands on the idea, highlighting a host of significant changes--ideological, technological, theoretical, and practical--that jazz musicians have learned to navigate since the turn of the century. Nate Chinen, who has chronicled this evolution firsthand throughout his journalistic career, vividly sets the backdrop, charting the origins of jazz historicism and the rise of an institutional framework for the music. He traces the influence of commercialized jazz education and reflects on the implications of a globalized jazz ecology. He unpacks the synergies between jazz and postmillennial hip-hop and R&B, illuminating an emergent rhythm signature for the music. And he shows how a new generation of shape-shifting elders, including Wayne Shorter and Henry Threadgill, have moved the aesthetic center of the music.Woven throughout the book is a vibrant cast of characters--from the saxophonists Steve Coleman and Kamasi Washington to the pianists Jason Moran and Vijay Iyer to the bassist and singer Esperanza Spalding--who have exerted an important influence on the scene. This is an adaptive new music for a complex new reality, and Playing Changes is the definitive guide.

    Including many new details and eyewitness accounts never before published, as well as keen insight into the Nashville cats who helped Dylan reach rare artistic heights, it explores the lasting impact of rock’s first double album. Based on exhaustive research and in-depth interviews with the producer, the session musicians, studio personnel, management personnel, and others, Daryl Sanders chronicles the road that took Dylan from New York to Nashville in search of “that thin, wild mercury sound.” As Dylan told Playboy in 1978, the closest he ever came to capturing that sound was during the Blonde on Blonde sessions, where the voice of a generation was backed by musicians of the highest order.

    This oral history includes photographs, discographies, and a complete national perspective on the genre.

    It consists of two books.In Book One, Rob Young gives us the full biography of a band that emerged at the vanguard of what would come to be called the Krautrock scene in late sixties Cologne. With Irmin Schmidt and Holger Czukay - two classically trained students of Stockhausen - at the heart of the band, CAN's studio and live performances burned an incendiary trail through the decade that followed: and left a legacy that is still reverberating today in hip hop, post rock, ambient, and countless other genres. Rob Young's account draws on unique interviews with all founding members of CAN, as well as their vocalists, friends and music industry associates. And he revisits the music, which is still deliriously innovative and unclassifiable more than four decades on. All Gates Open is a portrait of a group who worked with visionary intensity and belief, outside the system and inside their own inner space.Book Two, Can Kiosk, has been assembled by Irmin Schmidt, founding member and guiding spirit of the band, as a 'collage - a technique long associated with CAN's approach to recording. There is an oral history of the band drawing on interviews that Irmin made with musicians who see CAN as an influence - such as Bobby Gillespie, Geoff Barrow, Daniel Miller, and many others. There are also interviews with artists and filmmakers like Wim Wenders and John Malkovitch, where Schmidt reflects on more personal matters and his work with film. Extracts of Schmidt's notebook and diaries from 2013-14 are also reproduced as a reflection on the creative process, and the memories, dreams, and epiphanies it entails. Can Kiosk offers further perspectives on a band that have inspired several generations of musicians and filmmakers in the voices of the artists themselves.CAN were unique, and their legacy is articulated in two books in this volume with the depth, rigour, originality, and intensity associated with the band itself. It is illustrated throughout with previously unseen art, photographs, and ephemera from the band's archive.

    A biography of Townes Van Zandt which traces his background as the scion of a prominent Texas family; his troubled early years and his transformation from promising pre-law student to wandering folk singer; his life on the road and the demons that pursued and were pursued by him; and the women who loved and inspired him.

    His journey toward understanding—expressed in his music and now in his roles in film and television—is rooted in his relationship with a remarkable woman, his mother, Mahalia Ann Hines.In One Day It’ll All Make Sense, Common holds nothing back. He tells what it was like for a boy with big dreams growing up on the South Side of Chicago. He reveals how he almost quit rapping after his first album, Can I Borrow a Dollar?, sold only two thousand copies. He recounts his rise to stardom, giving a behind-the-scenes look into the recording studios, concerts, movie sets, and after-parties of a hip-hop celebrity and movie star. He reflects on his controversial invitation to perform at the White House, a story that grabbed international headlines. And he talks about the challenges of balancing fame, love, and fatherhood. One Day It’ll All Make Sense is a gripping memoir, both provocative and funny. Common shares never-before-told stories about his encounters with everyone from Tupac to Biggie, Ice Cube to Lauryn Hill, Barack Obama to Nelson Mandela. Drawing upon his own lyrics for inspiration, he invites the reader to go behind the spotlight to see him as he really is—not just as Common but as Lonnie Rashid Lynn. Each chapter begins with a letter from Common addressed to an important person in his life—from his daughter to his close friend and collaborator Kanye West, from his former love Erykah Badu to you, the reader. Through it all, Common emerges as a man in full. Rapper. Actor. Activist. But also father, son, and friend. Common’s story offers a living example of how, no matter what you’ve gone through, one day it’ll all make sense.

    The Song Machine goes behind the scenes to offer an insider’s look at the global hit factories manufacturing the songs that have everyone hooked. Full of vivid, unexpected characters—alongside industry heavy-hitters like Katy Perry, Rihanna, Max Martin, and Ester Dean—this fascinating journey into the strange world of pop music reveals how a new approach to crafting smash hits is transforming marketing, technology, and even listeners’ brains. You’ll never think about music the same way again.A Wall Street Journal Best Business Book

    Over 50,000 copies have been sold Passionate, obsessive, and smart. Nylon an inspired new series of short books about beloved works of vinyl. Details Franklin Bruno s writing about music has appeared in the Village Voice, Salon, LA Weekly, and Best Music Writing 2003 (Da Capo). He has a Ph.D. in Philosophy from UCLA, and his musical projects include Tempting: Jenny Toomey Sings the Songs of Franklin Bruno (Misra) and A Cat May Look At A Queen (Absolutely Kosher), a solo album. He lives in Los Angeles.