With full participation from reclusive singer and chief songwriter Paul Westerberg, bassist Tommy Stinson, guitarist Slim Dunlap, and the family of late band co-founder Bob Stinson, author Bob Mehr is able to tell the real story of this highly influential group, capturing their chaotic, tragic journey from the basements of Minneapolis to rock legend. Drawing on years of research and access to the band's archives at Twin/Tone Records and Warner Bros. Mehr also discovers previously unrevealed details from those in the group's inner circle, including family, managers, musical friends and collaborators.

    Indebted to rockabilly, reggae, Memphis soul, cowboy justice, and '60s protest, the overtly political band railed against war, racism, and a dead-end economy, and in the process imparted a conscience to punk. Their eponymous first record and" London Calling" still rank in Rolling Stone's top-ten best albums of all time, and in 2003 they were officially inducted into the Rock and Roll Hall of Fame. Joe Strummer was the Clash's front man, a rock-and-roll hero seen by many as the personification of outlaw integrity and street cool. The political heart of the Clash, Strummer synthesized gritty toughness and poetic sensitivity in a manner that still resonates with listeners, and his untimely death in December 2002 shook the world, further solidifying his iconic status. Music journalist Chris Salewicz was a friend to Strummer for close to three decades and has covered the Clash's career and the entire punk movement from its inception. With exclusive access to Strummer's friends, relatives, and fellow musicians, Salewicz penetrates the soul of an icon. He uses his vantage point to write the definitive biography of Strummer, charting his enormous worldwide success, his bleak years in the wilderness after the Clash's bitter breakup, and his triumphant return to stardom at the end of his life. In the process, Salewicz argues for Strummer's place in a long line of protest singers that includes Woody Guthrie, John Lennon, and Bob Marley, and examines by turns Strummer's and punk's ongoing cultural influence.

    In his eagerly anticipated, deeply researched new book, Schreier trains his investigative eye on the volatility of the video game industry and the resilience of the people who work in it. The business of videogames is both a prestige industry and an opaque one. Based on dozens of first-hand interviews that cover the development of landmark games -- Bioshock Infinite, Epic Mickey, Dead Space, and more -- on to the shocking closures of the studios that made them, PRESS RESET tells the stories of how real people are affected by game studio shutdowns, and how they recover, move on, or escape the industry entirely. Schreier's insider interviews cover hostile takeovers, abusive bosses, corporate drama, bounced checks, and that one time the Boston Red Sox's Curt Schilling decided he was going to lead a game studio that would take out World of Warcraft. Along the way, he asks pressing questions about why, when the video game industry is more successful than ever, it's become so hard to make a stable living making video games -- and whether the business of making games can change before it's too late.

    He digs deep into the album cuts of his life and unearths some pivotal moments in black art, hip hop, and pop culture.Ahmir "Questlove" Thompson is many things: virtuoso drummer, producer, arranger, Late Night with Jimmy Fallon bandleader, DJ, composer, and tireless Tweeter. He is one of our most ubiquitous cultural tastemakers, and in this, his first book, he reveals his own formative experiences--from growing up in 1970s West Philly as the son of a 1950s doo-wop singer, to finding his own way through the music world and ultimately co-founding and rising up with the Roots, a.k.a., the last hip hop band on Earth. Mo' Meta Blues also has some (many) random (or not) musings about the state of hip hop, the state of music criticism, the state of statements, as well as a plethora of run-ins with celebrities, idols, and fellow artists, from Stevie Wonder to KISS to D'Angelo to Jay-Z to Dave Chappelle to...you ever seen Prince roller-skate?!?But Mo' Meta Blues isn't just a memoir. It's a dialogue about the nature of memory and the idea of a post-modern black man saddled with some post-modern blues. It's a book that questions what a book like Mo' Meta Blues really is. It's the side wind of a one-of-a-kind mind.It's a rare gift that gives as well as takes.It's a record that keeps going around and around.

    They named him Richard, but he quickly became known as Rick.Rick was a likable little fellow who had a talent for the piano and for making trouble, and music became Rick's life. Later he joined a popular music group called Yes and became a legend. Much later he became a Grumpy Old Man who appears on Countdown, hosts a hugely popular radio show on Planet Rock and performs a one-man show telling stories about his rather extraordinary life.Which is where this book you are holding comes in. Mr Wakeman is simply one of the great storytellers of our age - let's face it, he has some fabulous material. It seemed a shame that some of the funniest yarns should not be more widely known. So he accepted some cash and here we are.Curl up by the fire with a Grumpy Old Rock Star and your nearest and dearest. We defy you not to want to read it aloud and laugh.

    Her memoir tells the story of how, through sheer will, talent, and fearlessness, she forced herself into a male-dominated industry, became part of a movement that changed music, and inspired a generation of female rockers.After forming The Flowers of Romance with Sid Vicious in 1976, Albertine joined The Slits and made musical history in one of the first generations of punk bands. The Slits would go on to serve as an inspiration to future rockers, including Kurt Cobain, Carrie Brownstein, and the Riot Grrrl movement in the 1990s. This is the story of what it was like to be a girl at the height of punk: the sex, the drugs, the guys, the tours, and being part of a brilliant pioneering group of women making musical history. Albertine recounts helping define punk fashion, struggling to find her place among the boys, and her romance with Mick Jones, including her pregnancy and subsequent abortion. She also gives a candid account of what happened post-punk, beyond the break-up of The Slits in 1982, including a career in film, surviving cancer, and making music again, twenty-five years later.A truly remarkable memoir told in Viv’s frank, irreverent, and distinctive voice, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys. is a raw, thrilling story of life on the frontier.

    As scholar and cultural critic Tricia Rose argues, hip hop, in fact, has become one of the primary ways we talk about race in the United States. But hip hop is in crisis. For years, the most commercially successful hip hop has become increasingly saturated with caricatures of black gangstas, thugs, pimps, and hos. This both represents and feeds a problem in black American culture. Or does it? In The Hip-Hop Wars, Rose explores the most crucial issues underlying the polarized claims on each side of the debate: Does hip hop cause violence, or merely reflect a violent ghetto culture? Is hip hop sexist, or are its detractors simply anti-sex? Does the portrayal of black culture in hip hop undermine black advancement? A potent exploration of a divisive and important subject, The Hip Hop Wars concludes with a call for the regalvanization of the progressive and creative heart of hip hop. What Rose calls for is not a sanitized vision of the form, but one that more accurately reflects a much richer space of culture, politics, anger, and yes, sex, than the current ubiquitous images in sound and video currently provide.

    And I make my analogy through the slave citizen's music—through the music that is most closely associated with him: blues and a later, but parallel development, jazz... [If] the Negro represents, or is symbolic of, something in and about the nature of American culture, this certainly should be revealed by his characteristic music."So says Amiri Baraka in the Introduction to Blues People, his classic work on the place of jazz and blues in American social, musical, economic, and cultural history. From the music of African slaves in the United States through the music scene of the 1960's, Baraka traces the influence of what he calls "negro music" on white America—not only in the context of music and pop culture but also in terms of the values and perspectives passed on through the music. In tracing the music, he brilliantly illuminates the influence of African Americans on American culture and history.

    Wexler has worked with the entire range of American genius: Ray Charles, Aretha Franklin, Otis Redding, Bob Dylan, Willie Nelson, and others. 75 photographs.

    Contrary to popular belief, headbangers and the music they love are more alive than ever. Yet there has never been a comprehensive book on the history of heavy metal - until now. Featuring interviews with members of the biggest bands in the genre, Sound of the Beast gives an overview of the past 30-plus years of heavy metal, delving into the personalities of those who created it. Everything is here, from the bootlegging beginnings of fans like Lars Ulrich (future founder of Metallica) to the sold-out stadiums and personal excesses of the biggest groups. From heavy metal's roots in the work of breakthrough groups such as Black Sabbath and Led Zeppelin to MTV hair metal, courtroom controversies, black metal murderers and Ozzfest, Sound of the Beast offers the final word on this elusive, extreme, and far-reaching form of music.

    When twenty-five-year-old Bob Dylan wrecked his motorcycle near Woodstock in 1966 and dropped out of the public eye, he was already recognized as a genius, a youth idol with an acid wit and a barbwire throat; and Greenwich Village, where he first made his mark, was unquestionably the center of youth culture.In Positively 4th Street, David Hajdu recounts the emergence of folk music from cult practice to popular and enduring art form as the story of a colorful foursome: not only Dylan but also his part-time lover Joan Baez -- the first voice of the new generation; her sister Mimi -- beautiful, haunted, and an artist in her own right; and Mimi's husband, Richard Fariña, a comic novelist (Been Down So Long It Looks Like Up to Me) who invented the worldly-wise bohemian persona that Dylan adopted -- some say stole -- and made his own.A national bestseller in hardcover, acclaimed as "one of the best books about music in America" (Jonathan Yardley, The Washington Post), Positively 4th Street is that rare book with a new story to tell about the 1960s -- about how the decade and all that it is now associated with were created in a fit of collective inspiration, with an energy and creativity that David Hajdu has captured on the page as if for the first time.

    There he stumbled into the elaborate world of Mingering Mikea soul superstar of the 1960s and '70s who released an astonishing 50 albums and at least as many singles in just 10 years. But Hadar had never heard of him, and he realized why on closer inspection: every album in the crates was made of cardboard. Each package was intricately crafted, complete with gatefold interiors, extensive liner notes, and grooves drawn onto the "vinyl." Some albums were even covered in shrinkwrap, as if purchased at actual record stores. The crates contained nearly 200 LPs and 45s by Mingering Mike, as well as other artists like Joseph War, the Big "D," and Rambling Ralph, on labels such as Sex Records, Decision, and Ming/War. There were also soundtracks to imaginary films, a benefit album for sickle cell anemia, and a tribute to Bruce Lee. Hadar put his detective skills to work and soon found himself at the door of the elusive man responsible for this alternate universe of funk. Their friendship blossomed and Mike revealed the story of his life and his many albums, hit singles, and movie soundtracks. A solitary boy raised by his brothers, sisters, and cousins, Mike lost himself in a world of his own imaginary superstardom, basing songs and albums on his and his family's experiences. Early teenage songs obsessed with love and heartache soon gave way to social themes surrounding the turbulent era of civil rights protests and political upheavalbrought even closer to home when Mike himself went underground dodging the Vietnam War.In Mingering Mike, Hadar tells the story of a man and his myth: the kid who dreamed of being a star and the fantastical "careers" of the artists he created. All of Mingering Mike's best albums and 45s are presented in full color, finally bringing to the star the adoring audience he always imagined he had.

    It was founded in a bizarre but momentous "Land Run" in 1889, when thousands of people lined up along the borders of Oklahoma Territory and rushed in at noon to stake their claims. Since then, it has been a city torn between the wild energy that drives its outsized ambitions, and the forces of order that seek sustainable progress. Nowhere was this dynamic better realized than in the drama of the Oklahoma City Thunder basketball team's 2012-13 season, when the Thunder's brilliant general manager, Sam Presti, ignited a firestorm by trading future superstar James Harden just days before the first game. Presti's all-in gamble on "the Process"—the patient, methodical management style that dictated the trade as the team’s best hope for long-term greatness—kicked off a pivotal year in the city's history, one that would include pitched battles over urban planning, a series of cataclysmic tornadoes, and the frenzied hope that an NBA championship might finally deliver the glory of which the city had always dreamed.Boom Town announces the arrival of an exciting literary voice. Sam Anderson, former book critic for New York magazine and now a staff writer at the New York Times magazine, unfolds an idiosyncratic mix of American history, sports reporting, urban studies, gonzo memoir, and much more to tell the strange but compelling story of an American city whose unique mix of geography and history make it a fascinating microcosm of the democratic experiment. Filled with characters ranging from NBA superstars Kevin Durant and Russell Westbrook; to Flaming Lips oddball frontman Wayne Coyne; to legendary Great Plains meteorologist Gary England; to Stanley Draper, Oklahoma City's would-be Robert Moses; to civil rights activist Clara Luper; to the citizens and public servants who survived the notorious 1995 bombing of the Alfred P. Murrah federal building, Boom Town offers a remarkable look at the urban tapestry woven from control and chaos, sports and civics.

    In Major Labels, Sanneh distills a career's worth of knowledge about music and musicians into a brilliant and omnivorous reckoning with popular music--as an art form (actually, a bunch of art forms), as a cultural and economic force, and as a tool that we use to build our identities. He explains the history of slow jams, the genius of Shania Twain, and why rappers are always getting in trouble.Sanneh shows how these genres have been defined by the tension between mainstream and outsider, between authenticity and phoniness, between good and bad, right and wrong. Throughout, race is a powerful touchstone: just as there have always been Black audiences and white audiences, with more or less overlap depending on the moment, there has been Black music and white music, constantly mixing and separating. Sanneh debunks cherished myths, reappraises beloved heroes, and upends familiar ideas of musical greatness, arguing that sometimes, the best popular music isn't transcendent. Songs express our grudges as well as our hopes, and they are motivated by greed as well as idealism; music is a powerful tool for human connection, but also for human antagonism. This is a book about the music everyone loves, the music everyone hates, and the decades-long argument over which is which. The opposite of a modest proposal, Major Labels pays in full.

    I've written 1,000 of them and it's really just another one.' Jimmy Webb 'When I heard it I cried. It made me cry because I was homesick. It's just a masterfully written song.' Glen CampbellThe sound of 'Wichita Lineman' was the sound of ecstatic solitude, but then its hero was the quintessential loner. What a great metaphor he was: a man who needed a woman more than he actually wanted her.Written in 1968 by Jimmy Webb, 'Wichita Lineman' is the first philosophical country song: a heartbreaking torch ballad still celebrated for its mercurial songwriting genius fifty years later. It was recorded by Glen Campbell in LA with a legendary group of musicians known as 'the Wrecking Crew', and something about the song's enigmatic mood seemed to capture the tensions in America at a moment of crisis. Fusing a dribble of bass, searing strings, tremolo guitar and Campbell's plaintive vocals, Webb's paean to the American West describes a telephone lineman's longing for an absent lover, who he hears 'singing in the wire' - and like all good love songs, it's an SOS from the heart.Mixing close-listening, interviews and travelogue, Dylan Jones explores the legacy of a record that has entertained and haunted millions for over half a century. What is it about this song that continues to seduce listeners, and how did the parallel stories of Campbell and Webb - songwriters and recording artists from different ends of the spectrum - unfold in the decades following? Part biography, part work of musicological archaeology, The Wichita Lineman opens a window on to America in the late-twentieth century through the prism of a song that has been covered by myriad artists in the intervening decades.'Americana in the truest sense: evocative and real.' Bob Stanley