And inequality, violence, injustice, abuse, and discrimination a daily living reality. A God Who Hates Women is an emotional journey through a labyrinth of violence and civil war. It’s a journey through a battlefield riddled with archaic cultural demands and explosive emotions . . . where a mother and her son struggle to navigate through a cruel patriarchal society in an attempt to survive. To live. Will endurance and courage overcome daily abuse? Will a crumbling homeland deprive a young boy of his right to identity? Will it wipe away all dreams of a future? A myriad of memories and experiences are woven together in this riveting true tale of one family’s heartbreaking struggle through the mire of religion, politics, war and their unwavering hope for peace.

    Simon & Schuster has a great book for every reader.

    Publishing is one of the most complex and lucrative parts of the music business. Industry expert Randall Wixen covers everything from mechanical, performing and synch rights to sub-publishing, foreign rights, copyright basics, types of publishing deals, advice on representation and more. Get a view from the top, in plain English. This updated and revised edition has been prepared in light of the ever-changing landscape of music publishing, taking into account factors like illegal downloading and recent announcements from the Copyright Royalty Board. With an added "DIY" chapter, the author demonstrates why the playing field has changed for the traditional copyright adminstrators, and how musicians just starting out can protect their own work until they hit the big time.

    Racing in the Street is the first comprehensive collection of writings about Springsteen, featuring the most insightful, revealing, famous, and infamous articles, interviews, reviews, and other writings. This nostalgic journey through the career of a rock-’n’-roll legend chronicles every album and each stage of Springsteen’s career. It’s all here—Dave Marsh’s Rolling Stone review of Springsteen’s ten sold-out Bottom Line shows in 1975 in New York City, Jay Cocks’s and Maureen Orth’s dueling Time and Newsweek cover stories, George Will’s gross misinterpretation of Springsteen’s message on his Born in the USA tour, and Will Percy’s 1999 interview for Double Take, plus much, much more.

    WHERE IT'S NEVER QUIET ON THE WESTERN FRONT. In this rollicking new series, the Johnstones cordially invite you to the biggest, baddest event of the season--one that gives a whole new meaning to "shotgun wedding" . . .Here come the brides. And the bullets . . . Bo Creel and Scratch Morton are lifelong drifters who keep one eye on the horizon, one finger on the trigger, and one foot out the door. Roaming the West is what keeps them young, or so Scratch tells Bo. But when they save the life of Cyrus Keegan--the owner of a matrimonial agency--they receive an unexpected proposal that's hard to resist. Keegan needs to deliver five mail order brides to a mining town in New Mexico Territory. All Scratch and Bo have to do is get these gals to the church on time--and alive, if possible . . .The job seems easy enough--and the brides-to-be are even easier on the eyes. Cecilia, Beth, Luella, Rose, and Jean all need good husbands. But their prospects look bad when the journey to the altar includes Mexican banditos, scheming silver robbers, and one overbearing rancher who won't take no for an answer. Bo and Scratch promised to keep the ladies safe--and keep their hands to themselves--but it could be the last vow they'll ever make . . .Live Free. Read Hard.

    And it's not going to happen now, not as his band is about to rise to the next level. Madelyn Palmer is starting over with a new fixer upper house after a whirlwind marriage and a messy divorce. She’s going to focus on herself and never let a guy lie to her again. With her career and heart on the line, she can’t give in to temptation. But when your next door neighbor is a soul shaking rock star, a little neighbors with benefits situation won’t hurt, right? Authors Note: This is a standalone novel with a HEA.

    Welcome to Weezer’s weird world, steered by brainchild Rivers Cuomo — perhaps the world’s most unlikely rock star. Exhaustively researched, Rivers’ Edge documents the rise of the band from Cuomo’s beginnings as a failure on Hollywood’s hair metal scene to his reinvention of himself as the undeniable ruler of Weezer. Luerssen uncovers what really happened during Weezer’s strange hiatus and subsequent re-emergence in 2000, which was one of the most successful comebacks in music history. Through key interviews with friends, associates, members of Weezer, and bandmates in their solo projects, Rivers’ Edge is a must-own for any Weezer fan.

    Since then, guilt and regret have made him impervious to love. But when he rescues a family of would-be homesteaders attacked by the notorious Deckom gang, one of the sisters shines a light on his cold, locked-down heart.The last thing Brady deserves is happiness, and he fights his unwelcome feelings for Belle. Which is fine with her, since she'll never let herself care for another lawman—even one as wonderful as Brady.Heat level 3/5: contains some violence, minor cursing, and not-so-minor kissing.

    The stockings are hung. And two precious miracles are preparing to make their debuts. The most wonderful time of the year becomes even more joyous for Zane and Honor when their surrogate, Sophie, gifts them with an extra special delivery. And Brody and Kara's dreams come true when their son arrives just in time for Christmas.Return to your favorite small town and visit the whole gang, including Minnie the cat, in this heartwarming holiday novella from USA Today bestselling author Tess Thompson!

    Wolfgang Pike would love nothing more than to finish the requiem he’s composing for his late wife, but the ending seems as hopeless as the patients dying a hundred yards away at the Waverly Hills tuberculosis sanatorium. If he can’t ease his own pain with music, Wolfgang tries to ease theirs—the harmonica soothes and the violin relaxes. But his boss thinks music is a waste, and in 1920s Louisville, the specter of racial tension looms over everything. When a former concert pianist checks in, Wolfgang begins to believe that music can change the fortunes of those on the hill. Soon Wolfgang finds himself in the center of an orchestra that won’t give up, forced to make a choice that will alter his life forever. Set against a fascinatingly real historical backdrop, A White Wind Blew raises compelling questions about faith and confession, music and medicine, and the resilience of love.

    Among recordings by bands such as Sonic Youth, Black Flag, Husker Du, The Minutemen, and R.E.M. was an album called "Sorry Ma . . . Forgot to Take Out the Trash", recorded by a scruffy, flannel-clad quartet from Minneapolis called The Replacements. Now, for the first time, all of the hearsay, half-truths, legends, and allegations associated with this maelstrom of a rock & roll band are unraveled in this oral history by longtime Twin Cities music journalist Jim Walsh.Through interviews with family, friends, and fans; former manager Peter Jesperson; Twin/Tone record label cofounder Paul Stark; and musicians around the nation influenced by the band, Walsh lays bare with painful clarity a tale that unfolds like a tragic comedy in three perfect acts. Celebrated by national publications, "the Mats" often seemed more hell-bent on sabotaging their status as critical darlings than parlaying it. With their markedly apolitical stance amid their decidedly political peers, their uncool embrace of "classic rock" influences like KISS and The Faces, and their Dionysian appetites (and the resulting tendency to literally fall on their own faces), The Replacements lasted 12 years despite themselves.From the bands founding to their rise through the local and national club circuits, their major label deal in 1985, and the slow and painful implosion that followed, The Replacements: All Over But the Shouting lays down the gripping oral history behind the little band that could--but didn't.

    Hewitt has even been the inspiration for some of Weller's songs - and he has extraordinary in-depth knowledge of the inspiration behind the rest.Once, when Hewitt interviewed Weller for a music magazine, he complained - 'I don't know why people ask me all these questions. All the answers are in my songs.' Largely unnoticed, Weller has used thirty-years of lyrics to explore his personal history and beliefs. Taking as his starting point these lyrics, alongside a lifetime's friendship, Paolo Hewitt shows us the real Paul Weller, the man inside the music.

    His childhood friend, Nat Weary, plans to propose to his sweetheart, and the singer will honor their moment with a special song. But while the world has changed, segregated Jim Crow Montgomery remains the same. When a white man attacks Cole with a pipe, Weary leaps from the audience to defend him—an act that will lead to a 10-year prison sentence. But the singer will not forget his friend and the sacrifice he made. Six months before Weary is released, he receives a remarkable offer: will he be Nat King Cole’s driver and bodyguard in L.A.. It is the promise of a new life removed from the terror, violence, and degradation of Jim Crow Alabama. Weary discovers that, while Los Angeles is far different from the deep South, it a place of discrimination, mistrust, and intolerance where a black man—even one as talented and popular as Nat King Cole—is not wholly welcome. An indelible portrait of prejudice and promise, friendship and loyalty, Driving the King is a daring look at race and class in pre-Civil Rights America, played out in the lives of two remarkable men.

    One of punk rock's foundational documents, the archetype for indie obsession and all but disowned by its author, The Modern Lovers was an album doomed by its own coolness from day one. Powered by the two-chord wonder “Roadrunner” and its proclamation that “I'm in love with rock 'n' roll,”The Modern Lovers is the essential document of American alienation, an escape route from the cultural wasteland of postwar suburbia. The Modern Lovers is the bridge connecting the Velvet Underground and the Sex Pistols; they were peers of the New York Dolls and friends with Gram Parsons and they would splinter into Talking Heads, The Cars, and The Real Kids.But The Modern Lovers was never meant to be an album. A collection of demos, recorded in fits and starts as Jonathan Richman and his band negotiate modernity and the music industry. It is a collection of songs about a city and a society in flux, grappling with ancient corruptions and bright-eyed idealism. Richman observes a city all but abandoned by adults, ravaged by white flight and urban renewal, veering towards anarchy as old world social moors collide with new attitudes. It is a city stands in stark contrast to the the ranchstyle bedroom community where he was raised. All of these conflicts are churned through Richman's intellectual acuity and emotional unrest to create one of the 20th century's most enduring documents of post-adolescent malaise.

    Alongside it are the remains of three people.The journal reveals the story of Hiromi, a sixteen-year-old girl who’d grown up in the United States before living in Japan in the midst of World War II. One day, while collecting star sand—tiny star-shaped fossils—Hiromi finds two army deserters hiding in the seaside cavern—one American, one Japanese. The soldiers don’t speak the same language, but they’ve reached an agreement based on a shared hope: to cause no more harm and survive. Hiromi resolves to care for the men—feeding them and nursing their ailments—despite the risk that, if caught, she’ll die alongside them as a traitor. But when a fourth person joins in on their secret, they must face a threat from within. The diary abruptly ends, leaving everyone’s fate a mystery.Decades later, in 2011, a young female university student decides to finally determine who died in that cave and who lived. Her search will lead her to the lone survivor—and bring closure to a gripping tale of heroism at a time when committing to peace was the most dangerous act of all.