Draper's history is an intelligent and witty behind-the-scenes look at this cultural icon and its course from its hippie beginnings to a high-profile magazine. 16 pages of photographs.

    A role model for generations of writers and performers, Doc was renowned for his mastery of virtually every popular style, from the gutbucket rhythm and blues of “Lonely Avenue” to the symphonic soul of “Save the Last Dance for Me” to the pure pop of “Viva Las Vegas.” His songs-“This Magic Moment,” “A Teenager in Love,” “Hushabye,” “Little Sister,” “Turn Me Loose,” and many others-have been recorded by everyone from Ray Charles, Elvis Presley, and B. B. King to Bob Dylan, Led Zeppelin, and Bruce Springsteen, with sales exceeding $100 million. Doc was ready-made for literature. His collaborator Mort Shuman once described him as an “entire rollicking soul neighborhood rolled into one man.” Garrulous, profane, hilarious, and Rabelaisian, Doc was never inhibited about offering his opinions and his friendship. His confidants, collaborators, and discoveries included Duke Ellington, John Lennon, Dr. John, Jimmy Scott, Bette Midler, and Lou Reed. In the words of renowned producer Jerry Wexler, “If the music industry had a heart, it would be Doc Pomus.” Despite, or more likely because of, his successes, few acquaintances knew that this writer of jukebox hits led one of the most dramatic and unlikely lives of his time. Spanning extravagant wealth and desperate poverty, suburban domesticity and the depths of New York’s underworld, worldwide fame and near-total obscurity, enduring love and persistent loneliness, Doc’s story remains one of the great untold American lives. Its chapters comprise a back-room history of rock ’n’ roll, touching on more than a half-century of American popular music-from the blues Doc performed with Lester Young to his collaborations with the luminaries of New York’s punk scene, shot through with vivid portraits of virtually every major player. Lonely Avenue is the first biography of this American original, so elegantly rendered that it reads like a novel, and fortified by full, exclusive access to Doc Pomus’s family, friends, voluminous journals, and archives.

    Inside you'll find Steyn's take on Ronald Reagan, Idi Amin, the Princess of Wales, Bob Hope, Madame Chiang Kai-shek, Artie Shaw and Pope John Paul II - plus Zimbabwe's Reverend Canaan Banana, Scotty from Star Trek, Nixon's secretary and Gershwin's girlfriend. It's the passing parade of our times, from presidents and prime ministers to the guy who invented Cool Whip.

    Along the way, Ted details his late ’60s stint as an unlikely star with the sunshine pop outfit Harpers Bizarre and his grind-it-out days as a Warner Bros. tape listener, including the life-altering moment that launched his career as a producer: his discovery of the Doobie Brothers. Ted Templeman: A Platinum Producer’s Life in Music takes us into the studio sessions of No. 1 hits like “Black Water” by the Doobie Brothers and “Jump” by Van Halen, as Ted recounts memories and the behind-the-scene dramas that engulfed both massively successful acts. Throughout, Ted also reveals the inner workings of his professional and personal relationships with some of the most talented and successful recording artists in history, including Steven Tyler and Joe Perry of Aerosmith, Eric Clapton, Lowell George, Sammy Hagar, Linda Ronstadt, David Lee Roth, and Carly Simon.

    In the centennial season of college football, both teams were undefeated; both featured devastating and innovative offenses; both boasted cerebral, stingy defenses; and both were coached by superior tacticians and stirring motivators, Texas's Darrell Royal and Arkansas's Frank Broyles. On that day in Fayetteville, the poll-leading Horns and second-ranked Hogs battled for the Southwest Conference title -- and President Nixon was coming to present his own national championship plaque to the winners. Even if it had been just a game, it would still have been memorable today. The bitter rivals played a game for the ages before a frenzied, hog-callin' crowd that included not only an enthralled President Nixon -- a noted football fan -- but also Texas congressman George Bush. And the game turned, improbably, on an outrageously daring fourth-down pass.But it "wasn't" just a game, because nothing was so simple in December 1969. In "Horns, Hogs, & Nixon Coming," Terry Frei deftly weaves the social, political, and athletic trends together for an unforgettable look at one of the landmark college sporting events of all time.The week leading up to the showdown saw black student groups at Arkansas, still marginalized and targets of virulent abuse, protesting and seeking to end the use of the song "Dixie" to celebrate Razorback touchdowns; students were determined to rush the field during the game if the band struck up the tune. As the United States remained mired in the Vietnam War, sign-wielding demonstrators (including war veterans) took up their positions outsidethe stadium -- in full view of the president. That same week, Rhodes Scholar Bill Clinton penned a letter to the head of the ROTC program at the University of Arkansas, thanking the colonel for shielding him from induction into the military earlier in the year.Finally, this game was the last major sporting event that featured two exclusively white teams. Slowly, inevitably, integration would come to the end zones and hash marks of the South, and though no one knew it at the time, the Texas vs. Arkansas clash truly was Dixie's Last Stand.Drawing from comprehensive research and interviews with coaches, players, protesters, professors, and politicians, Frei stitches together an intimate, electric narrative about two great teams -- including one player who, it would become clear only later, was displaying monumental courage just to make it onto the field -- facing off in the waning days of the era they defined. Gripping, nimble, and clear-eyed, "Horns, Hogs, & Nixon Coming" is the final word on the last of how it was.

    Whether or not psychedelic drugs played a role (and as many musicians say they've used them as not), psychedelic rock has consistently charted brave new worlds that exist only in the space between the headphones. The history books tell us the music's high point was the Haight-Ashbury scene of 1967, but the genre didn't start in San Francisco, and its evolution didn't end with the Summer of Love. A line can be drawn from the hypnotic drones of the Velvet Underground to the disorienting swirl of My Bloody Valentine; from the artful experiments of the Beatles' Revolver to the flowing, otherworldly samples of rappers P.M. Dawn; from the dementia of the 13th Floor Elevators to the grungy lunacy of the Flaming Lips; and from the sounds and sights at Ken Kesey's '60s Acid Tests to those at present-day raves. Turn On Your Mind is an attempt to connect the dots from the very first groups who turned on, tuned in, and dropped out, to such new-millennial practitioners as Wilco, the Elephant 6 bands, Moby, the Super Furry Animals, and the so-called "stoner-rock" and "ork-pop" scenes.

    Louis Armstrong has been called the most influential jazz musician of the century. Together this auspicious pairing has resulted in Satchmo, one of the most vivid and fascinating portraits ever drawn of perhaps the greatest figure in the history of American music. Available now at a new price, this text-only edition is the authoritative introduction to Armstrong's life and art for the curious newcomer, and offers fresh insight even for the serious student of Pops.

    Linnea Smith went to Peru on an ecotourism vacation. She was so moved that she abandoned her thriving medical practice in Wisconsin to serve the Yagua Indians in the deepest part of the Amazon rainforest of Peru-alone.Taken straight from the pages of Dr. Smith’s journal, La Doctora offers readers a rare glimpse into the suspense and drama of practicing medicine in a culture far removed from the sophisticated supplies and supports of 20th-century medicine.Learn how Dr. Smith evolved from a “strange white woman” to an adopted member of the indigenous community. Her story of adventure, self-discovery and service creates inspiring testimony to one person’s power to make a lasting difference.

    Driven from their home countries by famine and persecution, they arrived at Ellis Island full of fear and hope, determined to claim their share of the American Dream.Among the first to pass through Ellis Island was young Israel Baline, a Russian Jew who at the age of just five had seen his homeland overrun by anti-Semitic violence. Forced to flee their village deep within the Russian Empire, the Baline family used their meagre life savings to cross Europe and buy a one-way steerage-class ticket to America. They landed at Ellis Island in 1893, only to find that the streets of New York were not quite paved with gold; the riches they had risked everything for would not be easily won.Israel Baline may have traded a rural slum for an urban one, but he was an American now. He would not stay impoverished for long. Blessed with talent, spurred by the will to succeed, Israel Baline would grow up to become—under another name—his adopted country’s most famous songwriter.

    The author doesn't pull any punches describing the good, the bad, the funny and the just plain ridiculous of the Submarine Service. Besides a wealth of information about what it's like to serve on a submarine, you'll meet real life characters like Tongue, Snake and Button Butt John. Did submarines make them rude, crude, and crazy. Or does the Submarine Service act as a magnet for every nut in the Navy? One thing is sure, after two months underwater, and with their back pay in their back pocket, Sub Sailors are as wild as cowboys after a cattle drive. Bar the doors and hide your daughters. Every reader owes it to themselves to use Amazons "Look In" feature to take a peek inside this unique and entertaining book.

    

    Its dazzling virtuosity and spectacular live concerts made it hugely popular with fans during the 1970s, who saw bands such as King Crimson, Emerson, Lake and Palmer, Yes, Genesis, Pink Floyd, and Jethro Tull bring a new level of depth and sophistication to rock. On the other hand, critics branded the elaborate concerts of these bands as self- indulgent and materialistic. They viewed progressive rock's classical/rock fusion attempts as elitist, a betrayal of rock's populist origins. In Rocking the Classics, the first comprehensive study of progressive rock history, Edward Macan draws together cultural theory, musicology, and music criticism, illuminating how progressive rock served as a vital expression of the counterculture of the late 1960s and 1970s. Beginning with a description of the cultural conditions which gave birth to the progressive rock style, he examines how the hippies' fondness for hallucinogens, their contempt for Establishment-approved pop music, and their fascination with the music, art, and literature of high culture contributed to this exciting new genre. Covering a decade of music, Macan traces progressive rock's development from the mid- to late-sixties, when psychedelic bands such as the Moody Blues, Procol Harum, the Nice, and Pink Floyd laid the foundation of the progressive rock style, and proceeds to the emergence of the mature progressive rock style marked by the 1969 release of King Crimson's album In the Court of the Crimson King. This golden age reached its artistic and commercial zenith between 1970 and 1975 in the music of bands such as Jethro Tull, Yes, Genesis, ELP, Gentle Giant, Van der Graaf Generator, and Curved Air. In turn, Macan explores the conventions that govern progressive rock, including the visual dimensions of album cover art and concerts, lyrics and conceptual themes, and the importance of combining music, visual motif, and verbal expression to convey a coherent artistic vision. He examines the cultural history of progressive rock, considering its roots in a bohemian English subculture and its meteoric rise in popularity among a legion of fans in North America and continental Europe. Finally, he addresses issues of critical reception, arguing that the critics' largely negative reaction to progressive rock says far more about their own ambivalence to the legacy of the counterculture than it does about the music itself. An exciting tour through an era of extravagant, mind-bending, and culturally explosive music, Rocking the Classics sheds new light on the largely misunderstood genre of progressive rock.

    

    Angela Davis provides the historical, social, and political contexts with which to reinterpret the performances and lyrics of Gertrude Ma Rainey, Bessie Smith, and Billie Holiday as powerful articulations of an alternative consciousness profoundly at odds with mainstream American culture.The works of Rainey, Smith, and Holiday have been largely misunderstood by critics. Overlooked, Davis shows, has been the way their candor and bravado laid the groundwork for an aesthetic that allowed for the celebration of social, moral, and sexual values outside the constraints imposed by middle-class respectability. Through meticulous transcriptions of all the extant lyrics of Rainey and Smith--published here in their entirety for the first time--Davis demonstrates how the roots of the blues extend beyond a musical tradition to serve as a conciousness-raising vehicle for American social memory. A stunning, indispensable contribution to American history, as boldly insightful as the women Davis praises, Blues Legacies and Black Feminism is a triumph.

    Evangelicals who recognized this backed him more than any other presidential candidate in history. Heading into 2020, the stakes in his reelection are even higher. This election, nine months after this book releases, is a new fight for the soul of America. Stephen E. Strang makes the case that God wants America to be great because God has raised up America—beginning with our Founding Fathers—to be a beacon of light and hope for the world. We’ve been the nation with religious liberty that has supported those who have spread the gospel around the world.In this book Strang looks at the election, Trump, and America from a spiritual perspective and helps Christians (and others) see God’s hand at work. This book is as much about God and His purposes as about Donald Trump. But it is also an articulate, impassioned apologetic about why all Christians must support this imperfect president, because he has God’s blessing and because the destiny of America is riding on his reelection. This book also explores why he might lose, if his base is overconfident and doesn’t vote or if his opponents are dishonest enough to steal the election.God, Trump, and the 2020 Election is an inside look at how the political climate is affected by  spiritual warfare—an important subject for Bible-believing Christians. The satanic schemes are so brazen on key issues that the book was written to explain what’s at stake. Strang believes that the intersection of faith and politics needs to be part of the national discussion about the division in our country.Other Books By Stephen E. Strang:God and Donald Trump (2017) ISBN-13: 978-1629994864Trump Aftershock (2018)ISBN-13: 978-1629995557