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    Throughout Shorter's extraordinary fifty-year career, his compositions have helped define the sounds of each distinct era in the history of jazz.Filled with musical analysis by Mercer, enlivened by Shorter's vivid recollections, and enriched by more than seventy-five original interviews with his friends and associates, this book is at once an invaluable history of music from bebop to pop, an intimate and moving biography, and a story of a man's struggle toward the full realization of his gifts and of himself.

    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.

    Once regarded as a joke, their music little more than an adrenaline rush of one minute five second noise, The Ramones have come to be regarded as having influenced almost every star struck guitarist who knew just three chords and wanted to write a song.

    The rocker settled in Berlin, where he would make his “Berlin Trilogy”—the albums Low, Heroes, and Lodger, which are now considered some of the most critically acclaimed and innovative of the late twentieth century. But Bowie’s time in Berlin was about more than producing new music. As Tobias Rüther describes in this fascinating tale of Bowie’s Berlin years, the musician traveled to West Berlin—the capital of his childhood dreams and the city of Expressionism—to repair his body and mind from the devastation of drug addiction, delusions, and mania.             Painting a vivid picture of Bowie’s life in the Schöneberg area of the city, Rüther describes the artist’s friendships and collaborations with his roommate, Iggy Pop, as well as Brian Eno and Tony Visconti. Rüther illustrates Bowie’s return to painting, days cycling to the Die Brücke museum, and his exploration of the city’s nightlife, both the wild side and the gay scene. In West Berlin, Bowie also met singer and actress Romy Haag; came to know Hansa Studios, where he would record Low and Heroes; and even landed the part of a Prussian aristocrat in Just a Gigolo, starring alongside Marlene Dietrich. Eventually Rüther uses Bowie and his explorations of the cultural and historical undercurrents of West Berlin to examine the city itself: divided, caught in the Cold War, and how it began to redefine itself as a cultural metropolis, turning to the arts to start a new history. Tying in with an exhibition at the Museum of Contemporary Art, Chicago, in September, 2014, Heroes tells the fascinating story of how the music of the future arose from the spirit of the past. It is an unforgettable look at one of the world’s most renowned musicians in one of its most inspiring cities.

    Two days later he was playing his first show as bass player with AC/DC; within a week he was on Countdown, rocking out next to wildman Bon Scott, who was dressed as a pigtailed, cigarette-smoking schoolgirl - and waving a mallet - and Angus who was - of course - decked out as a schoolboy. And all for the princely wage of $60 a week!Then came nearly being burnt alive on the video shoot for 'Jailbreak', and working with legends Vanda and Young on the massive album TNT, on which Mark's take-no-prisoners basslines anchored such immortal hits as 'TNT' and 'It's a Long Way To the Top'. Within a year, the band had relocated to London and were on the road to rock 'n' roll stardom, living the life of rock gods and making the most of all that had to offer. Until the tragic death of his good friend Bon Scott changed everything.Dirty Deeds is the first book about AC/DC written from the inside, by an insider - which is gold for any AC/DC fan. It is an honest, gripping, sometimes laugh-out-loud account of a band that lived fast, played hard and broke every one of the rules - before they broke all the records. It is also a revealing and frank memoir of a man who's had to contend with everything life has thrown at him - a rough-as-guts upbringing, lucky breaks and soaring highs, as well as terrible personal tragedy and loss. The hard lessons Mark has learned along the way will inspire any reader.

    Sanity and Grace: A Journey of Suicide, Survival, and Strength

    Including extensive interviews with Mike Watt and many others close to and inspired by the band, this is a great tribute to a classic piece of American underground music.Included are extensive interviews with Mike Watt, the band's bass player, as well as interviews with several artists, musicians, studio owners, and fanzine writers who have been devoted followers of the band for years.

    A single event in its 400 years of history―the Salem Witch Trials of 1692―transformed it into the Capital of Creepy in America. But Salem is a seasonal town―and its season happens to be Halloween. Every October, this small city of 40,000 swells to more than a quarter million as witches, goblins, ghouls, and ghosts (and their admirers) descend on Essex Street. For the fall of 2015, occult enthusiast and Edgar Award-winning writer J.W. Ocker moved his family of four to downtown Salem to experience firsthand a season with the witch, visiting all of its historical sites and macabre attractions. In between, he interviews its leaders and citizens, its entrepreneurs and visitors, its street performers and Wiccans, its psychics and critics, creating a picture of this unique place and the people who revel in, or merely weather, its witchiness.

    Edie Sedgwick exploded into the public eye like a comet. She seemed to have it all: she was aristocratic and glamorous, vivacious and young, Andy Warhol’s superstar. But within a few years she flared out as quickly as she had appeared, and before she turned twenty-nine she was dead from a drug overdose.In a dazzling tapestry of voices—family, friends, lovers, rivals—the entire meteoric trajectory of Edie Sedgwick’s life is brilliantly captured. And so is the Pop Art world of the ‘60s: the sex, drugs, fashion, music—the mad rush for pleasure and fame. All glitter and flash on the outside, it was hollow and desperate within—like Edie herself, and like her mentor, Andy Warhol. Alternately mesmerizing, tragic, and horrifying, this book shattered many myths about the ‘60s experience in America.

     Hickman’s memoir chronicles his life as a significant member of the church and his position as Brigham Young’s underling. Hickman does not shy away from sharing the plethora of crimes he committed but he controversially claims that they were ordered by Young. J. H. Beadle, the editor of this account, examines the history of the Mormon church and the reasons behind the church’s lack of action over Hickman’s brutal crimes. He also questions how Hickman remained in positions of power despite knowledge of his murderous ways being publicly known. Hickman’s account sheds light on these issues as well as providing a unique insight into the mind of an infamous murderer and is an important addition to the history of the nineteenth century Mormon church. William Adams "Wild Bill" Hickman was an American frontiersman. He also served as a representative to the Utah Territorial Legislature. Hickman was baptized into Church of Jesus Christ of Latter Day Saints in 1839 by John D. Lee. He later served as a personal bodyguard for Joseph Smith, Jr. and Brigham Young. Hickman was reputedly a member of the Danites. He died in Wyoming in 1883.

    . ."Now available in paperback--a selection of revealing interviews from the award-winning National Public Radio showOriginating from WHYY-FM in Philadelphia and heard on more than 450 NPR stations, Fresh Air with Terry Gross has become a daily habit with millions of listeners nationwide--a must for anyone hoping to keep up with what's happening in the arts. Over the last twenty years, Terry's guests have included our most significant writers, actors, musicians, comics, and visual artists.For her first collection, Terry has chosen more than three dozen timeless interviews that prove to be as lively on the page as they were on the radio. Her questions--probing yet sensitive--encourage revelations from figures as diverse as John Updike, Isabella Rossellini, Conan OBrien, Samuel L. Jackson, Johnny Cash, and Nicolas Cage. And in her introduction, the generally self-effacing host of Fresh Air does something she wouldnt dream of doing on the air--she reveals a thing or two about herself.

    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.

    The rudderless genius behind their ascent was a man named Ronnie Van Zant, who guided their five-year run and evolved not just a new country/rock idiom but a new Confederacy in constant conflict with old Southern totems and prejudices. Placing the music and personae of Lynyrd Skynyrd into a broader cultural schema for the first time, Whiskey Bottles and Brand-New Cars is based on interviews with surviving band members and others who watched them. It gives a new perspective to a history of stage fights, motel-room destructions, cunning business deals, and brilliant studio productions, offering a greater appreciation for a band that, in the aftermath of its last plane ride, has sadly descended into self-caricature as the sort of lowbrow guns-’n’-God cliché that Ronnie Van Zant wanted to chuck from around his neck. No other book on Southern rock has ever captured the “Free Bird”–like sweep and significance of Lynyrd Skynyrd. Ribowsky’s cohesive narrative gives the band its full due while not ignoring the cruel irony and avoidability of the band’s tragic end.

    More conversations followed over the next four decades of friendship, and it was only after Joni and Malka completed their last recorded interview, in 2012, that Malka discovered the heart of their discussions: the creative process.In Joni Mitchell: In Her Own Words, Joni and Malka follow this thread through seven decades of life and art, discussing the influence of Joni’s childhood, love and loss, playing dives and huge festivals, acclaim and criticism, poverty and affluence, glamorous triumphs and tragic mistakes . . .This riveting narrative, told in interviews, lyrics, paintings, and photographs, is shared in the hope of illuminating a timeless body of work and inspiring others.