This book provides a critical overview of the career of a man whose voice is described as sounding 'like Ethel Merman and Louis Armstrong meeting in hell'.

    He went on to record and perform in various configurations, including as a member of Stephen Stills’s Manassas and as a co-founder of The Souther-Hillman-Furay Band. In the 1980s he formed The Desert Rose Band, scoring eight Top 10 Billboard country hits. He’s released a number of solo efforts, including 2017’s highly acclaimed Bidin’ My Time—the final album produced by the late Tom Petty. In Time Between, Hillman shares his quintessentially Southern Californian experience, from an idyllic, rural 1950s childhood; to achieving worldwide fame thanks to hits such as “Mr. Tambourine Man,” “Turn! Turn! Turn!” and “Eight Miles High”; to becoming the first musician to move to Laurel Canyon. Featuring behind-the-scenes insights on his time in The Byrds, his productive but sometimes complicated relationship with Gram Parsons, his role in launching the careers of Buffalo Springfield and Emmylou Harris, and the ups and downs of life in various bands, music is only part of his story. Within the pages of Time Between, Hillman reveals the details of his personal life with candor and vulnerability, writing honestly about the shocking tragedy that struck his family when he was a teenager, his subsequent struggles with anger, and how his spiritual journey led him to a place of deep faith that allowed him to extend forgiveness and experience wholeness. Chris Hillman is much more than a rock star. He is truly a founding father of American music and a man who has faced down the challenges of life to discover what really matters.

    Her father, Leon, was a boulevardier who conducted business on the elegant terrace of Shepheard's Hotel, and later, in the cozy, dark bar of the Nile Hilton, dressed in his signature white sharkskin suit. But with the fall of King Farouk and Nasser's nationalization of Egyptian industry, Leon and his family lose everything. As streets are renamed, neighborhoods of their fellow Jews disbanded, and the city purged of all foreign influence, the Lagnados, too, must make their escape. With all of their belongings packed into twenty-six suitcases, their jewels and gold coins hidden in sealed tins of marmalade, Leon and his family depart for any land that will take them. The poverty and hardships they encounter in their flight from Cairo to Paris to New York are strikingly juxta-posed against the beauty and comforts of the lives they left behind.An inversion of the American dream set against the stunning portraits of three world cities, Lucette Lagnado's memoir offers a grand and sweeping story of faith, tradition, tragedy, and triumph.Winner of the Sami Rohr Prize for Jewish Literature and hailed by the New York Times Book Review as a "brilliant, crushing book" and the New Yorker as a memoir of ruin "told without melodrama by its youngest survivor," The Man in the White Sharkskin Suit recounts the exile of the author's Jewish Egyptian family from Cairo in 1963 and her father's heroic and tragic struggle to survive his "riches to rags" trajectory.

    for the NES contains some of the most recognizable tunes in popular culture, and yet it’s safe to say that only a handful of people have thought beyond the music’s entertaining surface. After all, what could possibly be art-worthy about an early Mario score? Or any early game sound for that matter?In search of answers to these questions, Andrew Schartmann takes us on a journey from the primitive “pongs” of arcade machines to the complex musical fabrics woven by composers of the NES era. Where does that distinctly Nintendo-flavored sound come from? What sets NES music apart from its predecessors? And how has that iconic ‘80s videogame sound “invaded” popular culture?

    Misrepresented in the media as a black parallel to the Hell's Angels, portrayed as everything from a vicious street gang to quasi- Islamic revolutionaries, The Five Percenters are a movement that began as a breakaway sect from the Nation of Islam (NOI) in 1960s Harlem and went on to impact the formation of hip-hop. References to Five Percent language and ideas are found in the lyrics of wide-ranging artists, such as Nas, Rakim, the Wu-Tang Clan, and even Jay-Z. The Five Percenters are denounced by white America as racists, and orthodox Islam as heretics, for teaching that the black man is Allah. Michael Muhammad Knight ("the Hunter S. Thompson of Islamic literature" -The Guardian) has engaged this culture as both white and Muslim; and over the course of his relationship with The Five Percenters, his personal position changed from that of an outsider to an accepted participant with his own initiatory name (Azreal Wisdom). This has given him an intimate perch from which to understand and examine the controversial doctrines of this influential movement. In "Why I Am a Five Percenter," Knight strips away years of sensationalism to offer a serious encounter with Five Percenter thought. Encoded within Five Percent culture is a profound critique of organized religion, from which the movement derives its name: Only Five Percent can act as "poor righteous teachers" against the evil Ten Percent, the power structure which uses religion to deceive the Eighty- Five Percent, the "deaf, dumb, and blind" masses. Questioning his own relationship to the Five Percent, Knight directly confronts the community's most difficult teachings. In "Why I Am a Five Percenter," Knight not only illuminates a thought system that must appear bizarre to outsiders, but he also brilliantly dissects the very issues of"insiders" and "outsiders," territory and ownership, as they relate to religion and privilege, and to our conditioned ideas about race.

    He has been in the studio with Wilson, as well as on the road for the celebrated European Smile concerts, and the result is the full version of one of pop's mythic stories. Features forewords by Brian Wilson and Van Dyke Parks.Previously published by Sanctuary.

    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.

    The company had been a fixture on the national opera scene--as the populist antithesis of the grand Metropolitan Opera, a nurturing home for young American talent, and a place where new, lively ideas shook up a venerable art form. But NYCO's demise represented more than the loss of a cherished organization: it was a harbinger of massive upheaval in the performing arts--and a warning about how cultural institutions would need to change in order to survive.Drawing on extensive research and reporting, Heidi Waleson, one of the foremost American opera critics, recounts the history of this scrappy company and reveals how, from the beginning, it precariously balanced an ambitious artistic program on fragile financial supports. Waleson also looks forward and considers some better-managed, more visionary opera companies that have taken City Opera's lessons to heart.Above all, Mad Scenes and Exit Arias is a story of money, ego, changes in institutional identity, competing forces of populism and elitism, and the ongoing debate about the role of the arts in society. It serves as a detailed case study not only for an American arts organization, but also for the sustainability and management of nonprofit organizations across the country.

    Since the late 1980s, however, Sweden has produced over a thousand extreme heavy metal bands, creating one of the most respected regional music scenes in the world. This is the improbable history of how a marginalized teen movement crawled from Sweden's small towns and suburbs, and found a lasting place on the world stage. Daniel Ekeroth captures the epic tale with enlightening detail, beginning with Sweden's violent loss of innocence in the 1980s, through the metal's virtual chokehold on the country during the 1990s into the lasting legacy and influence in the turbulent 2000s of the Sunlight guitar tone, the "Gothenburg Sound," and the countless offshoots of Sweden's most lethal cultural export.This ultimate blow-by-blow account of Sweden’s legendary death metal underground is based on exclusive interviews with members of Nihilist/ Entombed, In Flames, At the Gates, Dismember, Grave, Hypocrisy, Opeth, Unleashed, Marduk, Morbid, Mob 47, Deranged, Edge of Sanity, Merciless, Therion, Liers in Wait, Carnage, Carcass, Tiamat/Treblinka, Afflicted, Repugnant, and the Haunted.

    It broadcast its final song, Pink Floyd’s “Shine On You Crazy Diamond,” in August 2009. In between, WBCN became the musical, cultural, and political voice of the young people of Boston and New England, sustaining a vibrant local music scene that launched such artists as the J. Geils Band, Aerosmith, James Taylor, Boston, the Cars, and the Dropkick Murphys, as well as paving the way for Bruce Springsteen, Tom Petty, U2, and many others. Along the way, WBCN both pioneered and defined progressive rock radio, the dominant format for a generation of listeners. Brilliantly told by Carter Alan—and featuring the voices of station insiders and the artists they loved—Radio Free Boston is the story of a city; of artistic freedom, of music and politics and identity; and of the cultural, technological, and financial forces that killed rock radio.

    Yerushalmi's previous writings... established him as one of the Jewish community's most important historians. His latest book should establish him as one of its most important critics. Zakhor is historical thinking of a very high order - mature speculation based on massive scholarship." - New York Times Book Review

    These refugees from czarist Russia and the Polish shtetls who came to America to escape pogroms and persecution were considered barbaric, uneducated, and too steeped in the traditions of the “old country” to be accepted by the more refined and already well-established German-Jewish community. But the new arrivals were tough, passionate, and determined, and in no time they were moving up from the ghetto tenements of New York’s Lower East Side to make their marks and their fortunes across the country in a variety of fields, from media and popular music to fashion, motion pictures, and even organized crime.   Among the unforgettable personages author Stephen Birmingham profiles are radio pioneer David Sarnoff, makeup mogul Helena Rubinstein, Hollywood tycoons Samuel Goldwyn and Harry Cohn, Broadway composer Irving Berlin, and mobster Meyer Lansky. From the author of “Our Crowd”, comes this treasure trove of fascinating tales and unforgettable “rags-to-riches” success stories that celebrates the indomitable spirit of a unique community.

    With new interviews, never-before-published material, and fresh insights, Turner helps the reader understand the religious and spiritual ideas and ideals that influenced the music and lives of the Beatles and helps us see how the Fab Four influenced our own lives and culture.Topics discussed include the religious upbringing of John, Paul, George, and Ringo; the backlash in the United States after John Lennon's "The Beatles are more popular than Jesus" comment; the dabbling in Eastern religion; the use of drugs to attempt to enter a higher level of consciousness; and the overall legacy that the Beatles and their music have left. While there is no religious system that permanently anchored the Beatles or their music, they did leave a gospel, Turner concludes: one of love, peace, personal freedom, and the search for transcendence.

    How can such sublime work have been produced by a man who (when we can discern his personality at all) seems so ordinary, so opaque—and occasionally so intemperate? John Eliot Gardiner grew up passing one of the only two authentic portraits of Bach every morning and evening on the stairs of his parents’ house, where it hung for safety during World War II. He has been studying and performing Bach ever since, and is now regarded as one of the composer’s greatest living interpreters. The fruits of this lifetime’s immersion are distilled in this remarkable book, grounded in the most recent Bach scholarship but moving far beyond it, and explaining in wonderful detail the ideas on which Bach drew, how he worked, how his music is constructed, how it achieves its effects—and what it can tell us about Bach the man. Gardiner’s background as a historian has encouraged him to search for ways in which scholarship and performance can cooperate and fruitfully coalesce. This has entailed piecing together the few biographical shards, scrutinizing the music, and watching for those instances when Bach’s personality seems to penetrate the fabric of his notation. Gardiner’s aim is “to give the reader a sense of inhabiting the same experiences and sensations that Bach might have had in the act of music-making. This, I try to show, can help us arrive at a more human likeness discernible in the closely related processes of composing and performing his music.” It is very rare that such an accomplished performer of music should also be a considerable writer and thinker about it. John Eliot Gardiner takes us as deeply into Bach’s works and mind as perhaps words can. The result is a unique book about one of the greatest of all creative artists.

    For the next 15 years, Trident Studios, was at the epicentre of the music industry, recording some of the era's greatest artists, from The Beatles and David Bowie to Elton John and Genesis. Trident also developed their own talent, including a raw and demanding four-piece band called Queen. After an acrimonious split with Trident, their volatile leader Freddie Mercury famously dedicated a song to Norman: Death On Two Legs. In Life On Two Legs, this legendary music figure breaks his forty year silence and sets the record straight, not just about Freddie and Queen but also about artists from John Lennon and Marc Bolan to Harry Nilsson and Phil Collins and the recording of such classics as Hey Jude by The Beatles and Space Oddity by David Bowie. Funny, fascinating and occasionally irreverent - and with a foreword by Sir Paul McCartney - this is an unmissable memoir that brings to vivid life some of rock's greatest characters as well as the era and the studio that produced some of its classic music.