The chafing restrictions of a typical upbringing in upper-class, small town Alabama simply did not apply to Zelda, who was described as an unusual child and permitted to roam the streets with little supervision. Zelda refused to blossom into a typical 'Southern belle' on anyone's terms but her own and while still in high school enjoyed the status of a local celebrity for her shocking behavior. Everybody in town knew the name Zelda Sayre. Queen of the Montgomery social scene, Zelda had a different beau ready and willing to show her a good time for every day of the week. Before meeting F. Scott Fitzgerald, Zelda's life was a constant pursuit of pleasure. With little thought for the future and no responsibilities to speak of, Zelda committed herself fully to the mantra that accompanied her photo in her high school graduation book: "Why should all life be work, when we all can borrow. Let's think only of today, and not worry about tomorrow." But for now Zelda was still in rehearsal for her real life to begin, a life she was sure would be absolutely extraordinary. Zelda Sayre married F. Scott Fitzgerald on the 3rd of April 1920 and left sleepy Montgomery behind in order to dive headfirst into the shimmering, glamourous life of a New York socialite. With the publication of Scott's first novel, This Side of Paradise, Zelda found herself thrust into the limelight as the very epitome of the Flapper lifestyle. Concerned chiefly with fashion, wild parties and flouting social expectations, Zelda and Scott became icons of the Jazz Age, the personification of beauty and success. What Zelda and Scott shared was a romantic sense of self-importance that assured them that their life of carefree leisure and excess was the only life really worth living. Deeply in love, the Fitzgeralds were like to sides of the same coin, each reflecting the very best and worst of each other. While the world fell in love with the image of the Fitzgeralds they saw on the cover of magazines, behind the scenes the Fitzgerald's marriage could not withstand the tension of their creative arrangement. Zelda was Scott's muse and he mercilessly mined the events of their life for material for his books. Scott claimed Zelda's memories, things she said, experiences she had and even passages from her diary as his possessions and used them to form the basis of his fictional works. Zelda had a child but the domestic sphere offered no comfort or purpose for her. The Flapper lifestyle was not simply a phase she lived through, it formed the very basis of her character and once the parties grew dull, the Fitzgeralds' drinking became destructive and Zelda's beauty began to fade, the world held little allure for her. Zelda sought reprieve in work and tried to build a career as a ballet dancer. When that didn't work out she turned to writing but was forbidden by Scott from using her own life as material. Convinced that she would never leave her mark on the world as deeply or expressively as Scott had, Zelda retreated into herself and withdrew from the people she knew in happier times. The later years of Zelda's life were marred by her detachment from reality as, diagnosed with schizophrenia, Zelda spent the last eighteen years of her life living in and out of psychiatric hospitals. As Scott's life unraveled due to alcohol abuse, Zelda looked back on the years they had spent together, young and wild and beautiful, as the best of her life. She may have been right but she was wrong about one thing, Zelda did leave her mark on the world and it was a deep and expressive mark that no one could have left but her. Zelda Fitzgerald: The Biography

    So begins Preachin' the Blues, the biography of American blues signer and guitarist Eddie James "Son" House, Jr. (1902 - 1988). House pioneered an innovative style, incorporating strong repetitive rhythms with elements of southern gospel and spiritual vocals. A seminal figure in the history of the Delta blues, he was an important, direct influence on such figures as Muddy Waters and Robert Johnson. The landscape of Son House's life and the vicissitudes he endured make for an absorbing narrative, threaded through with a tension between House's religious beliefs and his spells of commitment to a lifestyle that implicitly rejected it. Drinking, womanizing, and singing the blues caused this tension that is palpable in his music, and becomes explicit in one of his finest performances, "Preachin' the Blues." Large parts of House's life are obscure, not least because his own accounts of them were inconsistent. Author Daniel Beaumont offers a chronology/topography of House's youth, taking into account evidence that conflicts sharply with the well-worn fable, and he illuminates the obscurity of House's two decades in Rochester, NY between his departure from Mississippi in the 1940s and his "rediscovery" by members of the Folk Revival Movement in 1964. Beaumont gives a detailed and perceptive account of House's primary musical legacy: his recordings for Paramount in 1930 and for the Library of Congress in 1941-42. In the course of his research Beaumont has unearthed not only connections among the many scattered facts and fictions but new information about a rumoured murder in Mississippi, and a charge of manslaughter on Long Island - incidents which bring tragic light upon House's lifelong struggles and self-imposed disappearance, and give trenchant meaning to the moving music of this early blues legend.

    Based on more than 100 interviews, this intelligent profile explores Morrison's roots; the hard times he went through in London, New York, and Boston; the making of his seminal albums Moondance and Astral Weeks; and the disastrous business arrangements that left Morrison hungry and penniless while his songs were topping the charts. Detailed are the breakdown of Morrison's marriage, the creative drought that followed, and his triumphant reemergence. In addition, this biography attempts to explain the forbidding aspects of Morrison's persona, such as paranoia, hard drinking, misanthropy, as well as why, in the words of his one-time singing partner Linda Gail Lewis, Morrison's music "brings happiness to other people, not him." Also included is a Van Morrision sessionography that spans 1964 to 2001.

    The unauthorized behind-the-scenes story of the making and marketing of one of rock's original supergroups, viewed from the perspective of an executive from Kiss's business management team.

    Sound Pictures offers a powerful and intimate account of how he did so. The second and final volume of the definitive biography of the man, Sound Pictures traces the story of the Beatles' breathtaking artistic trajectory after reaching the creative heights of Rubber Soul. As the bandmates engage in brash experimentation both inside and outside the studio, Martin toils along with manager Brian Epstein to consolidate the Beatles' fame in the face of growing sociocultural pressures, including the crisis associated with the "Beatles are more popular than Jesus" scandal. Meanwhile, he also struggles to make his way as an independent producer in the highly competitive world of mid-1960s rock 'n' roll. As Martin and the Beatles create one landmark album after another, including such masterworks as Revolver, Sgt. Pepper's Lonely Hearts Club Band, The Beatles (The White Album), and Abbey Road, the internal stakes and interpersonal challenges become ever greater. During his post-Beatles years, Martin attempts to discover new vistas of sound recording with a host of acts, including Jeff Beck, America, Cheap Trick, Paul McCartney, and Elton John, his creative breakthroughs followed by unprecedented commercial success. Eventually, though, all roads bring Martin back to the Beatles, as the group seeks out new ways to memorialize their achievement under the supervision of the man who has come to be known as Sir George. Now, more than fifty years after the Beatles' revolutionary triumphs, Martin's singular stamp on popular music has become more vital than ever, as successive generations discover the magic of the Beatles and their groundbreaking sound.

    Numerous one-on-one conversations with Ozzy, Tony, Geezer, and Bill, as well as ten interviews with Ronnie James Dio, and additional interviews with supporting musicians such as Tony Martin, Ian Gillan, Glenn Hughes, Vinny Appice, and Neil Murray, make this full-colour retrospective a must for any fan. The drugs, drink, depression, and doom surrounding this band from the start have imbued songs like “The Wizard,” “Paranoid,” “Iron Man” “War Pigs,” “Children of the Grave” and “Heaven and Hell” with an almost supernatural importance among lovers of dark music. In the wider realm, full albums such as Master of Reality, Sabbath Bloody Sabbath, Sabotage, and Heaven and Hell show up with regularity on lists of greatest records of all time. Doom Let Loose explains how such classics came to be. It also deals with their tour history, documenting the places rocked, the bands who supported the Sabs, and most notably the trials and tribulations of the band and they tried to hold it together in the Satan-obsessed, drug-addled America of the Nixon era. Look for all manner of Sabbath photos and artefacts that make this examination of heavy metal’s fearsome foursome as feast for the eyes as well as the enquiring mind.

    December 4, 1978.In an appalling demonstration of the way in which a charismatic leader can bend the minds of his followers with a devilish blend of professed altruism and psychological tyranny, some 900 members of the California-based Peoples Temple died in a self-imposed ritual of mass suicide and murder.The followers of the Rev. Jim Jones, 47, a once respected Indianaborn humanitarian who degenerated into egomania and paranoia, had first ambushed a party of visiting Americans, killing California Congressman Leo Ryan, 53, three newsmen and one defector from their heavily guarded colony at Jones-town. Then, exhorted by their leader, intimidated by armed guards and lulled with sedatives and painkillers, parents and nurses used syringes to squirt a concoction of potassium cyanide and potassium chloride onto the tongues of babies. The adults and older children picked up paper cups and sipped the same deadly poison sweetened by purple Kool-Aid.This story is part of the TIME Classic Coverage Collection from Time Inc. This is a reproduction of a story that appeared in the December 4, 1978 issue of TIME magazine. Time Inc. is one of the world’s most influential media companies – home to 90 iconic brands like People, Sports Illustrated, Time, InStyle, Real Simple, Food & Wine, and Fortune. The Spotlight Stories in this collection aim to provide you with a quick read on a single subject, highlighting our readers’ most popular stories and featuring great reporting from our Time Inc. journalists.

    For every incredible career high there was a hefty personal downside: divorce, drunkenness, and death seemed as synonymous with the Gibbs as falsetto harmonies, flares, and multi-platinum record sales.Not long before his death, Robin made it clear that he believed the Gibbs had been forced to pay the highest possible cost for their success. "All the tragedies my family has suffered . . . is a kind of karmic price we are paying for all the fame and fortune we've had." This is the story of the brothers' incredible careers and an examination of the Gibb 'curse'--an all-too-human look at the rollercoaster ride of fame.

    For the Stones, nothing would ever be the same again.For ten days on that tour, the Rolling Stones traveled by train and bus to play two shows a night in many of the same small town halls and theaters where they had begun their career. Performing brand new songs like "Bitch," "Brown Sugar," "Wild Horses," and "Can't You Hear Me Knockin'" from their as-yet-unreleased album Sticky Fingers live on stage for the very first time, they also played classics like "Midnight Rambler," "Honky Tonk Women," "Satisfaction," "Street Fighting Man," and Chuck Berry's "Little Queenie" and "Let It Rock."Because only one journalist—Robert Greenfield—was allowed to accompany the Stones on this tour, there has never before been a full-length account of the landmark event that marked the end of the first chapter of the Rolling Stones' extraordinary career.In a larger sense, Ain't It Time We Said Goodbye is the story of two artists on the precipice. For Mick Jagger and Ketih Richards, as well as those who traveled with them, the Rolling Stones' farewell tour of England was the end of the innocence. No laminates. No backstage passes. No security. No sound checks and no rehearsals. Just the Rolling Stones on the road playing rock 'n' roll the way it was truly meant to be seen and heard.Based on Greenfield's first-hand account as well as new interviews with many of the key players, Ain't It Time We Said Goodbye is a vibrant and thrilling look at the way it once was and would never be again in the world according to the Rolling Stones.

    Aged sixty, he had just mourned the death of his father, only to be handed a diagnosis of mouth and throat cancer.This momentous time in his life, and being at the most famous junction in music history, led Radcliffe to think about the pivotal tracks in music and how the musicians who wrote and performed them - from Woodie Guthrie to Gloria Gaynor, Kurt Cobain to Bob Marley - had reached the crossroads that led to such epoch-changing music.In this warm, intimate account of music and its power to transform our lives, Radcliffe takes a personal journey through these touchstone tracks, looking at the story behind the records and his own experiences as he goes in search of these moments.

    Almost forty years later, front man Gram Parsons, is still spoken of with almost messianic reverence. Patron saint of alt-country, emblazoned with a shining cross, dead at 26. Overshadowed by Parsons, this album remains an anomaly in the country rock genre, a map in miniature of a moment in music, and warrants discussion as more than part of the Gram Parsons legacy.

    In this highly readable short biography, Alexander Kennedy brings Mozart and his times vividly to life. Here we see the sweeping grandeur of the courts Mozart visited as a child prodigy, and the grasping desperation of his scheming father. We follow the composer through the flush of his first love up through his marriage to Constanze Weber, and from his first, half-plagiarized concertos to masterpieces like The Magic Flute. We watch Mozart clash with family and friends, with archbishops and emperors, and we feel again the tragedy of his mysterious early death. And above all, we hear his eternal music: music that captivated a continent, defined a genre, and changed the world. “I pay no attention whatever to anybody's praise or blame. I simply follow my own feelings” - Wolfgang Amadeus Mozart Buy Now to Discover: A layperson’s explanation of the devices that made Mozart’s music unique. The complicated relationship between Mozart and his demanding father. Mozart’s love affair with his cousin Maria Anna Thekla. The surprising story behind the premiere of La nozze di Figaro. Mozart’s friendship with fellow master Joseph Haydn. The most likely cause of Mozart’s young death. Mozart’s influence on Rossini, Beethoven, Tchaikovsky, and more. Read Your Book Now Your book will be instantly and automatically delivered to your Kindle device, smartphone, tablet, and computer. FREE Bonus Book Buy this book now and receive instant access to your free Kindle ebook. Money Back Guarantee If you start reading our book and are not completely satisfied with your purchase, simply return it to Amazon within 7 days for a full refund. Go to Your Account -> Manage Your Content and Devices -> Find the Book -> Return for Full Refund. Buy Now and Read The True Story of Wolfgang Amadeus Mozart... Thank you in advance for buying our book. We know you'll love it!

    On top of the genius singles and a longform composition for Nike, there was a trilogy of full-length albums. During that initial run, LCD Soundsystem-and the project's mastermind, James Murphy-were at the center of several 21st century developments in pop culture: indie music's growing mainstream clout, Brooklyn surpassing Manhattan as an epicenter of creativity in America, the collision and eventual erosion of genre perceptions, and the rapid and profound growth and impact of digital culture. Amidst this storm, Murphy crafted Sound Of Silver, the centerpiece of LCD's work.At the time of Sound Of Silver's creation and release, Murphy was a man closing in on 40 while fronting a critically-adored band still on the ascent. This album was the first place where he earnestly grappled with questions of aging, of being an artist, and the decisions we make with the time we have left. Anchored by a series of colossal, intense dance-rock songs, Sound Of Silver called upon the rhythms of New York City in order to draw out, dissect, and ultimately rip open these meditations. By the time LCD Soundsystem reunited in 2016, Sound Of Silver had already proven to be a generational touchstone, living on as a document of what it's like to be alive in the 21st century.

    Without radio play and virtually unnoticed by the press, the Dead forged a vast underground following whose loyalty survives to the present day. National Book Critics Circle Award-winning author Carol Brightman returns to the band's roots—to Ken Kesey and the Merry Pranksters, the acid tests and the heady days of Haight-Ashbury, the free concerts in Golden Gate Park and the formative shows of New York's Fillmore East—to uncover the secrets of the band's longevity. Drawing on exclusive interviews With band members, staff and crew, Deadheads, other musicians, journalists—and her own experience as a '60s activist—Brightman shows us how, amid the turbulent Free Speech Movement and antiwar rallies, the Grateful Dead's abandonment to music, drugs, and dance offered the faithful a shelter in the storm. Her riveting, in-depth portrait of Jerry Garcia, the "nonleader leader" who held to a vision of the Grateful Dead's destiny even as he recoiled from the juggernaut it became, shows us how it was that a Dead concert become something halfway between a revival meeting and a family reunion. An absorbing and exhilarating exploration, Sweet Chaos offers, at last, a complete understanding of the Dead phenomenon and its place in American culture.

    Her life is one of stunning extremes. The author tells her whole story of what it was like to have love affairs with the likes of Paul Newman, Errol Flynn, Tommy Smothers, Rod Taylor, Vince Edwards, and Hugh O’Brian, plus exciting friendships with the Rat Pack, Judy Garland, Bobby Kennedy, Jay Sebring, Elizabeth Taylor, John Wayne, and Marilyn Monroe (to name only a few!).