Soulsby interviewed over 200 musicians from bands that played and toured with Nirvana, including well-known alternative bands such as Hole, Mudhoney, Meat Puppets, Buzzcocks, Butthole Surfers, and the Jesus Lizard, as well as countless others from the alternative rock revolution. Readers get a more personal history of Nirvana than ever before, including Nirvana's consideration of nearly a dozen previously unmentioned candidates for drummer before settling on David Grohl; a recounting of Nirvana's famously disastrous South American shows from never-before-heard sources; and recollections from their first manager, who hosted the band's first ever gig.I Found My Friends relives Nirvana's meteoric rise from the days before the legend to through their increasingly damaged superstardom. More than twenty years after Kurt Cobain's tragic death, Nick Soulsby removes the posthumous halo from the brow of Kurt Cobain and travels back through time to observe one of rock and roll's most critical bands as no one has ever seen them before.

    It explores the use of art to survive abuse, incest, madness and depression, and the often deep-seated impulse toward self-destruction including cutting, eating disorders, and addiction. Here, some of our most compelling cartoonists, novelists, poets, dancers, playwrights, and burlesque performers traverse the pains and passions that can both motivate and destroy women artists, and mark a path for survival. Taken together, these artful reflections offer an honest and hopeful journey through a woman's silent rage, through the power inherent in struggles with destruction, and the ensuing possibilities of transforming that burning force into the external release of art. With contributions by Nan Goldin, bell hooks, Patricia Smith, Cristy C. Road, Carol Queen, Annie Sprinkle, Elizabeth Stephens, Carolyn Gage, Eileen Myles, Fly, Diane DiMassa, Bonfire Madigan Shive, Inga Muscio, Kate Bornstein, Toni Blackman, Nicole Blackman, Silas Howard, Daphne Gottleib, and Stephanie Howell.

    That's what this books is about - whether it be major life lessons, like 'If you lie, you will get caught', simple truths like, 'Flowers work', or something wholly unique like, 'Watch out for the high strung brother in the military'.

    His foremost interpreter revisits more than forty years of listening to Dylan?weaving individual moods and moments into a brilliant history of their changing times

    The Parisian episode is fascinating for its expose of the kitchens of posh French restaurants, where the narrator works at the bottom of the culinary echelon as dishwasher, or plongeur. In London, while waiting for a job, he experiences the world of tramps, street people, and free lodging houses. In the tales of both cities we learn some sobering Orwellian truths about poverty and of society.

    Scott Fitzgerald, Ernest Hemingway, Tennessee Williams, John Berryman, John Cheever, and Raymond Carver. All six of these writers were alcoholics, and the subject of drinking surfaces in some of their finest work, from Cat on a Hot Tin Roof to A Moveable Feast. Often they did their drinking together—Hemingway and Fitzgerald ricocheting through the cafés of 1920s Paris; Carver and Cheever speeding to the liquor store in Iowa in the icy winter of 1973.Olivia Laing grew up in an alcoholic family herself. One spring, wanting to make sense of this ferocious, entangling disease, she took a journey across America that plunged her into the heart of these overlapping lives. As she travels from Cheever's New York to Williams' New Orleans, from Hemingway's Key West to Carver's Port Angeles, she pieces together a topographical map of alcoholism, from the horrors of addiction to the miraculous possibilities of recovery. Beautiful, captivating and original, The Trip to Echo Spring strips away the myth of the alcoholic writer to reveal the terrible price creativity can exert.

    She tells of being poor, hopeful, and adrift in the city that became her great teacher; of the small apartment that, when she was nineteen, became the home in which she transformed herself; of how punk rock gave form and voice to her own fury and explosive energy.Solnit recounts how she came to recognize the epidemic of violence against women around her, the street harassment that unsettled her, the trauma that changed her, and the authority figures who routinely disdained and disbelieved girls and women, including her. Looking back, she sees all these as consequences of the voicelessness that was and still is the ordinary condition of women, and how she contended with that while becoming a writer and a public voice for women’s rights.She explores the forces that liberated her as a person and as a writer—books themselves, the gay men around her who offered other visions of what gender, family, and joy could be, and her eventual arrival in the spacious landscapes and overlooked conflicts of the American West. These influences taught her how to write in the way she has ever since, and gave her a voice that has resonated with and empowered many others.

    . ."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.

    Dispatches from the Edge, Cooper's memoir of "war, disasters and survival," is a brief but powerful chronicle of Cooper's ascent to stardom and his struggle with his own tragedies and demons. Cooper was 10 years old when his father, Wyatt Cooper, died during heart bypass surgery. He was 20 when his beloved older brother, Carter, committed suicide by jumping off his mother's penthouse balcony (his mother, by the way, being Gloria Vanderbilt). The losses profoundly affected Cooper, who fled home after college to work as a freelance journalist for Channel One, the classroom news service. Covering tragedies in far-flung places like Burma, Vietnam, and Somalia, Cooper quickly learned that "as a journalist, no matter ... how respectful you are, part of your brain remains focused on how to capture the horror you see, how to package it, present it to others." Cooper's description of these horrors, from war-ravaged Baghdad to famine-wracked Niger, is poignant but surprisingly unsentimental. In Niger, Cooper writes, he is chagrined, then resigned, when he catches himself looking for the "worst cases" to commit to film. "They die, I live. It's the way of the world," he writes. In the final section of Dispatches, Cooper describes covering Hurricane Katrina, the story that made him famous. The transcript of his showdown with Louisiana Sen. Mary Landrieu (in which Cooper tells Landrieu people in New Orleans are "ashamed of what is happening in this country right now") is worth the price of admission on its own. Cooper's memoir leaves some questions unanswered--there's frustratingly little about his personal life, for example--but remains a vivid, modest self-portrait by a man who is proving himself to be an admirable, courageous leader in a medium that could use more like him. --Erica C. Barnett

    Rollins's observations range from the wry to the raucous in this blistering account of a six-year career with the band - a time marked by crazed fans, vicious cops, near-starvation, substance abuse, and mind numbing all-night drives. Rollins decided to revise this edition by adding a wealth of new photographs, a new foreword, and an afterword to include some "where-are-they-now" information on the people featured in the book. This new edition includes 40 previously unpublished black-and-white photographs from Rollins's private collection and show flyers by artist Raymond Pettibon. Called "a soul-frying experience not to be undertaken by lightweights" by Wired magazine, Get in the Van perfectly embodies what one critic called the "secular gospel" of one of punk and post-punk's most respected and controversial figures.

    Jacobs's hilarious, enlightening, and seemingly impossible quest to read the Encyclopaedia Britannica from A to Z. 33,000 Pages44 Million Words10 Billion Years Of History1 Obsessed ManTo fill the ever-widening gaps in his Ivy League education, A.J. Jacobs sets for himself the daunting task of reading all thirty-two volumes of the Encyclopaedia Britannica. His wife, Julie, tells him it's a waste of time, his friends believe he is losing his mind, and his father, a brilliant attorney who had once attempted the same feat and quit somewhere around Borneo, is encouraging but unconvinced. With self-deprecating wit and a disarming frankness, The Know-It-All recounts the unexpected and comically disruptive effects Operation Encyclopedia has on every part of Jacobs's life -- from his newly minted marriage to his complicated relationship with his father and the rest of his charmingly eccentric New York family to his day job as an editor at Esquire. Jacobs's project tests the outer limits of his stamina and forces him to explore the real meaning of intelligence as he endeavors to join Mensa, win a spot on Jeopardy!, and absorb 33,000 pages of learning. On his journey he stumbles upon some of the strangest, funniest, and most profound facts about every topic under the sun, all while battling fatigue, ridicule, and the paralyzing fear that attends his first real-life responsibility -- the impending birth of his first child. The Know-It-All is an ingenious, mightily entertaining memoir of one man's intellect, neuroses, and obsessions, and a struggle between the all-consuming quest for factual knowledge and the undeniable gift of hard-won wisdom.

    She remembers the exhilaration of whipping a snowball at a car and having it hit straight on. She remembers playing with the skin on her mother's knuckles, which "didn't snap back; it lay dead across her knuckle in a yellowish ridge." She remembers the compulsion to spend a whole afternoon (or many whole afternoons) endlessly pitching a ball at a target. In this intoxicating account of her childhood, Dillard climbs back inside her 5-, 10-, and 15-year-old selves with apparent effortlessness. The voracious young Dillard embraces headlong one fascination after another--from drawing to rocks and bugs to the French symbolists. "Everywhere, things snagged me," she writes. "The visible world turned me curious to books; the books propelled me reeling back to the world." From her parents she inherited a love of language--her mother's speech was "an endlessly interesting, swerving path"--and the understanding that "you do what you do out of your private passion for the thing itself," not for anyone else's approval or desire. And one would be mistaken to call the energy Dillard exhibits in An American Childhood merely youthful; "still I break up through the skin of awareness a thousand times a day," she writes, "as dolphins burst through seas, and dive again, and rise, and dive."

    Whether he's discussing courtship rituals or pop culture, drones or the rhythms of daily life in an extended family compound, he transports us beyond the alarmist headlines of an anxious West and a volatile East and helps to bring a dazzling diverse world within emotional and intellectual reach.

    Jung's early business of flying marijuana into the United States from the mountains of Mexico took a dramatic turn when he met Carlos Lehder, a young Colombian car thief with connections to the then newly born cocaine operation in his native land. Together they created a new model for selling cocaine, turning a drug used primarily by the entertainment elite into a massive and unimaginably lucrative enterprise-- one whose earnings, if legal, would have ranked the cocaine business as the sixth largest private enterprise in the Fortune 500.The ride came to a screeching halt when DEA agents and Florida police busted Jung with three hundred kilos of coke, effectively unraveling his fortune. But George wasn't about to go down alone. He planned to bring down with him one of the biggest cartel figures ever caught.With a riveting insider account of the lurid world of international drug smuggling and a super-charged drama of one man's meteoric rise and desperate fall, Bruce Porter chronicles Jung's life using unprecedented eyewitness sources in this critically acclaimed true crime classic.

    He describes what it was like to interview the mighty Robert Moses; what it felt like to begin discovering the extent of the political power Moses wielded; the combination of discouragement and exhilaration he felt confronting the vast holdings of the Lyndon B. Johnson Library and Museum in Austin, Texas; his encounters with witnesses, including longtime residents wrenchingly displaced by the construction of Moses’ Cross-Bronx Expressway and Lady Bird Johnson acknowledging the beauty and influence of one of LBJ’s mistresses. He gratefully remembers how, after years of loneliness, he found a writers’ community at the New York Public Library’s Frederick Lewis Allen Room and details the ways he goes about planning and composing his books. Caro recalls the moments at which he came to understand that he wanted to write not just about the men who wielded power but about the people and the politics that were shaped by that power. And he talks about the importance to him of the writing itself, of how he tries to infuse it with a sense of place and mood to bring characters and situations to life on the page. Taken together, these reminiscences–some previously published, some written expressly for this book–bring into focus the passion, the wry self-deprecation, and the integrity with which this brilliant historian has always approached his work.