From toughing it out in Texas to his appearance at Woodstock, his affair with Janis Joplin, his stadium-filling tours, and binging on drugs and the temptations of the road before finally fulfilling his dream of becoming a 100-percent pure bluesman, resurrecting the career of Muddy Waters, and winning a Grammy Award for his effort, this is a raucous roller coaster of a true story.

    Over the course of eighteen shows, Mordden demonstrates that Sondheim is a classical composer who happens to write musicals. Sondheim has intellectualized the musical by tackling serious content usually reserved for the spoken stage: nonconformism (in Anyone Can Whistle, 1964), history (in Pacific Overtures, 1976), and cannibalism as a metaphor for class warfare (Sweeney Todd, 1979). Yet his work combines complex music and intellectual plots with a masterly skill for the fabric of theatre. His shows are all intensely theatrical, produced with flair and brilliance, whether in the lush operetta of A Little Night Music (1973) or the quixotic fairy-tale magic of Into the Woods (1987).Mordden provides fresh insights and analyses of every Sondheim show, from his first hit (West Side Story, 1957) to his most recent title (Road Show, 2008). Each musical has a dedicated chapter, including articles on Sondheim's life and his major influences, and comprehensive bibliographical and discographical essays place the Sondheim literature and recordings in perspective. Writing with his usual blend of the scholarly and the popular - with a wicked sense of humor - Ethan Mordden reveals why Stephen Sondheim has become Broadway's most significant voice in the last fifty years.

    These stars allegedly use Illuminati and satanic symbolism in their music videos and on their clothes that goes unnoticed by those not “in the know.”Since these stars appear in our livings rooms on family friendly mainstream shows like Good Morning America, Ellen, and dozens of others—and are loved by virtually all the kids—they couldn’t possibly have anything to do with the infamous Illuminati or anything “satanic,” could they? Some famous musicians have even publicly denounced the Illuminati in interviews or songs.Illuminati in the Music Industry takes a close look at some of today’s hottest stars and decodes the secret symbols, song lyrics, and separates the facts from the fiction in this fascinating topic. You may never see your favorite musicians the same way ever again. Includes 50 photographs.Discover why so many artists are promoting the Illuminati as the secret to success. Why an aspiring rapper in Virginia shot his friend as an “Illuminati sacrifice” hoping it would help him become rich and famous. How and why the founder of BET Black Entertainment Television became the first African American billionaire.Why popular female pop stars like Rihanna, Christina Aguilera, Kesha and others are promoting Satanism as cool, something that was once only seen in heavy metal and rock and roll bands. Some musicians like Korn’s singer Jonathan Davis, rapper MC Hammer, Megadeth’s frontman Dave Mustaine and others, have all denounced the Illuminati and artists promoting them. Les Claypool, singer of Primus wrote a song about the Bohemian Grove.Muse singer Matt Bellamy recants his belief that 9/11 was an inside job after getting a taste of mainstream success with his album, The Resistance. Bono said he attended an Illuminati meeting with other celebrities. Was he joking or serious?Why rap and hip hop is filled with Illuminati puppets and wannabes more than other genres of music.Learn about media effects, the power of celebrity, what the externalization of the hierarchy means and how you can break free from the mental enslavement of mainstream media and music. By the author of The Illuminati: Facts & Fiction-About the Author-Mark Dice is a media analyst, author, and political activist who, in an entertaining and educational way, gets people to question our celebrity obsessed culture and the role the mainstream media and elite secret societies play in shaping our lives. Mark's YouTube channel has received over 150 million views and his viral videos have been mentioned on the Fox News Channel, CNN, the Drudge Report, TMZ, the New York Daily News, the New York Post, and other media outlets around the world.He has been featured on various television shows including the History Channel's Decoded and America's Book of Secrets, Conspiracy Theory with Jesse Ventura, Secret Societies of Hollywood on E! Channel, America Declassified on the Travel Channel, and is a frequent guest on Coast to Coast AM, The Alex Jones Show, and more.Mark Dice is the author of several popular books on secret societies and conspiracies, including The Illuminati in Hollywood, Big Brother: The Orwellian Nightmare Come True, The New World Order, Facts & Fiction, Inside the Illuminat

    This revised edition includes 75 exclusive photos and two new chapters that chart the band’s activities from 1998 to 2001, right up to the release of Everyday and the mysterious discovery of the Lillywhite sessions. Included is fascinating commentary on Before These Crowded Streets, Live at Luther College, and Listener Supported. The personal lives of each band member are expanded upon, and new coverage of DMB tours, the creation of Dave’s own record label, and the worldwide growth of DMB fans is provided.

    Starting with the band's origins in Oxford, journalist Martin Clarke covers the essential points: Radiohead's breakout single "Creep," the pivotal album OK Computer, Thom Yorke's continuing political and artistic evolution, and the band's future. This revised edition includes a close look at how the band escaped the rock straightjacket with Kid A and Amnesiac , as well as their most recent album, Hail to the Thief . Clark also offers an in-depth examination of the outspoken, mysterious Yorke, offering insight into the personal demons the vocalist has battled throughout his career as Radiohead's frontman. An incisive look at one of the world's most beloved, followed musical acts, Radiohead: Hysterical and Useless provides stimulating coverage of a provocative group.

    This super collection features 366 more well-known songs arranged for ukulele from the 1950s through today, by artists such as Carole King, Elton John, the Bee Gees, Stevie Wonder, the Beatles, Paul Simon, Bob Dylan, Michael Jackson and others, plus favorites from movies, Broadway, Motown and more! Just like the first Daily Ukulele book, all arrangements feature melody, lyrics and ukulele chord grids in uke-friendly keys. A special "Ukulele 101" section, a chord chart, and vintage ukulele-themed photos round out the fun. Tunes include: Ain't No Sunshine * Anticipation * Bubbly * Calendar Girl * Come Monday * Falling Slowly * Hallelujah * I Got You Babe * Lean on Me * Moondance * Route 66 * Sweet Caroline * We Are the World * Y.M.C.A. and scores more! The Daily Ukulele: Leap Year Edition offers ukulele fun all year long even on February 29th!

    People talk about it like it’s so easy. But how do you do it in a way that fits your style, protects your relationship with baby and actually works? Don’t worry, I’ll tell you. In this quick and easy guide, I’ll distill all the basics from the best resources out there on baby sleep. I skip the parent shaming and a ton of fluff that the other books are filled with, and I’ll give you the best cliff’s notes version out there so that in an hour or so you can be a sleep-expert, too. I'll explain why sleep is so important, and tell you the biggest secret out there about smooth sleep training (hint: it has nothing to do with how much crying you can tolerate). Parenting isn’t one size fits all, so I give you three solid options that can fit anyone’s paradigm and I'll walk you through a 14-day plan to revolutionize sleep for everyone. What are you waiting for? Let's get your sleep on!

    Includes lead sheets for such standard vocal repertoire pieces as: Yesterday * I'm Beginning to See the Light * and I Heard it Through the Grapevine. Maximize your vocal potential with this outstanding guide

    He has now abandoned his past. Through interviews with Barrett's family and friends, this book provides an account of the man and his illness.

    In 1979, Thatcher's Britain was a country crippled by strikes, joblessness, and economic gloom, divided by race and class—and skanking to a new beat: 2 Tone. The unruly offspring of white boy punk and rude boy ska, the Specials burst on to the scene. On stage they were electric, and at the heart of this energy was the vocal chemistry of the ethereal Terry Hall and Jamaican rude boy Neville Staple. In 1961, five-year-old Neville was sent to England to live with his father, a man for whom discipline bordered on child abuse. As he recounts here, growing up black in the Midlands of the 1960s and 1970s wasn't easy, and his youth was marked by scuffles with skins, compulsive womanizing, and a life of crime that led from shoplifting to burglary and eventually prison. But throughout there was music, and Nev reveals how he became part of the most important band of the 1980s. He remembers sound system battles; the legendary 2 Tone tour with the Selecter, Madness, and Dexy's, and their clashes with white nationalist thugs. He recalls the band's increasing tensions and eventual split; his subsequent foray into bubblegum pop with Fun Boy Three; and a newfound fame in America as godfather to Third Wave ska bands. Finally he reflects on the Specials' reunion and how even now, 30 years later, they can't help tearing themselves apart.

    More than just an engaging personal account, it's a story about personal growth, coming of age, and the real power of punk and hardcore. Gain an insider's look at a truly influential underground movement.

    The catalogue of current classical CDs runs to more than two and half thousand tightly packed pages, and lists nearly three hundred composers before reaching the second letter of the alphabet. An average month sees some four hundred recordings and re-issues added to the pile. The Rough Guide to Classical Music attempts to make sense of this overwhelming volume of music, giving you the information that's essential whether you're starting from the beginning or have already begun exploring. As well as being a buyer's guide to CDs, this book is a who's who of classical music, ranging from Hildegard of Bingen, one of the great figures of eleventh-century European culture, to Thomas Adès, born in London in 1971. Of course we've had to be selective, both with the composers and with their output - Domenico Scarlatti, for example, was a fascinating musician, but no book of this scope could do justice to each of his five hundred keyboard sonatas. Gaetano Donizetti wrote more than seventy operas, but you wouldn't want to listen to all of them. We've gone for what we think are the best works by the most interesting composers, mixing some underrated people with the big names, and highlighting some we think you should keep an eye on. When it comes to CDs the situation requires even greater ruthlessness. Beethoven may have written only nine symphonies, but there are more than one hundred versions of the fifth in the catalogue, and scores of recordings of all the others. Several of these CDs should never have been issued - they are there simply because any up-and-coming conductor has to make a Beethoven recording as a kind of calling card, regardless of any aptitude for the music. However, a fair proportion of the Beethoven CDs are worth listening to, because a piece of music as complex as a Beethoven symphony will bear as many different readings as a Shakespeare play. Although there are recordings that stand head and shoulders above the competition, no performance can be described as definitive, which is one reason why we have often recommended more than one account of a work. Whereas all our first-choice CDs make persuasive cases for the music, some of the additional recommendations are included because they make provocative counter-arguments. Where price is a consideration, we've also listed a lower-cost alternative whenever appropriate - thus we might suggest a mid-price boxed set of symphonies as an alternative to buying them as full-price individual CDs. Finally, in many instances we've picked an outstanding pre-stereo performance as a complement to a modern recording. These `historic' reissues are the one reliable growth area in the classical music industry, and their success is not due to mere nostalgia. There are some great musicians around today, but there's also a lot of hype in the business, with many soloists owing their success more to the way they look than to the way they play - and conversely, many superlative musicians who remain obscure because they don't project the requisite glamour. It's in the area of orchestral music and opera that the situation is especially bad, notwithstanding the technically immaculate quality of many digital recordings. Orchestral musicians are now trained to a very high standard, but only a few of the top-class orchestras enjoy the sort of long-term relationship with an individual conductor that can mould a distinctive identity. The same goes for opera companies, which used to have a stable core of singers and musicians working under the same conductor for years. Now there's a system based on jet-setting stars, who might be performing in London one night, New York the next, then in the recording studio for a few days to record something with people they hadn't met until the day the session started. You don't necessarily get a good football team by paying millions for a miscellaneous batch of top-flight players, and you don't build a good musical team that way either. Musically, then, new is not always best. And don't assume that a recording made more than thirty years ago will sound terrible. Sound quality won't match that of digital CDs, but you'll be surprised at how good it can be - indeed, many people prefer the warmth of the old analogue sound to the often chilly precision produced by modern studios. (We've warned you if surface noise or tinny quality might be a hindrance to enjoyment.) In short, you'll be missing a lot if you insist on hi-tech - few recent releases can match Vladimir Horowitz's 1940 account of Tchaikovsky's Piano Concerto No. 1, for instance, or Josef Hofmann's versions of the Chopin piano concertos from the 1930s.

    A golden Fender Stratocaster hidden away in an attic for 30 years. A sunburst Gibson Les Paul worth $100,000. Jimi Hendrix’s Strat burned by the guitarist during a concert—and then mysteriously lost for decades. The mint Fender Broadcaster forgotten under a bed in a neighbor’s house. The 1960s Rickenbacker bought for $50 at a garage sale! These days, classic vintage guitars can bring Ferrari and Porsche prices. Baby boomers who wish they’d been rock ’n’ roll stars have shot the market into the stratosphere for classic models. As with automobiles, finding that classic guitar stashed away beneath a bed, in a closet, hidden away in an attic, or in the dusty corner of a guitar shop is the Holy Grail.

    Through the introduction of MTV and the alternative rock revolution, it's been many things. Rude. Brilliant. Soulful. Snotty. Angry. Delirious. In the past two decades, genres have spawned like mad, from goth, indie rock, and gangsta rap to emo and the garage rock revival. This twentieth-anniversary tribute celebrates the passion and fury of the music, with original essays, quotes, and photographs by contributors who are as hopelessly obsessed with it as you are. SPIN: 20 Years of Alternative Music features: Alan Light on Beastie Boys, Ann Powers on U2, Charles Aaron on R.E.M., Dave Eggers on The Smiths + Morrissey, Marc Spitz on Goth, Simon Reynolds on Depeche Mode + Synth-pop, Dave Itzkoff on ’80s Teen Movies, Chuck Klosterman on Weezer, Will Hermes on Radiohead, Neil Strauss on Nine Inch Nails + Industrial, Sacha Jenkins on Public Enemy, Andy Greenwald on Emo, RJ Smith on Gangsta Rap, Jon Dolan on The White Stripes, Chris Norris on Nirvana, Doug Brod on Oasis + Britpop, Jim DeRogatis on Smashing Pumpkins, Laura Sinagra on Courtney Love, Ta-Nehisi Coates on Tupac

    Matthew Bannister said he was going to reinvent the station, the most popular in Europe. But things didn't go exactly to plan. The station lost millions of listeners. Its most famous DJs left, and their replacements proved to be disasters. Radio 1's commercial rivals regarded the internal turmoil with glee. For a while a saviour arrived, in the shape of Chris Evans. But his behaviour caused further upheavals, and his eventual departure provoked another mass desertion by listeners. What was to be done? In the middle of this crisis, Radio 1 bravely (or foolishly) allowed the writer Simon Garfield to observe its workings from the inside. For a year he was allowed unprecedented access to management meetings and to DJs in their studios, to research briefings and playlist conferences. Everyone interviewed spoke in passionate detail about their struggle to make their station credible and successful once more. The result is a gripping and often hilarious portrait a much loved national institution as it battles back from the brink of calamity.