This sweeping chronicle of music, politics, drugs, fear, loathing, and faith has been recognized as an indie rock classic in its own right. Among the bands profiled: Mission of Burma, Butthole Surfers, The Minutemen, Sonic Youth, Black Flag, Big Black, Hüsker Dü, Fugazi, Minor Threat, Mudhoney, The Replacements, Beat Happening, and Dinosaur Jr.

    But as the end of the millennium neared, cutting-edge bands began emerging from Seattle, Austin, and London, pushing New York further from the epicenter. The behemoth music industry, too, found itself in free fall, under siege from technology. Then 9/11/2001 plunged the country into a state of uncertainty and war—and a dozen New York City bands that had been honing their sound and style in relative obscurity suddenly became symbols of glamour for a young, web-savvy, forward-looking generation in need of an anthem.Meet Me in the Bathroom charts the transformation of the New York music scene in the first decade of the 2000s, the bands behind it—including The Strokes, The Yeah Yeah Yeahs, LCD Soundsystem, Interpol, and Vampire Weekend—and the cultural forces that shaped it, from the Internet to a booming real estate market that forced artists out of the Lower East Side to Williamsburg. Drawing on 200 original interviews with James Murphy, Julian Casablancas, Karen O, Ezra Koenig, and many others musicians, artists, journalists, bloggers, photographers, managers, music executives, groupies, models, movie stars, and DJs who lived through this explosive time, journalist Lizzy Goodman offers a fascinating portrait of a time and a place that gave birth to a new era in modern rock-and-roll.

    In Major Labels, Sanneh distills a career's worth of knowledge about music and musicians into a brilliant and omnivorous reckoning with popular music--as an art form (actually, a bunch of art forms), as a cultural and economic force, and as a tool that we use to build our identities. He explains the history of slow jams, the genius of Shania Twain, and why rappers are always getting in trouble.Sanneh shows how these genres have been defined by the tension between mainstream and outsider, between authenticity and phoniness, between good and bad, right and wrong. Throughout, race is a powerful touchstone: just as there have always been Black audiences and white audiences, with more or less overlap depending on the moment, there has been Black music and white music, constantly mixing and separating. Sanneh debunks cherished myths, reappraises beloved heroes, and upends familiar ideas of musical greatness, arguing that sometimes, the best popular music isn't transcendent. Songs express our grudges as well as our hopes, and they are motivated by greed as well as idealism; music is a powerful tool for human connection, but also for human antagonism. This is a book about the music everyone loves, the music everyone hates, and the decades-long argument over which is which. The opposite of a modest proposal, Major Labels pays in full.

    After indie favorite Nirvana catapulted into the mainstream with its unexpected phenomenon, Nevermind, rebellion was suddenly en vogue. Looking to replicate the band’s success, major record labels set their sights on the underground, and began courting punk’s rising stars. But the DIY punk scene, which had long prided itself on its trademark authenticity and anti-establishment ethos, wasn’t quite ready to let their homegrown acts go without a fight. The result was a schism: those who accepted the cash flow of the majors, and those who defiantly clung to their indie cred.   In Sellout, seasoned music writer Dan Ozzi chronicles this embattled era in punk. Focusing on eleven prominent bands who made the jump from indie to major, Sellout charts the twists and turns of the last “gold rush” of the music industry, where some groups “sold out” and rose to surprise super stardom, while others buckled under mounting pressures. Sellout is both a gripping history of the music industry’s evolution, and a punk rock lover’s guide to the chaotic darlings of the post-grunge era, featuring original interviews and personal stories from members of modern punk’s most (in)famous bands:Green DayJawbreakerJimmy Eat WorldBlink-182At the Drive-InThe DonnasThursdayThe DistillersMy Chemical RomanceRise AgainstAgainst Me!

    In the insightful How Music Works, Byrne offers his unique perspective on music - including how music is shaped by time, how recording technologies transform the listening experience, the evolution of the industry, and much more.

    Listen to This, which takes its title from a beloved 2004 essay in which Ross describes his late-blooming discovery of pop music, showcases the best of his writing from more than a decade at The New Yorker. These pieces, dedicated to classical and popular artists alike, are at once erudite and lively. In a previously unpublished essay, Ross brilliantly retells hundreds of years of music history—from Renaissance dances to Led Zeppelin—through a few iconic bass lines of celebration and lament. He vibrantly sketches canonical composers such as Schubert, Verdi, and Brahms; gives us in-depth interviews with modern pop masters such as Björk and Radiohead; and introduces us to music students at a Newark high school and indie-rock hipsters in Beijing.Whether his subject is Mozart or Bob Dylan, Ross shows how music expresses the full complexity of the human condition. Witty, passionate, and brimming with insight, Listen to This teaches us how to listen more closely.

    Savage brings to life the sensational story of the meteoric rise and rapid implosion of the Pistols through layers of rich detail, exclusive interviews, and rare photographs. This fully revised and updated edition of the book covers the legacy of punk twenty-five years later and provides an account of the Pistols' 1996 reunion as well as a freshly updated discography and a completely new introduction.

    Godfathers of alternative rock, they reinvented music in the post-punk era, creating a new sound—dark, hypnotic, and intense—that would influence U2, Morrissey, R.E.M., Radiohead, and numerous others. The story is now legendary: in 1980, on the heels of their groundbreaking debut, Unknown Pleasures, and on the eve of their first U.S. tour, the band was rent asunder by the tragic death of their enigmatic lead singer, Ian Curtis. Yet in the mere three years they were together, Joy Division produced two landmark albums and a handful of singles—including the iconic anthem "Love Will Tear Us Apart"—that continue to have a powerful resonance.Now, for the first time, their story is told by one of their own. In Unknown Pleasures, founding member and bass player Peter Hook recounts how four young men from Manchester and Salisbury, with makeshift instruments and a broken-down van, rose from the punk scene to create a haunting, atmospheric music that would define a generation. Peter talks with eye-opening candor and reflection about the suicide of Ian Curtis; the band's friendships and fallouts; the evolution of their sound and image; and the larger-than-life characters who formed a vital part of the Joy Division legend, including Factory Records founder Tony Wilson and producer Martin Hannett. Told with surprising humor and vivid detail, Unknown Pleasures is the book Joy Division fans have awaited for decades.

    The Song Machine goes behind the scenes to offer an insider’s look at the global hit factories manufacturing the songs that have everyone hooked. Full of vivid, unexpected characters—alongside industry heavy-hitters like Katy Perry, Rihanna, Max Martin, and Ester Dean—this fascinating journey into the strange world of pop music reveals how a new approach to crafting smash hits is transforming marketing, technology, and even listeners’ brains. You’ll never think about music the same way again.A Wall Street Journal Best Business Book

    Iggy Pop, Danny Fields, Dee Dee and Joey Ramone, Malcom McLaren, Jim Carroll, and scores of other famous and infamous punk figures lend their voices to this definitive account of that outrageous, explosive era. From its origins in the twilight years of Andy Warhol's New York reign to its last gasps as eighties corporate rock, the phenomenon known as punk is scrutinized, eulogized, and idealized by the people who were there and who made it happen.

    RIP IT UP AND START AGAIN is a celebration of what happened next.Post-punk bands like PiL, Joy Division, Talking Heads, The Fall and The Human League dedicated themselves to fulfilling punk's unfinished musical revolution. The post-punk groups were fervent modernists; whether experimenting with electronics and machine rhythm or adapting ideas from dub reggae and disco, they were totally confident they could invent a whole new future for music.

    It chronicles the back-story of Greenwich Village in the early days of the folk music explosion, when Dylan was honing his skills and she was in the ring with him.A shy girl from Queens, Suze Rotolo was the daughter of Italian working-class Communists. Growing up at the start of the Cold War and during McCarthyism, she inevitably became an outsider in her neighborhood and at school. Her childhood was turbulent, but Suze found solace in poetry, art, and music. In Washington Square Park, in Greenwich Village, she encountered like-minded friends who were also politically active. Then one hot day in July 1961, Suze met Bob Dylan, a rising young musician, at a folk concert at Riverside Church. She was seventeen, he was twenty; they were young, curious, and inseparable. During the years they were together, Dylan was transformed from an obscure folk singer into an uneasy spokesperson for a generation.Suze Rotolo’s story is rich in character and setting, filled with vivid memories of those tumultuous years of dramatic change and poignantly rising expectations when art, culture, and politics all seemed to be conspiring to bring our country a better, freer, richer, and more equitable life. She writes of her involvement with the civil rights movement and describes the sometimes frustrating experience of being a woman in a male-dominated culture, before women’s liberation changed the rules for the better. And she tells the wonderfully romantic story of her sweet but sometimes wrenching love affair and its eventual collapse under the pressures of growing fame.A Freewheelin’ Time is a vibrant, moving memoir of a hopeful time and place and of a vital subculture at its most creative. It communicates the excitement of youth, the heartbreak of young love, and the struggles for a brighter future.

    Rock journalism on: Brian Wilson, Guns'N'Roses, Roky Erickson, The New York Dolls, Sid Vicious, Roy Orbison, Elvis Costello, The Smiths, Neil Young, Jerry Lee Lewis, Miles Davis, The Pogues, Lou Reed, Syd Barrett, The Rolling Stones, Iggy Pop, Kurt Cobain

    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.

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