The fights, the bands, the brawls, the haircuts, the egos, and much more—the definitive book about the infamous music magazine. For 60 years, since it was founded in 1952, the New Musical Express has played a central part in the British love affair with pop music—and has been essential for American connoisseurs to remain in-the-know as well. This authoritative history is an insider's account of the high times and low lives of one of the world's most influential music magazines. It explains the stories behind the stories that kept readers coming back week after week—the office brawls, the former staffers who launched their careers there (Tony Parsons, Julie Burchill, Nick Kent, Mick Farren, Steve Lamacq, and Stuart Maconie), and the bands who owe their success to the magazine. Snotty, confrontational, enthusiastic, and sarcastic: the new issue of the NME was the high point of any music fan's week, whether they were listening to The Beatles, Bowie, or Blur.

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    Disclosing his story through flashbacks and relying on research from his own case files, Razor pieces together the shattered fragments of his boyhood into a memoir that reads as compellingly as a novel.Abandoned as an infant at the State Public School in Owatonna, Minnesota, Razor was raised by abusive workers who thought of him as nothing more than "a dirty Injun." Cut off from his family and his heritage, he turns inward, forced to learn about the world on his own. After failed attempts to run away from the orphanage, he is indentured by the state to an abusive, reclusive farm family. Beaten, poorly fed, clothed in rags, and worked like slave labor, he struggles to attend high school and begins to dream of another life. Razor's stark and often chilling story, devoid of self-pity, recalls with haunting clarity the years he, like the locust, patiently waited to awaken and emerge.

    Heid E. Erdrich has selected twenty-one poets whose first books were published after the year 2000 to highlight the exciting works coming up after Joy Harjo and Sherman Alexie. Collected here are poems of great breadth―long narratives, political outcries, experimental works, and traditional lyrics―and the result is an essential anthology of some of the best poets writing now.Poets included are Tacey M. Atsitty, Trevino L. Brings Plenty, Julian Talamantez Brolaski, Laura Da’, Natalie Diaz, Jennifer Elise Foerster, Eric Gansworth, Gordon Henry, Jr., Sy Hoahwah, LeAnne Howe, Layli Long Soldier, Janet McAdams, Brandy Nalani McDougall, Margaret Noodin, dg okpik, Craig Santos Perez, Tommy Pico, Cedar Sigo, M. L. Smoker, Gwen Westerman, and Karenne Wood.

    But as time passed, David discovered the other side of Thurston Crow, the ex-con with his own code of ethics, one that justified cruelty, violence, lies—even murder. Intimidating David with beatings, Thurston coerced his son into doing his criminal bidding. David’s mom, too mentally ill to care for her children, couldn’t protect him.Through sheer determination, David managed to get into college and achieve professional success. When he finally found the courage to refuse his father’s criminal demands, he unwittingly triggered a plot of revenge that would force him into a deadly showdown with Thurston Crow. David would have only twenty-four hours to outsmart his father—the brilliant, psychotic man who bragged that the three years he spent in the notorious San Quentin State Prison had been the easiest time of his life.Raw and palpable, The Pale-Faced Lie is an inspirational story about the power of forgiveness and the strength of the human spirit.

    These botanical heirlooms, such as flowering almond, blackberry lily, and night-blooming cereus, usually can't be found in neighborhood garden centers; about the only way to obtain a passalong plant is to beg a cutting from the fortunate gardener who has one. In this lively and sometimes irreverent book (don't miss the chapter on yard art), Steve Bender and Felder Rushing describe 117 such plants, giving particulars on hardiness, size, uses in the garden, and horticultural requirements. They present this information in the informal, chatty, and sometimes humorous manner that your next-door neighbor might use when giving you a cutting of her treasured Confederate rose. And, of course, because they are discussing passalong plants, they note the best method of sharing each plant with other gardeners. Because you might not spy a banana shrub or sweet pea in your neighborhood, the authors list mail-order sources for the heirloom plants described. They also give tips on how to organize your own plant swap. Although the authors live in and write about the South, many of the plants they discuss will grow elsewhere. from the book Amid the clamor of press releases touting the newest, improved versions of this bulb or that perennial, what keeps people interested in old-fashioned plants? Nostalgia, for one thing. It's hard not to feel a special fondness for that Confederate rose, night-blooming cereus, or alstroemeria lovingly tended by your grandmother when you were a child. Such heirloom plants evoke memories of your first garden, of relatives and neighbors that have since passed on, of prized bushes you accidentally annihilated with your bicycle. Recall the time you first received a particular plant, and you'll recall the person who gave it to you.

    In Elsie’s Business, Elsie’s search through her own memories ultimately intersects with the search of a stranger who is seeking Elsie’s story. A picture emerges of a poor child, half black and half Native, whose mother has barely eked out a living for the two of them by tanning deerskins and cleaning houses. Rebuilding her life in a different town as a housekeeper, tanner, and beader of moccasins and bags, much like her mother, the taciturn Elsie finds modest comfort and connections among the white people who employ and befriend her. But her peace is fleeting, for someone from her past, or possibly her present, would like to see her silenced completely. A mystery of mesmerizing suspense and sadness, Elsie’s Business weaves the story of a ravaged woman into the traditional tales of her people to create a vivid sense of communities bound by storytelling and understanding and sundered by ignorance and silence.

    For decades Tom carved out a life for himself in shadows. He built an international music career and became a father, he battled demons and addiction, and he waited, hoping for the lies to cease and the truth to emerge. It would. And when it did, it would sweep up the St. Lawrence River to the Mohawk reserves of Quebec, on to the heights of the Manhattan skyline. With a rare gift for storytelling and an astonishing story to tell, Tom writes with unflinching honesty and extraordinary compassion about his search for the truth. It's a story about scars, about the ones that hurt us, and the ones that make us who we are.From Beautiful Scars Even as a kid my existence as the son of Bunny and George Wilson seemed far-fetched to me. When I went over it in my head, none of it added up. The other kids on East 36th Street in Hamilton used to tell me stories of their mothers being pregnant and their newborn siblings coming home from the hospital. Nobody ever talked about Bunny's and my return from the hospital. In my mind my birth was like the nativity, only with gnarly dogs and dirty snow and a chipped picket fence and old blind people with short tempers and dim lights, ashtrays full of Export Plain cigarette butts and bottles of rum. Once, when I was about four, I asked Bunny, "How come I don't look anything like you and George? How come you are old and the other moms are young?" "There are secrets I know about you that I'll take to my grave," she responded. And that pretty well finished that. Bunny built up a wall to protect her secrets, and as a result I built a wall to protect myself.