The western world was turned upside down by the rock ‘n' roll revolution and here's the real lowdown on the rock stars who made it happen — and what it did to their lives.

    In the process, he skillfully coaxes out a profound understanding of the men and women themselves, the context of their work, and how jazz—from horn blare to drum riff—is created conceptually. Expanding on his popular interviews for The New York Times, Ratliff speaks with Sonny Rollins, Ornette Coleman, Branford Marsalis, Dianne Reeves, Wayne Shorter, Joshua Redman, and others about the subtle variations in generation, training, and attitude that define their music.Playful and keenly insightful, The Jazz Ear is a revelatory exploration of a unique way of making and hearing music.

    Learn all about Barrett's career as lead member of the original Pink Floyd, his subsequent release from the group, and solo career. A revealing investigation into the life of a reclusive cult genius.

    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.

    With exclusive access to the RCA vaults, producer Ernst Jorgensen brings to intimate life every moment that Elvis spent in the studio--from the spontaneous joy of his early sessions to the intensely creative periods of his later career. At once the definitive recording session guide and a compellingly readable narrative, this is the ultimate companion to the singer and his songs.

    Here is their story, told for the first time in the words of the band. Adam "ADROCK" Horovitz and Michael "Mike D" Diamond offer revealing and very funny accounts of their transition from teenage punks to budding rappers; their early collaboration with Russell Simmons and Rick Rubin; the debut album that became the first hip hop record ever to hit #1, Licensed to Ill--and the album's messy fallout as the band broke with Def Jam; their move to Los Angeles and rebirth with the genre-defying masterpiece Paul's Boutique; their evolution as musicians and social activists over the course of the classic albums Check Your Head, Ill Communication, and Hello Nasty and the Tibetan Freedom Concert benefits conceived by the late Adam "MCA" Yauch; and more. For more than thirty years, this band has had an inescapable and indelible influence on popular culture.With a style as distinctive and eclectic as a Beastie Boys album, Beastie Boys Book upends the typical music memoir. Alongside the band narrative you will find rare photos, original illustrations, a cookbook by chef Roy Choi, a graphic novel, a map of Beastie Boys' New York, mixtape playlists, pieces by guest contributors, and many more surprises.

    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.

    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.

    In this provocative, unfailingly intelligent, thoroughly researched, and surprisingly convincing big idea book, Steven Johnson draws from fields as diverse as neuroscience, economics, and media theory to argue that the pop culture we soak in every day—from Lord of the Rings to Grand Theft Auto to The Simpsons—has been growing more sophisticated with each passing year, and, far from rotting our brains, is actually posing new cognitive challenges that are actually making our minds measurably sharper. After reading Everything Bad is Good for You, you will never regard the glow of the video game or television screen the same way again. With a new afterword by the author. Steven Johnson's newest book, How We Got to Now, is now available from Riverhead Books.

    But radio came roaring back with a whole new concept. The war was over, the baby boom was on, the country was in clover, and a bold new beat was giving the syrupy songs of yesteryear a run for their money. Add transistors, 45 rpm records, and a young man named Elvis to the mix, and the result was the perfect storm that rocked, rolled, and reinvented radio.Visionary entrepreneurs like Todd Storz pioneered the Top 40 concept, which united a generation. But it took trendsetting “disc jockeys” like Alan Freed, Murray the K, Wolfman Jack, Cousin Brucie, and their fast-talking, too-cool-for-school counterparts across the land to turn time, temperature, and the same irresistible hit tunes played again and again into the ubiquitous sound track of the fifties and sixties. The Top 40 sound broke through racial barriers, galvanized coming-of-age kids (and scandalized their perplexed parents), and provided the insistent, inescapable backbeat for times that were a-changin’.Along with rock-and-roll music came the attitude that would literally change the “voice” of radio forever, via the likes of raconteur Jean Shepherd, who captivated his loyal following of “Night People”; the inimitable Bob Fass, whose groundbreaking Radio Unnameable inaugurated the anything-goes free-form style that would come to define the alternative frontier of FM; and a small-time Top 40 deejay who would ultimately find national fame as a political talk-show host named Rush Limbaugh.From Hunter Hancock, who pushed beyond the limits of 1950s racial segregation with rhythm and blues and hepcat patter, to Howard Stern, who blew through all the limits with a blue streak of outrageous on-air antics; from the heyday of summer songs that united carefree listeners to the latter days of political talk that divides contentious callers; from the haze of classic rock to the latest craze in hip-hop, Something in the Air chronicles the extraordinary evolution of the unique and timeless medium that captured our hearts and minds, shook up our souls, tuned in–and turned on–our consciousness, and went from being written off to rewriting the rules of pop culture.

    Rock music was flying off in every direction, just as America itself seemed about to split at its seams. Following the circumscribed grooves and ambiance of In A Silent Way; coming off a tour with a burning new quintet-called 'The Lost Band'-with Wayne Shorter, Chick Corea, Dave Holland and Jack DeJohnette; he went into the studio with musicians like frighteningly talented guitarist John McLaughlin, and soulful Austrian keyboardist Joe Zawinul. Working with his essential producer, Teo Macero, Miles set a cauldron of ideas loose while the tapes rolled. At the end, there was the newly minted Prince of Darkness, a completely new way forward for jazz and rock, and the endless brilliance and depth of Bitches Brew.Bitches Brew is still one of the most astonishing albums ever made in either jazz or rock. Seeming to fuse the two, it actually does something entirely more revolutionary and open-ended: blending the most avant-garde aspects of Western music with deep grooves, the album rejects both jazz and rock for an entirely different idea of how music can be made.

    He is also an obsessive gamer who has spent untold hours in front of his various video game consoles, playing titles such as Far Cry 2, Left 4 Dead, BioShock, and Oblivion for, literally, days. If you are reading this flap copy, the same thing can probably be said of you, or of someone you know. Until recently, Bissell was somewhat reluctant to admit to his passion for games. In this, he is not alone. Millions of adults spend hours every week playing video games, and the industry itself now reliably outearns Hollywood. But the wider culture seems to regard video games as, at best, well designed if mindless entertainment. Extra Lives is an impassioned defense of this assailed and misunderstood art form. Bissell argues that we are in a golden age of gaming—but he also believes games could be even better. He offers a fascinating and often hilarious critique of the ways video games dazzle and, just as often, frustrate. Along the way, we get firsthand portraits of some of the best minds (Jonathan Blow, Clint Hocking, Cliff Bleszinski, Peter Molyneux) at work in video game design today, as well as a shattering and deeply moving final chapter that describes, in searing detail, Bissell’s descent into the world of Grand Theft Auto IV, a game whose themes mirror his own increasingly self-destructive compulsions. Blending memoir, criticism, and first-rate reportage, Extra Lives is like no other book on the subject ever published. Whether you love video games, loathe video games, or are merely curious about why they are becoming the dominant popular art form of our time, Extra Lives is required reading.

    A quarter of a century later, new fans are still finding their way into the lives of Rachel, Ross, Joey, Chandler, Monica, and Phoebe, and thanks to a combination of talented creators, its intimate understanding of its youthful audience, and its reign during network television’s last moment of dominance, Friends has become the most influential and beloved show of its era.Noted pop culture historian Saul Austerlitz is here to tell us how it happened. Utilizing exclusive interviews with creators David Crane and Marta Kauffman, executive producer Kevin Bright, director James Burrows, and many other producers, writers, and cast members, Generation Friends tells the story of Friends’ creation, its remarkable decade-long run, and its astonishing Netflix-fueled afterlife. Readers will learn how the show was developed and cast, written and filmed. They’ll be reminded of episodes like the one about the trivia contest, the prom video, and the London trip. And, of course, the saga of Ross and Rachel. They’ll also discover surprising details—that Monica and Joey were the show’s original romantic couple, how Danielle Steel probably saved Jennifer Aniston’s career, and why Friends is still so popular that if it was a new show, its over-the-air broadcast reruns would be the ninth-highest-rated program on TV. The show that defined the 1990s remains wildly popular today and has a legacy that has endured beyond wildest expectations. And in this hilarious, informative, and entertaining book, readers will now understand why.“A treat for Friends fans, from OG Must See TV viewers to the new generation of streamers, full of insights into what made a quintessential ’90s phenomenon into a lasting, international classic for the ages. You’ll get your share of juicy behind-the-scenes tidbits, from vicious writers’-room debates about Rachel and Joey’s romance to the time the producers almost moved the setting to Minneapolis (seriously). But you’ll also get a hit of nostalgia for a time when an entire nation hung on the fate of Ross and Rachel, and plenty of smart analysis of why Friends was the right show at the right time … and also continues to be the right show at an entirely different time.” —Jennifer Keishin Armstrong, New York Times bestselling author of Seinfeldia

    A godlike entity in the history of rock and roll, this twentieth-century icon with a dazzling voice blended gospel and traditionally black rhythm and blues with country to create a completely new kind of music and new way of expressing male sexuality, which simply blew the doors off a staid and repressed 1950s America.In Being Elvis veteran rock journalist Ray Connolly takes a fresh look at the career of the world’s most loved singer, placing him, forty years after his death, not exhaustively in the garish neon lights of Las Vegas but back in his mid-twentieth-century, distinctly southern world. For new and seasoned fans alike, Connolly, who interviewed Elvis in 1969, re-creates a man who sprang from poverty in Tupelo, Mississippi, to unprecedented overnight fame, eclipsing Frank Sinatra and then inspiring the Beatles along the way.Juxtaposing the music, the songs, and the incendiary live concerts with a personal life that would later careen wildly out of control, Connolly demonstrates that Elvis’s amphetamine use began as early as his touring days of hysteria in the late 1950s, and that the financial needs that drove him in the beginning would return to plague him at the very end. With a narrative informed by interviews over many years with John Lennon, Bob Dylan, B. B. King, Sam Phillips, and Roy Orbison, among many others, Connolly creates one of the most nuanced and mature portraits of this cultural phenomenon to date.What distinguishes Being Elvis beyond the narrative itself is Connolly’s more subtle examinations of white poverty, class aspirations, and the prison that is extreme fame. As we reach the end of this poignant account, Elvis’s death at forty-two takes on the hue of a profoundly American tragedy. The creator of an American sound that resonates today, Elvis remains frozen in time, an enduring American icon who could “seamlessly soar into a falsetto of pleading and yearning” and capture an inner emotion, perhaps of eternal yearning, to which all of us can still relate.Intimate and unsparing, Being Elvis explores the extravagance and irrationality inherent in the Elvis mythology, ultimately offering a thoughtful celebration of an immortal life.

    chart hit. The band followed it with 40 further albums of consistently challenging, distinctive and innovative music. Drawing on hours of new interviews, and encouraged by Crimson supremo Robert Fripp, the author traces the band’s turbulent history year by year, track by track.