She talks of her life, career, family and loves and impending motherhood with surprising intimacy and, being true to her outspoken reputation, complete honesty.

    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!

    What started as five young men with a common dream of becoming rock stars eventually disintegrated into in-fighting, ego clashes, and financial disputes, until in 1995, following the release of Definitely Maybe, things came to a head and Tony left the band. Here, Tony reveals the truth about the early years before the band was formed. He discusses the drug consumption, the sexual activities, his much-publicized rift with Noel Gallagher, and how he was duped into signing a less-than-favorable record contract. His recollections include stories involving David Beckham, Prince, Eric Cantona, and John McEnroe. Witty, revealing, and fascinating, this book is a must-read for Oasis fans.

    Always concerned that his audiences had the best experience possible, he was honored a never equaled three consecutive years by "Billboard Magazine" as Concert Promoter of the Year in 1978 through 1980. During Barry Fey's 32 years as a promoter he has rubbed elbows and cut deals with nearly every legend of Rock 'n Roll and in "Back Stage Past" he shares those behind the scenes stories of a mercurial business during a tumultuous time. It is a backstage pass to never before revealed tales of the Rock 'n Roll business and its performers. Includes an original poem by U2 great Bono.

    As the group grew in fame and notoriety, incidents of bad behavior mounted alarmingly. Whether it's Geezer's lyrical journeys into the underworld or the gun-obsessed Ozzy Osbourne at home in Atrocity Cottage, this is Sabbath as you've never known them before. A real-life Spinal Tap, this is a warm, funny tribute to four mates from Birmingham who became the biggest heavy rock band in the world.

    The band had just released Terrapin Station and had not toured for twenty months. In 1977, the Grateful Dead reached a musical peak, and their East Coast spring tour featured an exceptional string of performances, including the one at Cornell.Many Deadheads claim that the quality of the live recording of the show made by Betty Cantor-Jackson (a member of the crew) elevated its importance. Once those recordings ― referred to as "Betty Boards" ― began to circulate among Deadheads, the reputation of the Cornell '77 show grew exponentially. That aura grew with time and, in the community of Deadheads and audiophiles, the show at Barton Hall acquired legendary status.Rooted in dozens of interviews ― including a conversation with Betty Cantor-Jackson about her recording ― and accompanied by a dazzling selection of never-before-seen concert photographs, Cornell ’77 is about far more than just a single Grateful Dead concert. It is a social and cultural history of one of America’s most enduring and iconic musical acts, their devoted fans, and a group of Cornell students whose passion for music drove them to bring the Dead to Barton Hall. Peter Conners has intimate knowledge of the fan culture surrounding the Dead, and his expertise brings the show to life. He leads readers through a song-by-song analysis of the performance, from “New Minglewood Blues” to “One More Saturday Night,” and conveys why, forty years later, Cornell ’77 is still considered a touchstone in the history of the band.

    A short critical essay which considers the significance of the title.

    . . Baby One More Time,” Britney Spears quickly became an international pop idol. At just 27 years of age, she has racked up five number-one albums, seven top-10 singles, and seven sold-out world tours. For all of her success, however, over the past decade Britney’s private life has been a difficult one. She has endured numerous failed relationships as well as a very public divorce and custody battle, all in the full glare of the international media. Drawing on exclusive interviews with those closest to her, this is an engrossing portrait of fascinating superstar.

    It left the business of rock stardom to rock stars. But by 1992 alternative rock had spawned a revolution in music and style that transformed youth culture and revived a moribund music industry. Five years later, alternative rock was over, leaving behind a handful of dead heroes, a few dozen masterpieces, and a lot more questions than answers. What, if anything, had the alternative revolution meant? And had it been possible - as so many of its heroes had insisted - for it to be both on MtV and under the radar? Had it used the machinery of corporate rock to destroy corporate rock? In ENtERtAIN US! Craig Schuftan takes you on a journey through the nineties - from Sonic Youth's 'Kool thing' to Radiohead's 'Kid A', NEVERMIND to ODELAY, Madchester to Nu-Metal, Lollapalooza to Woodstock '99 - narrated in the voices of the decade's most important artists. this is the story of alternative rock - the people who made it, the people who loved it, the industry that bought and sold it, and the culture that grew up in its wake - in the last decade of the twentieth century.

    But he has an rare gift — he is a musical prodigy who amazes all who hear him play.

    On a personal level, too, he seemed to take pleasure in insulting everyone who crossed his path. How did this Jewish boy from Long Island, an adolescent doo-wop singer, rise to the status of Godfather of Punk? And how did he maintain that status for decades?Dirty Blvd.—the first new biography of Reed since his death in 2013—digs deep to answer those questions. And along the way it shows us the tender side of his prickly personality.Born in Brooklyn, Reed was the son of an accountant and a former beauty queen, but he took the road less traveled, trading literary promise for an entry-level job as a budget-label songwriter and founding the Velvet Underground under the aegis of Andy Warhol. The cult of personality surrounding his transformation from downtown agent provocateur to Phantom of Rock and finally to patron saint of the avant-garde was legendary, but there was more to his artistic evolution than his abrasive public persona. The lives of many American rock stars have had no second act, but Reed’s did.Dirty Blvd. not only covers the highlights of Reed’s career but also explores lesser-known facets of his work, such as his first recordings with doo-wop group the Jades, his key literary influences and the impact of Judaism upon his work, and his engagement with the LGBT movement. Drawing from new interviews with many of his artistic collaborators, friends, and romantic partners, as well as from archival material, concert footage, and unreleased bootlegs of live performances, author Aidan Levy paints an intimate portrait of the notoriously uncompromising rock poet who wrote “Heroin,” “Sweet Jane,” “Walk on the Wild Side,” and “Street Hassle”—songs that transcended their genre and established Lou Reed as one of the most influential and enigmatic American artists of the past half-century.

    Author John Glatt tells the story of the Fillmores through the lives of Bill Graham, Janis Joplin, Grace Slick, Carlos Santana, and an all-star supporting cast. Joplin opened the Fillmore East and delivered some of her greatest performances there and at its San Francisco twin. Carlos Santana grew up as a performer at the Fillmore West after being discovered by Graham on audition night. Always unpredicatable, Grace Slick’s electrifying Jefferson Airplane was the de facto resident band at both Fillmores. Chronicling the East and West Coast cultures of the late ’60s and early '70s—New York City with its speed, heroin, and the Velvet Underground versus San Francisco with the LSD-drenched Summer of Love—Glatt reveals how Graham the made it all possible . . . that is, until August 1969 when Woodstock changed everything and musicians suddenly realized their power.     But why did Bill Graham shutter both Fillmores within weeks of each other in 1971, during the height of their popularity? Live at the Fillmore East and West reveals how Graham’s claim that “The flowers wilted and the scene changed,” was not quite the whole story.

    Features stunning color photos of Michael and P/V/G arrangements of all 18 songs. Titles are: Bad * Beat It * Billie Jean * Dirty Diana * Don't Stop 'Til You Get Enough * Man in the Mirror * Rock with You * Smooth Criminal * Thriller * and more.

    She made her place behind the boards and right in the front row as insurgents such as SSD, Minor Threat, Bad Brains, Dead Kennedys and Black Flag wrote new rules and made history. She survived punk riots and urban decay, ran the streets with outcasts, and ultimately found true love as she fought for fairness and found her purpose.

    This hugely unique and influential album deserves close analysis from a fan, rather than a musicologist. Novelist Alan Warner details the concrete music we hear on the album, how it was composed, executed and recorded--including the history of the album in terms of its release, promotion and art work. This tale of Tago Mago is also the tale of a young man obsessed with record collecting in the dark and mysterious period of pop music before Google. Warner includes a backtracking of the history of the band up to that point and also some description of Can's unique recording approach taking into account their home studio set up.Interviews with the three surviving members: drummer Jaki Liebezeit, keyboardist Irmin Schmidt and bassist Holger Czukay make this a hilariously personal and illuminating picture of Can.