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Based on extensive original interviews, the detailed story of the beloved American rockers' formative years in the Midwest, and how those rural roads carried Cheap Trick to multiplatinum success.
Read Julie Klausner's posts on the Penguin Blog In the tradition of Cynthia Heimel and Chelsea Handler, and with the boisterous iconoclasm of Amy Sedaris, Julie Klausner's candid and funny debut I Don't Care About Your Band sheds light on the humiliations we endure to find love--and the lessons that can be culled from the wreckage. I Don't Care About Your Band posits that lately the worst guys to date are the ones who seem sensitive. It's the jerks in nice guy clothing, not the players in Ed Hardy, who break the hearts of modern girls who grew up in the shadow of feminism, thinking they could have everything, but end up compromising constantly. The cowards, the kidults, the critics, and the contenders: these are the stars of Klausner's memoir about how hard it is to find a man--good or otherwise--when you're a cynical grown-up exiled in the dregs of Guyville. Off the popularity of her New York Times "Modern Love" piece about getting the brush-off from an indie rock musician, I Don't care About Your Band is marbled with the wry strains of Julie Klausner's precocious curmudgeonry and brimming with truths that anyone who's ever been on a date will relate to. Klausner is an expert at landing herself waist-deep in crazy, time and time again, in part because her experience as a comedy writer (Best Week Ever, TV Funhouse on SNL) and sketch comedian from NYC's Upright Citizens Brigade fuels her philosophy of how any scene should unfold, which is, "What? That sounds crazy? Okay, I'll do it." I Don't Care About Your Band charts a distinctly human journey of a strong-willed but vulnerable protagonist who loves men like it's her job, but who's done with guys who know more about love songs than love. Klausner's is a new outlook on dating in a time of pop culture obsession, and she spent her 20's doing personal field research to back up her philosophies. This is the girl's version of High Fidelity. By turns explicit, funny and moving, Klausner's debut shows the evolution of a young woman who endured myriad encounters with the wrong guys, to emerge with real- world wisdom on matters of the heart. I Don't Care About Your Band is Julie Klausner's manifesto, and every one of us can relate.
Now an original movie on Prime Video starring Anne Hathaway and Nicholas Galitzine! When Solène Marchand, the thirty-nine-year-old owner of a prestigious art gallery in Los Angeles, takes her daughter, Isabelle, to meet her favorite boy band, she does so reluctantly and at her ex-husband’s request. The last thing she expects is to make a connection with one of the members of the world-famous August Moon. But Hayes Campbell is clever, winning, confident, and posh, and the attraction is immediate. That he is all of twenty years old further complicates things. What begins as a series of clandestine trysts quickly evolves into a passionate relationship. It is a journey that spans continents as Solène and Hayes navigate each other’s disparate worlds: from stadium tours to international art fairs to secluded hideaways in Paris and Miami. And for Solène, it is as much a reclaiming of self, as it is a rediscovery of happiness and love. When their romance becomes a viral sensation, and both she and her daughter become the target of rabid fans and an insatiable media, Solène must face how her new status has impacted not only her life, but the lives of those closest to her.
"Jon Fine spent nearly thirty years performing and recording with bands that played various forms of aggressive and challenging underground rock music, and, as he writes in this memoir, at no point were any of those bands 'ever threatened, even distantly, by actual fame.' Yet when members of his first band, Bitch Magnet, reunited after twenty-one years to tour ... diehard longtime fans traveled from far and wide to attend those shows, despite creeping middle-age obligations of parenthood and 9-to-5 jobs, testament to the remarkable staying power of the indie culture that the bands predating the likes of Bitch Magnet--among them Black Flag, Mission of Burma, and Sonic Youth --willed into existence through sheer determination and a shared disdain for the mediocrity of contemporary popular music"--Amazon.com.
A big, open-it-anywhere book created for music fans and pop-culture followers of all ages, The Band Name Book explains how (or where) the best-named bands in history got their names. Those names are profound, clever, silly, provocative or downright obscure. This entertaining book is full of information and trivia about bands from the dawn of rock 'n' roll right up to today's Internet-based independents. The Beatles are here, as well as Led Zeppelin, Pearl Jam, Nine Inch Nails and the Goo Goo Dolls. But the best fun is found with rock history's lesser-known groups, in Web-savvy contemporary bands, and with true originals. Among their names: Atomic Rooster Arctic Monkeys The Lemonheads The Formaldebrides The Soup Dragons Pavlov's Woody Arcade Fire Big Al and the Kaholics Hectic Watermelon Smorgasborgnine. The Band Name Book includes entries on thousands of bands from more than 30 countries, divided into dozens of entertaining and irreverent categories with special notes on name origins, genres and best album titles. There are profiles of notable bands. And there's even a list of "Names Still Available" for each category. Colour throughout
The Grateful Dead rose out of San Francisco's '60s underground rock scene with an unprecedented sound and image. Its members steeped in rock folk classical and blues; their instrumental prowess; and their refusal to bow to commercial conventions helped originate jam band music. Unapologetic in its advocacy of drug use as a means toward mind expansion the Dead helped catapult psychedelic music. After performing at the Monterey International Pop Festival and Woodstock the group became iconic without ever scoring a hit single. A large devoted fan base ä Deadheads ä began to follow the band everywhere. The group suffered a tragedy when bandleader Jerry Garcia slipped into a coma in 1986 but returned the next year with a top-selling album and surprise hit single Touch of Grey. By 1993 the Dead was the top-grossing live act in the United States. The band ended when Garcia died in 1995 but the music lives on with a stream of live releases. In ÊGrateful Dead FAQÊ Tony Sclafani examines the band's impact and influence on rock music and pop culture. This book ventures into unexplored areas and features a host of rare images making it a must-have for both Deadheads and casual fans.
My name is Amber Reynolds. There are three things you should know about me: 1. I’m in a coma. 2. My husband doesn’t love me anymore. 3. Sometimes I lie. Amber wakes up in a hospital. She can’t move. She can’t speak. She can’t open her eyes. She can hear everyone around her, but they have no idea. Amber doesn’t remember what happened, but she has a suspicion her husband had something to do with it. Alternating between her paralyzed present, the week before her accident, and a series of childhood diaries from twenty years ago, this brilliant psychological thriller asks: Is something really a lie if you believe it's the truth?
A veteran music journalist explores how four legendary rock bands—KISS, Cheap Trick, Aerosmith, and Starz—laid the foundation for two diametrically opposed subgenres: hair metal in the '80s and grunge in the '90s. It was the age when heavy-footed, humorless dinosaurs roamed the hard-rock landscape. But that all changed when into these dazed and confused mid-'70s strut-ted four flamboyant bands that reveled in revved-up anthems and flaunted a novel theatricality. In They Just Seem a Little Weird, veteran entertainment journalist Doug Brod offers an eye- and ear-opening look at a crucial moment in music history, when rock became fun again and a gig became a show. This is the story of friends and frenemies who rose, fell, and soared once more, often sharing stages, studios, producers, engineers, managers, agents, roadies, and fans-and who are still collaborating more than forty years on. In the tradition of David Browne's Fire and Rain and Sheila Weller's Girls Like Us, They Just Seem a Little Weird seamlessly interweaves the narratives of KISS, Cheap Trick, and Aerosmith with that of Starz, a criminally neglected band whose fate may have been sealed by a shocking act of violence. This is also the story of how these distinctly American groups-three of them now enshrined in the Rock and Roll Hall of Fame-laid the foundation for two seemingly opposed rock genres: the hair metal of Poison, Skid Row, and Mötley Crüe and the grunge of Nirvana, Alice in Chains, and the Melvins. Deeply researched, and featuring more than 130 new interviews, this book is nothing less than a secret history of classic rock.
A portrait of the legendary American rock-and-roll band draws on exclusive interviews to track their career from 1969 to the present and is complemented by previously unpublished photographs and memorabilia.
SHORTLISTED FOR THE COSTA BIOGRAPHY AWARD 2016 'Celebratory and elegiac' Guardian 'A roller-coaster memoir' Sunday Times 'Funny, anecdote-packed, nostalgic but also very touching' The Pool 'Patterson fillets out the pretentious bones of pop, leaving its glistening meat' Observer This is a three-decade survivor's tale . . . a scenic search for elusive human happiness through music, magazines, silly jokes, stupid shoes, useless blokes, hopeless homes, booze, drugs, love, loss, A&E, death, disillusion and hope. In 1986, Sylvia Patterson boarded a train to London armed with a tea-chest full of vinyl records, a peroxide quiff and a dream: to write about music, for ever. She got her wish. Escaping a troubled home, Sylvia embarks on a lifelong quest to discover The Meaning of It All. The problem is she's mostly hanging out with flaky pop stars, rock 'n' roll heroes and unreliable hip-hop legends. As she encounters music's biggest names, she is confronted by glamour and tragedy; wisdom and lunacy; drink, drugs and disaster. And Bros. Here is Madonna in her Earth Mother phase, flinging her hands up in horror at one of Sylv's Very Stupid Questions. Prince compliments her shoes while Eminem threatens to kill her. She shares fruit with Johnny Cash, make-up with Amy Winehouse and several pints with the Manics' lost soul-man Richey Edwards. She finds the Beckhams fragrant in LA, a Gallagher madferrit in her living room and Shaun Ryder and Bez as you'd expect, in Jamaica. From the 80s to the present day, I'm Not with the Band is a funny, barmy, utterly gripping chronicle of the last thirty years in music and beyond. It is also the story of one woman's wayward search for love, peace and a wonderful life. And whether, or not, she found them.