Living in the Merry Ghetto reframes how people use music to build resistance. Author Trever Hagen addresses the social context of illegal music-making in Czechoslovakia during state socialism. He tells the story of a group of rock'n'roll musicians who went underground after 1968, building a parallel world from where they could flourish: the Merry Ghetto. The book examines the case of the Czech Underground and the politics of their music and their way of life, paying close attention to the development of the ensemble The Plastic People of the Universe. Taking in multiple political transitions from the 1940s-2000s, the story focuses on non-official cultural practices such as listening to foreign radio broadcasts, seeking out copied cassette tapes, listening to banned LPs, growing long hair, attending clandestine concerts, smuggling albums via diplomats, recording in home-studios and being thrown in prison for any of these activities. Drawing on ethnographic interviews with Undergrounders, archival research and participant observation, Hagen shows how these practices shaped consciousness, informed bodies and promoted collective action, all of which contributed to an Underground identity.

The Oxford Handbook of Mobile Music Studies consolidates an area of scholarly inquiry that examines how electrical technologies and their corresponding economies of scale have rendered music and sound increasingly mobile - portable, fungible, and ubiquitous. At once a marketing term, a common mode of everyday-life performance, and an instigator of experimental aesthetics, "mobile music" opens up a space for studying the momentous transformations in the production, distribution, consumption, and experience of music and sound that took place from the late nineteenth to the early twenty-first centuries. The second volume of the handbook examines the aesthetics of mobile music and its proliferating forms of performance, incorporating epistemologies and methodologies from a number of disciplines, including music studies, sound studies, mobility studies, communication studies, new media studies, performance studies, and more. The contributors draw on political economy and economic sociology, ethnography and autoethnography, musical and sonic transcription, analysis and hermeneutics, and historical and archival research. The chapters treat a significant number of devices, including the the flash drive, the field recorder, the mobile phone, the handheld video game, the laptop computer, the siren, and even a pair of shoes. The Handbook likewise investigates the sonification and musicalization of vehicles - boom cars, trains, and ice cream trucks - and the sonics and musics of walking, texting, and commuting. Its chapters cover a large swath of the world - the US, the UK, Japan, Brazil, Germany, Turkey, Mexico, France, China, Jamaica, Iraq, the Philippines, India - and a similarly broad array of musical styles and practices, from the recondite and subcultural to the mass-popular and global. The most comprehensive book of its kind, this handbook is a necessary reference for scholars in multiple fields.

Una de las superestrellas mas impresionantes y adoradas en la historia de la musica latina, Selena fue un fenomemeno del espectaculo quien compartio todo lo que era con sus millones de fans. Su tragica muerte a la temprana edad de veintitres anos privo al mundo de su talento y su potencial ilimitado; a su familia la dejo sin su querido angel; y a su esposo, Chris Perez, sin el amor de su vida. Por mas de una decada, Chris se agarro de lo unico que le quedaba de su esposa: los recuerdos conmovedores, y en ocasiones dolorosos, de su amor profundo. Ahora, por primera vez, Chris habla sobre su poderosa amistad, su relacion prohibida y su floreciente matrimonio interrumpido por la imperdonable muerte de Selena. La conmovedora historia de Chris ofrece una vision unica de la sinceridad y vulnerabilidad de Selena ante el amor, su fuerza y conviccion para luchar por ese amor, y su fortaleza absoluta al encontrar la paz y tranquilidad con su familia despues de que aceptaran al unico hombre al que entrego su corazon. Al tiempo que muestra un aspecto de Selena nunca antes revelado y aclara algunas concepciones erroneas sobre su vida y su muerte, "Para Selena, con amor "es una historia de amor eterno que inmortaliza el corazon y el alma de un icono extraordinario, inolvidable e irremplazable. Incluye fotos eclusivas.

Ambitious and groundbreaking, Electric Shock tells the story of popular music, from the birth of recording in the 1890s to the digital age, from the first pop superstars of the twentieth century to the omnipresence of music in our lives, in hit singles, ringtones and on Spotify. Over that time, popular music has transformed the world in which we live. Its rhythms have influenced how we walk down the street, how we face ourselves in the mirror, and how we handle the outside world in our daily conversations and encounters. It has influenced our morals and social mores; it has transformed our attitudes towards race and gender, religion and politics. From the beginning of recording, when a musical performance could be preserved for the first time, to the digital age, when all of recorded music is only a mouse-click away; from the straitlaced ballads of the Victorian era and the 'coon songs' that shocked America in the early twentieth century to gangsta rap, death metal and the multiple strands of modern dance music: Peter Doggett takes us on a rollercoaster ride through the history of music. Within a narrative full of anecdotes and characters, Electric Shock mixes musical critique with wider social and cultural history and shows how revolutionary changes in technology have turned popular music into the lifeblood of the modern world.

The Oxford Handbook of Sondheim Studies offers a series of cutting-edge essays on the most important and compelling topics in the growing field of Sondheim Studies. Focusing on broad groups of issues relating to the music and the production of Sondheim works, rather than on biographical questions about the composer himself, the handbook represents a cross-disciplinary introduction to comprehending Sondheim in musicological, theatrical, and socio-cultural terms. This collection of never-before published essays addresses issues of artistic method and musico-dramaturgical form, while at the same time offering close readings of individual shows from a variety of analytical perspectives. The handbook is arranged into six broad sections: issues of intertextuality and authorship; Sondheim's pioneering work in developing the non-linear form of the concept musical; the production history of Sondheim's work; his writing for film and television; his exploitation and deployment of a wide range of musical genres; and how interpretation through key critical lenses (including sociology, history, and feminist and queer theory) establishes his position in a broader cultural context.

To the tune of "Yankee Doodle," the American obsession with politics was born alongside America itself. From the end of the Revolutionary War through to the antebellum era, music made front page news and brought men to blows. Both common citizens and politiciansaeven early presidents of the young nationaused well-known songs to fuel heated debates over the meaning of liberty, the future and nature of the republic, and Americans' proper place within it. As both propaganda and protest, music called for allegiance to a new federal government, spread utopian visions of worldwide revolution, broadcast infringements on American freedoms, and spun exaggerated tales of national military might. In Hail Columbia!, author Laura Lohman uncovers hundreds of songs circulated in newspapers, broadsides, song collections, sheet music, manuscripts, and scrapbooks over the late eighteenth and early nineteenth century. These give evidence that a diversity of Americansaelite lawyers, immigrant actresses, humble craftsmen, and African American abolitionistsaemployed music for political purposes, creating new and deeply partisan lyrics to famous tunes of "Yankee Doodle," "The Star-Spangled Banner," and the like. These charged versions found their way to electioneering, tavern gatherings, presidential encomia, street theatre, and community celebrations, making song a political weapon between neighbours and citizens, to hail the new nation in partisan terms.

As charismatic and gifted as he was volatile, Jimmy Martin recorded dozens of bluegrass classics and co-invented the high lonesome sound. Barbara Martin Stephens became involved with the King of Bluegrass at age seventeen. Don't Give your Heart to a Rambler tells the story of their often tumultuous life together. Barbara bore his children and took on a crucial job as his booking agent when the agent he was using failed to obtain show dates for the group. Female booking agents were non-existent at that time but she persevered and went on to become the first female booking agent on Music Row. She also endured years of physical and emotional abuse at Martin's hands. With courage and candor, Barbara tells of the suffering and traces the hard-won personal growth she found inside motherhood and her work. Her vivid account of Martin's explosive personality and torment over his exclusion from the Grand Ole Opry fill in the missing details on a career renowned for being stormy. Barbara also shares her own journey, one of good humor and proud achievements, and filled with fond and funny recollections of the music legends and ordinary people she met, befriended, and represented along the way. Straightforward and honest, Don't Give your Heart to a Rambler is a woman's story of the world of bluegrass and one of its most colorful, conflicted artists.

She said, "I became a singer because I couldn't get work as an actress," but Barbra Streisand not only became both but revolutionized the two professions. Her music transformed the smooth, uninflected style of the Frank Sinatras and Ella Fitzgeralds into an engine of dramatic vocalism in which each song is like a miniature three-act play. And Streisand's films changed forever the ideal of how a movie star chooses roles, going from musicals to dramas to comedies, from period fare to ultra-modern tales, from Funny Girl to The Way We Were to Yentl. mainstream show-business principal to deconstruct an artist On Streisand begins with a broad year-by-year outline of the landmark achievements and a few of her more whimsical escapades, as when Rex Reed apologizes for an oafish interview piece and she responds with "I had more respect for him when he hated me." This is followed by a long essay on how Streisand's idiosyncratic self-realization marks her as a unique national treasure, an artist without limits. Then comes the major part of the book, a work-by-work analysis. This section is broken down into separate chapters, each organized chronologically: the stage shows, then the television shows and concerts, then the movies, and last (because longest) the recordings. Throughout, Mordden follows Streisand's independence, which he sees as her central quality. Throughout all of the chapters on Streisand's shows, concerts, films, and recordings, Mordden illustrates how she was exercising individualistic control of her career from her very first audition, and how the rest of her professional life unfolded from that point. pioneered an intense and even passionate singing style at A book written by an opinionated expert whose prose is consistently full of flair and wit, On Streisand: An Opinionated Guide will appeal to general readers in all aspects of American life that Streisand has touched, from film to television to popular music to stardom. Ella Fitzgerald and Frank Sinatra. Further, like Dustin Hoffman and Jack Nicholson she was one of the new wave actors of the 1960s who broke away from the standard models for movie stars. But Streisand has much greater range than others of this kind, as comfortable in musical comedy as in serious drama. Thus, she has moved from the madcap roles of Hello, Dolly! and What's Up, Doc? to the tale of a young woman at war with patriarchal religious fundamentalism (in Yentl) and the insanity hearing of a prostitute who has killed (in self-defense) and whose parents want to put her away to keep her from revealing that her step-father has preyed on her sexually. Further, Streisand has directed three of her films, rare enough for an actor but perhaps especially for a woman. An American Original, Streisand is controversial as well, as all Originals are. Mediocrities may be dull, but they never get bad reviews; Streisand has irritated many a sensibility. As she herself has said, "I'm a liberal, opinionated Jewish feminist-I push a lot of buttons." There is as well the "I'm so wonderful" vanity that has haunted some of her later work, as when she records duets with the rich and famous but isolates herself from them, letting the editing of the tapes bring them together, as if she were an ice princess who might melt upon human contact. Streisand, as her own movie producer, has also been accused of recutting the director's final version to flatter her shots over those of her colleagues. And The Mirror Has Two Faces seems designed to let Streisand direct her own Cinderella tale, not unlike the old Hollywood romances in which the secretary takes off her glasses and the boss cries, "Miss Johnson!...Clarice... Why, you're... you're beautiful!" Nevertheless, Streisand has been, in all, an invigorating artist, not only unique but extraordinary. It would be impossible to imagine what American culture would have been like without her.

Popular music and masculinity have rarely been examined through the lens of research into monstrosity. The discourses associated with rock and pop, however, actually include more 'monsters' than might at first be imagined. Attention to such individuals and cultures can say things about the operation of genre and gender, myth and meaning. Indeed, monstrosity has recently become a growing focus of cultural theory. This is in part because monsters raise shared concerns about transgression, subjectivity, agency, and community. Attention to monstrosity evokes both the spectre of projection (which invokes familial trauma and psychoanalysis) and shared anxieties (that in turn reflect ideologies and beliefs). By pursuing a series of insightful case studies, Scary Monsters considers different aspects of the connection between music, gender and monstrosity. Its argument is that attention to monstrosity provides a unique perspective on the study of masculinity in popular music culture.

Freedom Girls: Voicing Femininity in 1960s British Pop shows how the vocal performances of girl singers in 1960s Britain defined-and sometimes defied-ideas about what it meant to be a young woman in the 1960s British pop music scene. The singing and expressive voices of Sandie Shaw, Cilla Black, Millie Small, Dusty Springfield, Lulu, Marianne Faithfull, and P.P. Arnold, reveal how vocal sound shapes access to social mobility, and consequently, access to power and musical authority. The book examines how Sandie Shaw and Cilla Black's ordinary girl personas were tied to whiteness and, in Black's case, her Liverpool origins. It shows how Dusty Springfield and Jamaican singer Millie Small engaged with the transatlantic sounds of soul and and ska, respectively, transforming ideas about musical genre, race, and gender. It reveals how attitudes about sexuality and youth in rock culture shaped the vocal performances of Lulu and Marianne Faithfull, and how P.P. Arnold has re-narrated rock history to center Black women's vocality. Freedom Girls draws on a broad array of archival sources, including music magazines, fashion and entertainment magazines produced for young women, biographies and interviews, audience research reports, and others to inform analysis of musical recordings (including such songs as "As Tears Go By," "Son of a Preacher Man," and others) and performances on television programs such as Ready Steady Go!, Shindig, and other 1960s music shows. These performances reveal the historical and contemporary connections between voice, social mobility, and musical authority, and demonstrate how singers used voice to navigate the boundaries of race, class, and gender.

SHORTLISTED FOR THE IRISH BOOK AWARDS 2021 AND THE PENDERYN MUSIC BOOK PRIZE 2022 THE LANDMARK MEMOIR OF A GLOBAL MUSIC ICON Sinead O'Connor's voice and trademark shaved head made her famous by the age of twenty-one. Her recording of Prince's Nothing Compares 2 U made her a global icon. She outraged millions when she tore up a photograph of Pope John Paul II on American television. O'Connor was unapologetic and impossible to ignore, calling out hypocrisy wherever she saw it. She has remained that way for three decades. Now, in Rememberings, O'Connor tells her story - the heartache of growing up in a family falling apart; her early forays into the Dublin music scene; her adventures and misadventures in the world of sex, drugs and rock'n'roll; the fulfilment of being a mother; her ongoing spiritual quest - and through it all, her abiding passion for music. Rememberings is intimate, replete with candid anecdotes and full of hard-won insights. It is a unique and remarkable chronicle by a unique and remarkable artist. 'Inspiring, liberating, hilarious and fascinating' Irish Times 'Beautifully observed ... lyrical, funny and anguished' Guardian 'Her voice on the page is as fearless, riveting and unforgettable as her voice in song. The cadence alone is hypnotic, her story essential. Rememberings is a must-read' Michael Stipe 'So good, you'll want to read it twice' Sunday Independent 'A soul-bearing, brutally honest account of an extraordinary life' BBC Online 'Tremendous . . . fierce and funny' Sunday Times Books of the Year

The Bloomsbury Handbook of Popular Music Educationdraws together current thinking and practice on popular music education from empirical, ethnographic, sociological and philosophical perspectives. Through a series of unique chapters from authors working at the forefront of music education, this book explores the ways in which an international group of music educators each approach popular music education. Chapters discuss pedagogies from across the spectrum of formal to informal learning, including "outside" and "other" perspectives that provide insight into the myriad ways in which popular music education is developed and implemented. The book is organized into the following sections: - Conceptualizing Popular Music Education - Musical, Creative and Professional Development - Originating Popular Music - Popular Music Education in Schools - Identity, Meaning and Value in Popular Music Education - Formal Education, Creativities and Assessment Contributions from academics, teachers, and practitioners make this an innovative and exciting volume for students, teachers, researchers and professors in popular music studies and music education.

Peaceful Piano Playlist presents a collection of 35 piano solos for the intermediate pianist. Inspired by the popular peaceful piano playlists available on streaming services, it features original pieces by Ludovico Einaudi, Agnes Obel, Max Richter, Ryuichi Sakamoto, Joep Beving, Poppy Ackroyd, Alexis Ffrench, Keaton Henson, Alexandre Desplat, and many more.

Gear Acquisition Syndrome, also known as GAS, is commonly understood as the musicians unrelenting urge to buy and own instruments and equipment as an anticipated catalyst of creative energy and bringer of happiness. For many musicians, it involves the unavoidable compulsion to spend money one does not have on gear perhaps not even needed. The urge is directed by the belief that acquiring another instrument will make one a better player. This book pioneers research into the complex phenomenon named GAS from a variety of disciplines, including popular music studies and music technology, cultural and leisure studies, consumption research, sociology, psychology and psychiatry. The newly created theoretical framework and empirical studies of online communities and offline music stores allow the study to consider musical, social and personal motives, which influence the way musicians think about and deal with equipment. As is shown, GAS encompasses a variety of practices and psychological processes. In an often life-long endeavour, upgrading the rig is accompanied by musical learning processes in popular music.

Streisand: A Biography is much more than the story of the world's greatest living performer, how she got there, and why she remains at the top after three decades, it is also, in Anne Edward's sure hands, a compelling chronicle of a woman's fight to validate her appearance, her talent, and her right to love and be loved. Time and time again Streisand has demonstrated the ability to reinvent herself to keep pace with the continuing changes in musical taste. This updated edition of Edwards's pioneering biography chronicles her public life as a political activist as well as her private life as Mrs. James Brolin.

Aled Jones, a choirboy with a remarkable voice, achieved more as a teenager than many adult singers do in a lifetime. His prodigious talent propelled him to international stardom; before he was 16, he had already sold more than 6 million records and had become a fixture on television and radio. He has worked alongside such musical greats as Leonard Bernstein, Andrew Lloyd Webber, Neville Marriner, Howard Blake and Mike Oldfield. Some of the high points of his early career included performances at the Hollywood Bowl and the wedding of Bob Geldof and Paula Yates, as well as singing privately for the Prince and the late Princess of Wales. Best known as a boy soprano for his hit 'Walking in the Air', Aled tells the full story of the effect it had on his life. Always refreshingly honest and self-effacing, Aled reveals how he faced up to life after his voice had broken and how he carved out a new career for himself on stage, record, television and radio. His story begins with his idyllic childhood on the Welsh island of Anglesey and his years as a chorister at Bangor Cathedral, during which his family provided wonderful support and encouragement as he rose to fame. He tells of his studies at the Royal Academy of Music and the Bristol Old Vic Theatre School. As an adult performer, Aled has released a series of best-selling albums. Today, he is most known for sitting alongside Lorraine Kelly as one half of the presenting partnership of ITV's breakfast programme Daybreak. He is a regular host of Songs of Praise and presents weekly radio programmes for Classic FM and BBC Radio Wales. Aled: My Story reveals the man behind the music in a frank, heart-warming and funny account of his life.

This follow-up to the popular Your First Fake Book (00240112) includes over 100 more great songs that even beginning-level musicians can enjoy playing! It features the same larger notation with simplified harmonies and melodies, all songs in the key of C, and introductions for each song, to add a more finished sound to the arrangements. The songs are in many musical styles and include: Alfie * All I Ask of You * All My Loving * Always on My Mind * Autumn in New York * Blue Skies * Cabaret * Crazy * Fields of Gold * Go the Distance * God Bless' the Child * Great Balls of Fire * Hey, Good Lookin' * How Deep Is Your Love * I'll Be There * If * Imagine * Jailhouse Rock * Kansas City * Memory * Michelle * Misty * My Girl * My Heart Will Go On * People * Stand by Me * Star Dust * Tangerine * Tears in Heaven * Tennessee Waltz * Unchained Melody * What a Wonderful World * What'll I Do? * You've Got a Friend * and more.

Popular music artists, as performers in the public eye, offer a privileged site for the witnessing and analysis of ageing and its mediation. The Late Voice undertakes such an analysis by considering issues of time, memory, innocence and experience in modern Anglophone popular song and the use by singers and songwriters of a 'late voice'. Lateness here refers to five primary issues: chronology (the stage in an artist's career); the vocal act (the ability to convincingly portray experience); afterlife (posthumous careers made possible by recorded sound); retrospection (how voices 'look back' or anticipate looking back); and the writing of age, experience, lateness and loss into song texts. There has been recent growth in research on ageing and the experience of later stages of life, focusing on physical health, lifestyle and psychology, with work in the latter field intersecting with the field of memory studies. The Late Voice seeks to connect age, experience and lateness with particular performers and performance traditions via the identification and analysis of a late voice in singers and songwriters of mid-late twentieth century popular music.

Dawn ot the DAW tells the story of how the dividing line between the traditional roles of musicians and recording studio personnel (producers, recording engineers, mixing engineers, technicians, etc.) has eroded throughout the latter half of the twentieth century to the present. Whereas those equally adept in music and technology such as Raymond Scott and Les Paul were exceptions to their eras, the millennial music maker is ensconced in a world in which the symbiosis of music and technology is commonplace. As audio production skills such as recording, editing, and mixing are increasingly co-opted by musicians teaching themselves in their do-it-yourself (DIY) recording studios, conventions of how music production is taught and practiced are remixed to reflect this reality. Dawn ot the DAW first examines DIY recording practices within the context of recording history from the late nineteenth century to the present. Second, Dawn ot the DAW discusses the concept of "the studio as musical instrument" and the role of the producer, detailing how these constructs have evolved throughout the history of recorded music in tandem. Third, Dawn ot the DAW details current practices of DIY recording-how recording technologies are incorporated into music making, and how they are learned by DIY studio users in the musically-chic borough of Brooklyn. Finally, Dawn ot the DAW examines the broader trends heard throughout, summarizing the different models of learning and approaches to music making. Dawn ot the DAW concludes by discussing the ramifications of these new directions for the field of music education.

That rare thing, an academic study of music that seeks to tie together the strands of the musical text, the industry that produces it, and the audience that gives it meaning... A vital read for anyone interested in the changing nature of popular music production and consumption" - Dr Nathan Wiseman-Trowse, The University of Northampton Popular music entertains, inspires and even empowers, but where did it come from, how is it made, what does it mean, and how does it eventually reach our ears? Tim Wall guides students through the many ways we can analyse music and the music industries, highlighting crucial skills and useful research tips.

Taking into account recent changes and developments in the industry, this book outlines the key concepts, offers fresh perspectives and encourages readers to reflect on their own work. Written with clarity, flair and enthusiasm, it covers:

Histories of popular music, their traditions and cultural, social, economic and technical factors Industries and institutions, production, new technology, and the entertainment media Musical form, meaning and representation Audiences and consumption.

Students' learning is consolidated through a set of insightful case studies, engaging activities and helpful suggestions for further reading.

The evidence of death and dying has been removed from the everyday lives of most Westerners. Yet we constantly live with the awareness of our vulnerability as mortals. Drawing on a range of genres, bands and artists, Mortality and Music examines the ways in which popular music has responded to our awareness of the inevitability of death and the anxiety it can evoke. Exploring bereavement, depression, suicide, violence, gore, and fans' responses to the deaths of musicians, it argues for the social and cultural significance of popular music's treatment of mortality and the apparent absurdity of existence.

Is there such a thing today as music that's meaningfully new? In our contemporary era of remixing and retro styles, cynics and romantics alike cry "It's all been done before" while record labels and media outlets proclaim that everything is new. Coded into our daily conversations about popular music, newness as an artistic and cultural value is too often taken for granted. Nothing Has Been Done Before instigates a fresh debate about newness in American pop, rock 'n' roll, rap, folk, and R&B made since the turn of the millennium. Utilizing an interdisciplinary approach that combines music criticism, philosophy, and the literary essay, Robert Loss follows the stories of a diverse cast of musicians who seek the new by wrestling with the past, navigating the market, and speaking politically. The transgressions of Bob Dylan's "Love and Theft". The pop spectacle of Katy Perry's 2015 Super Bowl halftime show. Protest songs against the war in Iraq. Nothing Has Been Done Before argues that performance heard in a historical context always creates a possibility for newness, whether it's Kendrick Lamar's multi-layered To Pimp a Butterfly, the Afrofuturist visions of Janelle Monae, or even a Guided By Voices tribute concert in a local dive bar. Provocative and engaging, Nothing Has Been Done Before challenges nothing less than how we hear and think about popular music-its power and its potential.

Not many have managed it, but like Robbie Williams and Justin Timberlake, Zayn Malik has successfully escaped his boyband image to become a credible popstar in his own right. Zayn's debut solo single `Pillowtalk' topped the charts around the world and has had over half a billion views on YouTube. His album Mind of Mine debuted at no.1 in both the UK and US charts, proving that he's on his way to becoming as colossal as the band he left behind. Not only have the Directioners remained as loyal as ever, but his fanbase has also grown as he has developed his more mature, R&B sound. With almost 20m Twitter followers, he's certainly lost none of his popularity. Zayn's life remains of huge interest to his fans and gossip-followers worldwide, whether for his hairstyles, comments about his former bandmates or his relationship with American supermodel Gigi Hadid. In this completely updated title, bestselling celebrity biographer Sarah Oliver charts Zayn's incredible journey from Bradford to Los Angeles and all that's happened in between.

"Sinatra with a cold is Picasso without paint, Ferrari without fuel-only worse. For the common cold robs Sinatra of that uninsurable jewel, his voice, cutting into the core of his confidence." - Gay Talese In the winter of 1965, writer Gay Talese set out for Los Angeles with an assignment from Esquire to write a major profile on Frank Sinatra. When he arrived, he found the singer and his vigilant entourage on the defensive: Sinatra was under the weather, not available, and not willing to be interviewed. Undeterred, Talese stayed, believing Sinatra might recover and reconsider, and used the meantime to observe the star and to interview his friends, associates, family members, and hangers-on. Sinatra never did grant the one-on-one, but Talese's tenacity paid off: his profile Frank Sinatra Has a Cold went down in history as a tour de force of literary nonfiction and the advent of the New Journalism. In this illustrated edition, Frank Sinatra Has a Cold is published with an introduction by Talese, reproductions of his manuscript pages, and correspondence. Interwoven are photographs from the legendary lens of Phil Stern, the only photographer granted access to Sinatra over four decades, as well as from top photojournalists of the '60s, including John Bryson, John Dominis, and Terry O'Neill. The photographs complement Talese's character study, painting an incisive portrait of Sinatra in the recording studio, on location, out on the town, and with the eponymous cold, which reveals as much about a singular star persona as it does about the Hollywood machine.

Joe Longthorne is one of the UK's leading live entertainers, and an icon of his era. In the golden days of Joe's career, he was one of television's highest paid performers, attracting audiences of over 12 million courtesy of his amazing voice and impressions of singers such as Shirley Bassey, Tom Jones and Frank Sinatra. He has countless gold and platinum albums to his name, has appeared on the Royal Variety Show and sells out iconic venues the world over, including the Palladium, Royal Albert Hall, Sydney Opera House and Drury Lane Chicago. However, tragedy and trauma have haunted the Hull-born singer and he tells his life story in his own words in this wonderful book. From his childhood in the travelling community and singing on the streets for money to the colourful rock and roll lifestyle of sex, drugs, bankruptcy, court appearances and the bizarre, hilarious stories which worldwide touring produces. But Joe's toughest times have been found in his repeated battles with cancer, having fought off the illness multiple times over the last three decades, most recently in the summer of 2014 when Joe beat throat cancer - and began singing again hours after his life-saving operation!This is the true story of one of Britain's most iconic entertainers, a man who has never flinched from doing what he was born for - performing. In a book which for critics and fans have been united in praise, Joe Longthorne lays bare his incredible life in this, his official autobiography.