The "American Idol" judge the public loves to be shocked by now gives the low-down on the musical fame game in this witty, wicked look at what it takes to become a rock star.

Dave Van Ronk (1936-2002) was one of the founding figures of the 1960s folk revival, but he was far more than that. A pioneer of modern acoustic blues, a fine songwriter and arranger, a powerful singer, and one of the most influential guitarists of the '60s, he was also a marvelous storyteller, a peerless musical historian, and one of the most quotable figures on the Village scene. Featuring encounters with young stars-to-be like Bob Dylan and Joni Mitchell, The Mayor of MacDougal Street is a vivid evocation of a singular time and place--a feast not only for fans of folk music and blues, but for anyone interested in the music, politics, and spirit of a revolutionary period in American culture.

REESE’S BOOK CLUB PICK • NATIONAL BESTSELLER • “A shocking story, made all the more stunning by the fact that it has its roots in true history.”—Jodi Picoult, author of By Any Other Name “A new generation of survival story . . . an extraordinary book that reads like a thriller, written with the care of the most delicate psychological and historical fiction.”— Vogue (Best of 2025 Preview) A young woman and her lover are marooned on an island in this “lushly painted” ( People ) historical epic of love, faith, and defiance from the bestselling author of Sam . FINALIST FOR THE KIRKUS PRIZE • LONGLISTED FOR THE AMERICAN LIBRARY IN PARIS BOOK AWARD Heir to a fortune, Marguerite is destined for a life of prosperity and gentility. Then she is orphaned, and her guardian—an enigmatic and volatile man—spends her inheritance and insists she accompany him on an expedition to New France. That journey takes a unexpected turn when Marguerite, accused of betrayal, is brutally punished and abandoned on a small island. Once a child of privilege who dressed in gowns and laced pearls in her hair, Marguerite finds herself at the mercy of nature. As the weather turns, blanketing the island in ice, she discovers a faith she’d never before needed. Inspired by the real life of a sixteenth-century heroine, Isola is the timeless story of a woman fighting for survival.

"This is the story of three revolutionary American musicians, the maestro jazzmen who orchestrated the chords that throb at the soul of twentieth-century America. Duke Ellington [...], Louis Daniel Armstrong [...], William James Basie [...]. What is far less known about these groundbreakers is that they were bound not just by their music or even the discrimination that they, like nearly all Black performers of their day, routinely encountered. Each defied and ultimately overcame racial boundaries by opening America's eyes and souls to the magnificence of their music. In the process they wrote the soundtrack for the civil rights movement. Based on more than 250 interviews, this exhaustively researched book brings alive the history of Black America in the early- to mid-1900s through the singular lens of the country's most gifted, engaging, and enduring African American musicians." -Från bokens baksida.

Can a song change a nation? In 1964, Marvin Gaye, record producer William “Mickey” Stevenson, and Motown songwriter Ivy Jo Hunter wrote “Dancing in the Street.” The song was recorded at Motown’s Hitsville USA Studio by Martha and the Vandellas, with lead singer Martha Reeves arranging her own vocals. Released on July 31, the song was supposed to be an upbeat dance recording—a precursor to disco, and a song about the joyousness of dance. But events overtook it, and the song became one of the icons of American pop culture. The Beatles had landed in the U.S. in early 1964. By the summer, the sixties were in full swing. The summer of 1964 was the Mississippi Freedom Summer, the Berkeley Free Speech Movement, the beginning of the Vietnam War, the passage of the Civil Rights Act, and the lead-up to a dramatic election. As the country grew more radicalized in those few months, “Dancing in the Street” gained currency as an activist anthem. The song took on new meanings, multiple meanings, for many different groups that were all changing as the country changed. Told by the writer who is legendary for finding the big story in unlikely places, Ready for a Brand New Beat chronicles that extraordinary summer of 1964 and showcases the momentous role that a simple song about dancing played in history.

New York Times chief television critic James Poniewozik offers a “darkly entertaining” (Carlos Lozada, Washington Post ) history of mass media from the early 1980s to today, demonstrating how a volcanic, camera-hogging antihero merged with America’s most powerful medium to become our forty-fifth president. In charting the seismic evolution of television from a monolithic mass medium into today’s fractious confederation of spite-and-insult media subcultures, Poniewozik reveals how Donald Trump took advantage of these historic changes by constantly reinventing himself: from a boastful cartoon zillionaire; to 1990s self-parodic sitcom fixture; to The Apprentice reality-TV star; and finally to Twitter-mad, culture-warring demagogue. Already lauded as a “brilliant and daring” (Annalisa Quinn, NPR) work that defines a generation, Audience of One emerges as a classic in cultural criticism.

The hilarious and controversial host of HBO’s Real Time with Bill Maher has written his funniest, most opinionated, and most necessary book ever—a brilliantly astute and acerbically funny vivisection of American life, politics, and culture. Some of the smartest commentary about what’s happening in America is coming from a comedian—this comedian being Bill Maher. If you want to understand what’s wrong with this country, it turns out that one of the best informed and most thought-provoking analysts is this very funny pothead. The book was inspired by the “editorial” Bill delivers at the end of each episode of Real Time. These editorials are direct-to-camera sermons about culture, politics, and what’s happening in the world. To put this book together, Maher reviewed more than a decade of his editorials, rewriting, reimagining, and updating them, and adding new material to speak exactly to the moment we’re in. Free speech, cops, drugs, race, religion, the generations, cancel culture, the parties, the media, show biz, romance, health—Maher covers it all. The result is a hugely entertaining work of commentary about American culture in the tradition of Mark Twain, Will Rogers, and H. L. Mencken.

For seven decades Katharine Hepburn played a leading role in the popular culture of the twentieth century - reigning as an admired actress, a beloved movie star, and a treasured icon of the modern American woman. She also remained one of the most private of all the public figures of her time. In 1983 - at the age of seventy-five, her career cresting - the four-time Academy Award winner opened the door to biographer A. Scott Berg - then thirty-three - and began a special friendship, one that endured to the end of her illustrious life. From the start, Scott Berg felt that Katharine Hepburn intended his role to be not just that of a friend but also of a chronicler, a confidant who might record for posterity her thoughts and feelings. Over the next twenty years, Kate used their many hours together to reveal all that came to mind, often reflecting on the people and episodes of her past, occasionally on the meaning of life. Here are the stories from those countless intimate conversations, and much more. In addition to recording heretofore untold biographical details of her entire phenomenal career and her famous relationships with such men as Spencer Tracy and Howard Hughes, Kate Remembered also tells the amusing, often emotional story of one of the most touching friendships in her final years. Scott Berg provides his own memories of Katharine Hepburn offstage - quiet dinners in her town house in New York City, winter swims (she swam, he watched) in the Long Island Sound at Fenwick, her home in Connecticut, weekend visits with family members and dear friends...even some unusual appearances by the likes of Michael Jackson and Warren Beatty. Finally, Kate Remembered discusses the legendary actress's moving farewell, during which her mighty personality surrendered at last to her failing body - all the while remaining true to her courageous character. Kate Remembered is a book about love and friendship, family and career, Hollywood and Broadway - all punctuated by unforgettable lessons from an extraordinary life.

A Special Memoir for a Special Moment in Hollywood History . . . Some Like It Hot occupies a unique place in American culture. This beloved classic showcases five comic geniuses: Tony Curtis, Jack Lemmon, I. A. L. Diamond, Billy Wilder, and Marilyn Monroe. It has been honored by the American Film Institute as the ""Funniest Film of All Time"". It has contributed quotes, styles, and stories to film lore. Yet the full story of its making has never been told--until now.

The popular authority on movies, television, and video now tunes in to the Golden Age of Radio. This fascinating and long-overdue celebration of the way things were includes... -- Behind the scenes stories about Orson Welles, Lucille Ball, Jack Benny, Bob Hope, Kirk Douglas, Joan Crawford, Bette Davis, and many, many others -- The history of radio soap operas, westerns, variety shows, comedies, and thrillers -- Hundreds of revealing personal interviews with radio legends -- More than 125 rare photographs and illustrations

Written as a cultural weapon and a call to arms, Howl touched a raw nerve in Cold War America and has been controversial from the day it was first read aloud nearly fifty years ago. This first full critical and historical study of Howl brilliantly elucidates the nexus of politics and literature in which it was written and gives striking new portraits of Allen Ginsberg, Jack Kerouac, and William Burroughs. Drawing from newly released psychiatric reports on Ginsberg, from interviews with his psychiatrist, Dr. Philip Hicks, and from the poet's journals, American Scream shows how Howl brought Ginsberg and the world out of the closet of a repressive society. It also gives the first full accounting of the literary figures―Eliot, Rimbaud, and Whitman―who influenced Howl, definitively placing it in the tradition of twentieth-century American poetry for the first time. As he follows the genesis and the evolution of Howl, Jonah Raskin constructs a vivid picture of a poet and an era. He illuminates the development of Beat poetry in New York and San Francisco in the 1950s--focusing on historic occasions such as the first reading of Howl at Six Gallery in San Francisco in 1955 and the obscenity trial over the poem's publication. He looks closely at Ginsberg's life, including his relationships with his parents, friends, and mentors, while he was writing the poem and uses this material to illuminate the themes of madness, nakedness, and secrecy that pervade Howl. A captivating look at the cultural climate of the Cold War and at a great American poet, American Scream finally tells the full story of Howl―a rousing manifesto for a generation and a classic of twentieth-century literature.

From Nathan Rabin, former staff writer for The A.V. Club and The Dissolve and the author of Weird Al: The Book, You Don't Know Me But You Don't Like Me, and The Weird Accordion to Al, comes The Fractured Mirror, an exhaustively researched exploration of American movies about filmmaking. This loving deep dive chronicles, with humor, wit, and affection, a solid century of cinema about cinema, with illustrations from Felipe Sobreiro ( The Return of the Blues Brothers ) and a foreword from legendary filmmaker Joe Dante ( Gremlins, Matinee ). As an homage to The Golden Turkey Awards, which included a fake movie along with a plethora of real-life stinkers, Rabin got bad movie luminaries like How Did This Get Made's Paul Scheer, Dan McCoy of The Flop House, Andrew Jupin of We Hate Movies and Author/Humorist Mike Sacks to create blurbs for movies that exist only in their imaginations. The Fractured Mirror covers over 500 movies, from internationally beloved classics to notorious flops. It documents Bucky Larson: Born to Be a Star and Burden of Dreams, and everything in between. Movie history has never been so much fun! Praise for The Fractured Mirror "Nathan Rabin doesn't just write about Hollywood, he rewires how you watch it. The Fractured Mirror channels the same brilliance he brought to My Year of Flops and points it straight at showbiz itself. Every chapter left me itching to rewatch movies I'd written off, this time with brand-new eyes."- Paul Scheer "In this sparkling and essential compendium, one of America's all-time greatest cultural critics turns his keen eye and full heart to movies about American filmmaking, and thank goodness. This "casual epic," to paraphrase Rabin on Tarantino, deserves a spot on your shelf between Kael's FOR KEEPS and Peary's CULT MOVIES." - Julie Klausner, " The Fractured Mirror is an absolute feast for movie lovers, especially movie lovers who enjoy movies about making movies. And man, is it comprehensive! Possibly obsessive. But so much fun. Rabin's writing is smart, witty, and lively throughout."- Bill Corbett " The Fractured Mirror is such a fun, engaging read. Nathan's work always has a certifiable uniqueness and introspection that delivers laughs and deeper ways to rethink our views on film and pop culture."- Greg Sestero "Nathan Rabin's "The Fractured Mirror" sent me down a Proustian memory hole, bringing to mind not only how many of these titles our Tenna-Rotor (tm) brought in from distant New York, but of how films about filmmaking planted the absurd dream in my mind that I could someday join that crazy circus, myself. Hats off to Nathan - and to the next generation of filmmakers, his lovingly curated list will inspire!"- Steven E. DeSouza, screenwriter, 48 Hours, Commando, Die Hard

We at Penguin Putnam mourn the death of Pauline Kael, a singularly unique voice in American letters. She will be sorely missed.In her decades-long career, Pauline Kael established herself as the most renowned and respected movie reviewer in the field. The breadth of her knowledge of film history and technique, her insight into the arts of acting and directing, and her unfailing wit and candor endeared her to movie lovers everywhere.For Keeps offers the best of Kael's reviews and other writings on movies from the collections that have marked her matchless career, starting with I Lost it at the Movies (1965), through Kiss Kiss Bang Bang, Deeper into Movies (a National Book Award winner), The Citizen Kane Book ("Raising Kane", the full text on the making of the movie, is included here), and all the others in a glorious run concluding with Movie Love in 1991. Once Kael retired from regular reviewing, her reputation only increased, and for the inimitable real thing, readers must turn to this volume to sample her perspicacity, fluency, and style. More than 275 reviews are arranged chronologically -in effect, a history of 30 years of movies. This ultimate compendium from America's most eloquent, passionate, and provocative critic is a boon to serious moviegoers and an indispensible companion to film in the age of technological and pop culture overload.

A deep dive into the emergence and success of independent filmmaking in America A Los Angeles Times Bestseller The most important development in American culture of the last two decades is the emergence of independent cinema as a viable alternative to Hollywood. Indeed, while Hollywood's studios devote much of their time and energy to churning out big-budget, star-studded event movies, a renegade independent cinema that challenges mainstream fare continues to flourish with strong critical support and loyal audiences. Cinema of Outsiders is the first and only comprehensive chronicle of contemporary independent movies from the late 1970s up to the present. From the hip, audacious early works of maverick David Lynch, Jim Jarmusch, and Spike Lee, to the contemporary Oscar-winning success of indie dynamos, such as the Coen brothers ( Fargo ), Quentin Tarentino ( Pulp Fiction ), and Billy Bob Thornton ( Sling Blade ), Levy describes in a lucid and accessible manner the innovation and diversity of American indies in theme, sensibility, and style. Documenting the socio-economic, political and artistic forces that led to the rise of American independent film, Cinema of Outsiders depicts the pivotal role of indie guru Robert Redford and his Sundance Film Festival in creating a showcase for indies, the function of film schools in supplying talent, and the continuous tension between indies and Hollywood as two distinct industries with their own structure, finance, talent and audience. Levy describes the major cycles in the indie film movement: regional cinema, the New York school of film, African-American, Asian American, gay and lesbian, and movies made by women. Based on exhaustive research of over 1,000 movies made between 1977 and 1999, Levy evaluates some 200 quintessential indies, including Choose Me , Stranger Than Paradise , Blood Simple , Blue Velvet , Desperately Seeking Susan , Slacker , Poison , Reservoir Dogs , Gas Food Lodging , Menace II Society , Clerks , In the Company of Men , Chasing Amy , The Apostle , The Opposite of Sex , and Happiness . Cinema of Outsiders reveals the artistic and political impact of bold and provocative independent movies in displaying the cinema of "outsiders"-the cinema of the "other America."

A "lively" memoir by the Hollywood legend about the making of Spartacus , with a foreword by George Clooney ( Los Angeles Times ). One of the world's most iconic movie stars, Kirk Douglas has distinguished himself as a producer, philanthropist, and author of ten works of fiction and memoir. Now, more than fifty years after the release of his enduring epic Spartacus , Douglas reveals the riveting drama behind the making of the legendary gladiator film. Douglas began producing the movie in the midst of the politically charged era when Hollywood's moguls refused to hire anyone accused of Communist sympathies. In a risky move, Douglas chose Dalton Trumbo, a blacklisted screenwriter, to write Spartacus . Trumbo was one of the "Unfriendly Ten," men who had gone to prison rather than testify before the House Un-American Activities Committee about their political affiliations. Douglas's source material was already a hot property, as the novel Spartacus was written by Howard Fast while he was in jail for defying HUAC. With the financial future of his young family at stake, Douglas plunged into a tumultuous production both on- and off-screen. As both producer and star of the film, he faced explosive moments with young director Stanley Kubrick, struggles with a leading lady, and negotiations with giant personalities, including Sir Laurence Olivier, Charles Laughton, Peter Ustinov, and Lew Wasserman. Writing from his heart and from his own meticulously researched archives, Kirk Douglas, at ninety-five, looks back at his audacious decisions. He made the most expensive film of its era--but more importantly, his moral courage in giving public credit to Trumbo effectively ended the notorious Hollywood blacklist. A master storyteller, Douglas paints a vivid and often humorous portrait in I Am Spartacus! The book is enhanced by newly discovered period photography of the stars and filmmakers both on and off the set.

More thon forty years ago, Robert Warshow wrote that "the unresolved problem of 'popular culture' . . . has come to be a kind of nagging embarrassment to criticism." Despite the rise of academic trends like cultural studies, we don't have a criticism that speaks to the actual, immediate experience of seeing and responding to popular culture. Warshow argued that the evasion of the popular arts in his time was due to a "disastrous vulgarization of intellectual life" that corrupted American liberalism from the 1930s to the 1950s. Political correctness then, like political correctness since the 1960s, had led to "organized mass disingenuousness" on the part of intellectuals who turned away from developing a vocabulary for describing the immediate, aesthetic experience and used irony instead, even about their own experiences. But, says Warshow, "a whole literature cannot be built on irony." Warshaw died a young man of 37 in 1955, but he left as his legacy a series of essays for The Partisan Review, Commentary, The Nation, and other journals. These writings, the cornerstone of a major account of the role of mass culture in our lives, were first gathered and published as a book in 1962. A number of essays have been anthologized frequently, and the book as a whole has achieved cult status for a number of discerning critics. "A legendary little book, partly because its author died at the age of 37, but mostly because it stands as a virtually unique representative from its period of a consistently open-minded, moral, aesthetic, and political engagement with commercial culture." -Louis Menand

The classic collection of criticism about television and American culture from the late, multi-award-winning legend. From 1968 through 1972, Harlan Ellison penned a series of weekly columns, sharing his uncompromising thoughts about contemporary television programming for the Los Angeles Free Press , a.k.a. "The Freep," a countercultural, underground newspaper. Sitcoms and variety shows, westerns and cop dramas, newscasts and commercials, Ellison left no pixilated stone unturned, expounding on the insipidness, hypocrisy, and malaise found in the glowing images projected into the faces of American audiences. The Glass Teat: Essays of Opinion on the Subject of Television collects fifty-two of Ellison's columns--including his 2011 introduction "Welcome to the Gulag," his unapologetic commentary about how cellphones and the internet have extended television's reach, eroding intelligence and freedom and creating a legion of bloodshot eyed zombies unable to communicate beyond their screens or think for themselves. Provocative and prescient, irreverent and insightful, Ellison's critical analyses of the glowing box that became the center of American life are even more relevant in the twenty-first century. Also available: The Other Glass Teat: Further Essays of Opinion on the Subject of Television

This book talks about music. It incorporates modal and tonal music. It talks about Arnold Schoenberg, the founder of contempoary music, Alban Berg and how the past plays on contemporary music and Anton Webern and the future of contemporary music. As well as the structure of contemporary musical speech. René Leibowitz was a French composer, conductor, music theorist and teacher born in Warsaw, Poland. During the early 1930s, Leibowitz studied composition and orchestration with Ravel in Paris, where he was introduced to Schoenberg's Twelve-note technique by the German pianist and composer Erich Itor Kahn. He subsequently studied with Schoenberg's pupil Webern. Many of the works of the Second Viennese School were first heard in France at the International Festival of Chamber Music established by Leibowitz in Paris in 1947. Leibowitz was highly influential in establishing the reputation of the Second Viennese School, both through activity as a teacher in Paris after WWII and through his book Schoenberg et son ecole, published in 1947 and translated by Dika Newlin as Schoenberg and his School (US and UK editions 1949). This was among the earliest theoretical treatises written on Schoenberg's 12-tone method of composition. Leibowitz's advocacy of the Schoenberg school was taken further by his two most gifted pupils, each taking different paths in promoting the musics of Schoenberg, Webern and the development of serialism, namely Pierre Boulez and Jacques-Louis Monod. His American students include the composers Will Ogdon, Janet Maguire, and the avant-garde film director-animator John Whitney. As conductor, Leibowitz was active in many recording projects. One of the most widely circulated and most notable is a set of the Beethoven symphonies made for Reader's Digest Recordings; it was apparently the first recording of the symphonies to follow Beethoven's original metronome markings. In choosing this approach, Leibowitz was influenced by his friend and colleague Rudolf Kolisch. Leibowitz likewise made many recordings for Reader's Digest in their various compilation albums. He also wrote for Les Temps modernes, applying existentialist ideas to musicology.

"It's about time a book came out about one of the most talented and beloved performers in the American theater. Charlotte is the consummate actress, comedienne, entertainer. Her work on stage and screen is always hilarious and somehow also gets you right in the gut. Her story is every bit as brilliant. Read it and smile." -Comedy Legend, Carl Reiner "To think of Charlotte Rae is to smile. Consequently, when I began to read "The Facts of My Life," I was unprepared for the emotional impact it would have on me. By the time I finished the first chapter, dealing as it does with her severely troubled son Andy, I was in tears. "As an old friend of Charlotte's, I thought I knew her fairly well. But as I read on, I discovered that the 'facts of her life' were constantly surprising (as well as amusing and engrossing)! There is so much that I don't know about Charlotte and so much that I now want to know, when the book is finally completed and published, I'll be first in line to get my copy!" -Sheldon Harnick (Composer, Fiddler on the Roof) Charlotte Rae's career spans more than seventy years, from the golden age of television to Shakespeare in the Park, the New York Cabaret scene of the late 1940's and 50's to her hit series, The Facts of Life and well beyond. Off stage and screen, Charlotte's life has been one of joy and challenge, raising an autistic son, coming to terms with alcoholism, the heartache of a broken marriage, the revelation of a gay husband and the sudden challenge of facing middle-age with financial and emotional uncertainties-an crisis she ultimately turned into the determination that brought her stardom. The Facts of My Life is the first opportunity for Charlotte fans to explore the fascinating story of her extraordinary life: poignant and hilarious, a story of courage and triumph, one that speaks for a generation of women breaking barriers, taking on challenges, overcoming personal tragedy, and paving the way for others.

Originally published in 1980, this now classic work of literary theory explores the wilderness of positions that grew out of the collision between Anglo-American practical criticism and Continental philosophic criticism. This second edition includes a new preface by the author as well as a foreword by Hayden White. ?A key text for understanding ?the fate of reading' in the Anglophone world over the last fifty years.”?Hayden White, from the Foreword ? Criticism in the Wilderness may be the best, most brilliant, most broadly useful book yet written by an American about the sudden swerve from the safety of established decorum toward bravely theoretical, mainly European forms of literary criticism.”?Terrence Des Pres, Nation ?A polemical survey that reaffirms the value of the Continental tradition of philosophical literary criticism.”?Notable Books of the Year, New York Times Book Review