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In Queens of Noise, Mixi fronts the Mangy Rats, a motley found family of queers, crust punks and werecoyotes. Mixi and their band know they're gonna win the Battle of the Bands final showdown, no matter what it takes. But to make that happen, they'll also have to contend with poser goths, murderous chickens, and a bullshit corporate takeover ruining the best bar in town.
In four years the teenage members of the Runaways did what no other group of female rock musicians before them could: they released four albums for a major label and toured the world. The Runaways busted down doors for every girl band that followed. Joan Jett, Sandy West, Cherrie Currie, lead guitarist Lita Ford, and bassists Jackie Fox and Vicky Blue were pre-punk bandits, fostering revolution girl style decades before that became a riot grrrl catchphrase. The story of the Runaways has never been told in its entirety. Drawing on interviews with most of this seminal rock band's former members as well as controversial manager Kim Fowley, Queens of Noise will look beyond the lurid voyeuristic appeal of a sex-drugs-rock'n' roll saga to give the band its place in musical, feminist, and cultural history.
At the tender age of fifteen, groundbreaking lead singer Cherie Currie joined a group of talented girls—Joan Jett and Lita Ford on guitar, Jackie Fox on bass, and Sandy West on drums—who could rock like no one else. Arriving on the Los Angeles music scene in 1975, The Runaways catapulted from playing small clubs to selling out major stadiums—headlining shows with opening acts like the Ramones, Van Halen, Cheap Trick, and Blondie while riding a wave of hit songs and platinum albums, and touring the world. A shocking, funny, and touching re-creation of a bygone era of rock and roll that chronicles the Runaways' rise to fame and ultimate demise, Neon Angel is also an intensely personal account of Currie's struggles with drugs, sexual abuse, and violence in a decadent, high-pressure music scene—a world of uncontrolled excess where she and her unsupervised bandmates had to grow up fast and experience things that no teenage girls should.
Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.
The "singer and actress in Scream Queens, Akeelah and the Bee, and Grease: Live, writes a ... guide for young women, with color illustrations throughout, on such topics as identity, anxiety, peer pressure, and body image ... and encourages them towards greater confidence and freedom"--
The 115th volume of the Yale Series of Younger Poets is a lyrical and polyvocal exploration of what it means to fight for yourself “Bailey invites us to see what twenty-first-century life is like for a young woman of the Black diaspora in the long wake of a history of slavery, brutality, and struggling for freedoms bodily and psychological.” —Carl Phillips, from the Foreword The 115th volume of the Yale Series of Younger Poets, What Noise Against the Cane is a lyric quest for belonging and freedom, weaving political resistance, Caribbean folklore, immigration, and the realities of Black life in America. Desiree C. Bailey begins by reworking the epic in an oceanic narrative of bondage and liberation in the midst of the Haitian Revolution. The poems move into the contemporary Black diaspora, probing the mythologies of home, belief, nation, and womanhood. Series judge Carl Phillips observes that Bailey’s “poems argue for hope and faith equally. . . . These are powerful poems, indeed, and they make a persuasive argument for the transformative powers of steady defiance.”
In the first volume of an exciting new series, bestselling author Alison Weir brings the dramatic reigns of England’s medieval queens to life. The lives of England’s medieval queens were packed with incident—love, intrigue, betrayal, adultery, and warfare—but their stories have been largely obscured by centuries of myth and omission. Now esteemed biographer Alison Weir provides a fresh perspective and restores these women to their rightful place in history. Spanning the years from the Norman conquest in 1066 to the dawn of a new era in 1154, when Henry II succeeded to the throne and Eleanor of Aquitaine, the first Plantagenet queen, was crowned, this epic book brings to vivid life five women, including: Matilda of Flanders, wife of William the Conqueror, the first Norman king; Matilda of Scotland, revered as “the common mother of all England”; and Empress Maud, England’s first female ruler, whose son King Henry II would go on to found the Plantagenet dynasty. More than those who came before or after them, these Norman consorts were recognized as equal sharers in sovereignty. Without the support of their wives, the Norman kings could not have ruled their disparate dominions as effectively. Drawing from the most reliable contemporary sources, Weir skillfully strips away centuries of romantic lore to share a balanced and authentic take on the importance of these female monarchs. What emerges is a seamless royal saga, an all-encompassing portrait of English medieval queenship, and a sweeping panorama of British history. Praise for Queens of the Conquest “Best-selling author [Alison] Weir pens another readable, well-researched English history, the first in a proposed four-volume series on England’s medieval queens. . . . Weir’s research skills and storytelling ability combine beautifully to tell a fascinating story supported by excellent historical research. Fans of her fiction and nonfiction will enjoy this latest work.”—Library Journal (starred review) “Another sound feminist resurrection by a seasoned historian . . . Though Norman queens were largely unknowable, leave it to this prolific historical biographer to bring them to life. . . . As usual, Weir is meticulous in her research.”—Kirkus Reviews
Fearless, revealing, and compulsively readable, Lita Ford’s Living Like a Runaway is the long-awaited memoir from one of rock’s greatest pioneers—and fiercest survivors. “Heavy metal’s leading female rocker" (Rolling Stone) bares all, opening up about the Runaways, the glory days of the punk and hard-rock scenes, and the highs and lows of her trailblazing career. Wielding her signature black guitar, Lita Ford shredded stereotypes of female musicians throughout the 1970s and ‘80s. Then followed more than a decade of silence and darkness—until rock and roll repaid the debt it owed this pioneer, helped Lita reclaim her soul, and restored the Queen of Metal to her throne. In 1975, Lita Ford left home at age sixteen to join the world’s first major all-female rock group, the Runaways—a “pioneering band” (New York Times) that became the subject of a Hollywood movie starring Kristen Stewart ad Dakota Fanning. Lita went on to become “heavy rock’s first female guitar hero” (Washington Post), a platinum-selling solo star who shared the bill with the Ramones, Van Halen, Motley Crue, Bon Jovi, Def Leppard, Poison, and others and who gave Ozzy Osbourne his first Top 10 hit. She was a bare-ass, leather-clad babe whose hair was bigger and whose guitar licks were hotter than any of the guys’. Hailed by Elle as “one of the greatest female electric guitar players to ever pick up the instrument,” Lita spurred the meteoric rise of Joan Jett, Cherie Currie, and the rest of the Runaways. Her phenomenal talent on the fret board also carried her to tremendous individual success after the group’s 1979 disbandment, when she established herself as a “legendary metal icon” (Guitar World) and a fixture of the 1980s music scene who held her own after hours with Nikki Sixx, Jon Bon Jovi, Eddie Van Halen, Tommy Lee, Motorhead’s Lemmy, Black Sabbath’s Tony Iommi (to whom she was engaged), and others. Featuring a foreword by Dee Snider, Living Like a Runaway also provides never-before-told details of Lita’s dramatic personal story. For Lita, life as a woman in the male-dominated rock scene was never easy, a constant battle with the music establishment. But then, at a low point in her career, came a tumultuous marriage that left her feeling trapped, isolated from the rock-and-roll scene for more than a decade, and—most tragically—alienated from her two sons. And yet, after a dramatic and emotional personal odyssey, Lita picked up her guitar and stormed back to the stage. As Guitar Player hailed in 2014 when they inducted her into their hall of fame of guitar greats: “She is as badass as ever.”
The death of one of her teenage heroes serves as an long-overdue wake-up call causing Lisa to examine her life and how she's lived it, from her youth as a poet on the streets of the East Village to 10 years later, all grown up with a career and a fiance.--Cover.