Rock Roll Nightmares Parallel Lines

From the Award-Winning, Bestselling Rock & Roll Nightmares Book Series Comes¿ Parallel LinesGet ready for a wild ride through an alternate universe of music in Rock & Roll Nightmares: Parallel Lines. These short stories, written by award-winning and bestselling authors, cover everything from hilarious antics to deep reflections, all set in a music world that's not quite what you remember. What ties them together? Each tale takes a real rock star's story and spins it in a whole new direction.Ever wondered what would've happened if Elvis had never met the Colonel? Or if Ozzy Osbourne skipped those rabies shots after his infamous bat encounter? Dive into the unknown with questions like, "What if Led Zeppelin never released 'Stairway to Heaven'?" and "What if The Manson Family weren't Beatles fans?" This mind-bending anthology'll make you rethink the twists and turns of rock history.Rock & Roll Nightmares: Parallel Lines will have you laughing, pondering, horrified, and jamming along to a different beat. It's not your typical read-this is a one-of-a-kind journey into the what-ifs of rock & roll. Brace yourself for a literary experience that's as unique as the music itself!Stories by: Bestselling Author Staci Layne Wilson, Bram Stoker Award Winners Del Howison and Mercedes M. Yardley, plus talented writers Robert J. Stava, Michelle Nessk, Nadia Robertson, Keith J. Olexa, and D.E. McCluskey.¿Over the Hills and Far Away (Led Zeppelin)¿The Man The Colonel Never Knew (Elvis Presley)¿The Long Walk to Mardi Gras (Gram Parsons)¿Proud Mary (Tina Turner)¿Flying High Again (Ozzy Osbourne)¿Holding Hands Like Paper Dolls (The Beatles)¿Armageddon It (Def Leppard)¿KISS Face-Off (KISS)¿Angel of Revelation (Judas Priest)¿Go Your Own Way (Fleetwood Mac)¿One Way Or Another (Blondie)

"The story you are about to read is the story of a light-bringer....Salman Ahmad inspires me to reach always for the greatest heights and never to fear....Know that his story is a part of our history." -- Melissa Etheridge, from the Introduction With 30 million record sales under his belt, and with fans including Bono and Al Gore, Pakistanborn Salman Ahmad is renowned for being the first rock & roll star to destroy the wall that divides the West and the Muslim world. Rock & Roll Jihad is the story of his incredible journey. Facing down angry mullahs and oppressive dictators who wanted all music to be banned from the Islamic Republic of Pakistan, Salman Ahmad rocketed to the top of the music charts, bringing Westernstyle rock and pop to Pakistani teenagers for the first time. His band Junoon became the U2 of Asia, a sufi - rock group that broke boundaries and sold a record number of albums. But Salman's story began in New York, where he spent his teen years learning to play guitar, listening to Led Zeppelin, hanging out at rock clubs and Beatles Fests, making American friends, and dreaming of rock-star fame. That dream seemed destined to die when his family returned to Pakistan and Salman was forced to follow the strictures of a newly religious -- and stratified -- society. He finished medical school, met his soul mate, and watched his beloved funkytown of Lahore transform with the rest of Pakistan under the rule of Zia into a fundamentalist dictatorship: morality police arrested couples holding hands in public, Little House on the Prairie and Live Aid were banned from television broadcasts, and Kalashnikovs and rocket launchers proliferated on college campuses via the Afghani resistance to Soviet occupation in the north. Undeterred, the teenage Salman created his own underground jihad: his mission was to bring his beloved rock music to an enthusiastic new audience in South Asia and beyond. He started a traveling guitar club that met in private Lahore spaces, mixing Urdu love poems with Casio synthesizers, tablas with Fender Stratocasters, and ragas with power chords, eventually joining his first pop band, Vital Signs. Later, he founded Junoon, South Asia's biggest rock band, which was followed to every corner of the world by a loyal legion of fans called Junoonis. As his music climbed the charts, Salman found himself the target of religious fanatics and power-mad politicians desperate to take him and his band down. But in the center of a new generation of young Pakistanis who go to mosques as well as McDonald's, whose religion gives them compassion for and not fear of the West, and who see modern music as a "rainbow bridge" that links their lives to the rest of the world, nothing could stop Salman's star from rising. Today, Salman continues to play music and is also a UNAIDS Goodwill Ambassador, traveling the world as a spokesperson and using the lessons he learned as a musical pioneer to help heal the wounds between East and West -- lessons he shares in this illuminating memoir.

Discusses the evolution of rock music from its earliest origins to today's most influential musical styles and performers

First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

Damaged: Musicality and Race in Early American Punk is the first book-length portrait of punk as a musical style with an emphasis on how punk developed in relation to changing ideas of race in American society from the late 1960s to the early 1980s. Drawing on musical analysis, archival research, and new interviews, Damaged provides fresh interpretations of race and American society during this period and illuminates the contemporary importance of that era. Evan Rapport outlines the ways in which punk developed out of dramatic changes to America’s cities and suburbs in the postwar era, especially with respect to race. The musical styles that led to punk included transformations to blues resources, experimental visions of the American musical past, and bold reworkings of the rock-and-roll and rhythm-and-blues sounds of the late 1950s and early 1960s, revealing a historically oriented approach to rock that is strikingly different from the common myths and conceptions about punk. Following these approaches, punk itself reflected new versions of older exchanges between the US and the UK, the changing environments of American suburbs and cities, and a shift from the expressions of older baby boomers to that of younger musicians belonging to Generation X. Throughout the book, Rapport also explores the discourses and contradictory narratives of punk history, which are often in direct conflict with the world that is captured in historical documents and revealed through musical analysis.

Modern pop began in 1952 when the first British chart was published and the first 7" singles were released. It ended (perhaps) in 1995 when Robson and Jerome reached the top of the charts with the first number one not to be available on vinyl since 1953. The internet age ushered in the death rites of over 40 years of pop. A Complete History Pop describes the journey that leads from 'Rock Around the Clock' to 'Crazy in Love'. Raw, thrilling, surprising and sometimes downright dangerous, the Pop moment almost always clocks in under 3:30 and is initially, immediately recognised by a teenage listener. Billy Fury. Chuck Berry. Sonny and Cher. The Troggs. Glen Campbell. Bee Gees. Roxy Music. Chic. Slade. Sex Pistols. Adam and the Ants. Pet Shop Boys. New Order. Madonna. Bob Stanley's A Complete History of Pop documents the rich soundtrack of the last six decades as it has been heard on radios and jukeboxes across the land. There have been many books on pop but very few, if any, have attempted to bring the whole story to life from rock n roll to house and techno in all its various sub-permutations. Audacious and addictive, A Complete History of Pop is a one-stop pop shop for the music lover everywhere.

In 1969, at the Ryman Auditorium in Nashville, Tennessee, American music changed for ever. Bob Dylan, the most daredevil spirit of the rock era, took the stage for the first time with Johnny Cash, country music superstar. This show at the temple of country music, The Grand Ole Opry, was the most public evidence of a collision of styles which first occurred in the mid-1950s and has sent shockwaves through American music ever since. Country Rock, as played by the Byrds, the Eagles and Gram Parsons, was to become the dominant style in American music during the 1970s.