Stealing All Transmissions

Stealing All Transmissions is a love story. It’s the story of how The Clash fell in love with America, and how America loved them back. The romance began in full in 1977, when select rock journalists and deejays aided the band’s quest to depose the rock of indolence that dominated American airwaves. This history situates The Clash amid the cultural skirmishes of the 1970s and culminates with their September 1979 performance at the Palladium in New York City. This concert was broadcast live on WNEW, and it concluded with Paul Simonon treating his Fender bass like a woodcutter’s ax. This performance produced one of the most exhilarating Clash bootleg recordings, and the photo of Simonon’s outburst which graced the cover of the London Calling LP was recently deemed the greatest rock’n’roll photograph of all time. That night marked one of the last opportunities for American audiences to see The Clash as a punk band, teetering between conviction and uncertainty, before they became a seriously brilliant rock group. Stealing represents a distinctive take on the history of punk, for no other book gives proper attention to the forces of free-form radio, long-form rock journalism, or Clash bootleg recordings, many of which are now widely available on the web. This story, which takes its title from the 1981 single “Radio Clash,” includes original interviews with key figures from the New York punk scene. This secret history concludes with an analysis of how we listen to music today and its impact on the written word.

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“[A] fantastically hopped-up thriller . . . a wrong-man plot worthy of Hitchcock.”—Entertainment Weekly (Editor’s Choice) It’s three thousand miles from the green fields of glory, where Henry “call me Hank” Thompson once played California baseball, to the Lower East Side of Manhattan, where the tenements are old, the rents are high, and the drunks are dirty. But now Hank is here, working as a bartender and taking care of a cat named Bud who is surely going to get him killed. It begins when Hank’s neighbor, Russ, has to leave town in a rush and hands over Bud in a carrier. But it isn’t until two Russians in tracksuits drag Hank over the bar at the joint where he works and beat him to a pulp that he starts to get the idea: Someone wants something from him. He just doesn’t know what it is, where it is, or how to make them understand he doesn’t have it. Within twenty-four hours Hank is running over rooftops, swinging his old aluminum bat for the sweet spot of a guy’s head, playing hide and seek with the NYPD, riding the subway with a dead man at his side, and counting a whole lot of cash on a concrete floor. All because of two cowboys, two Russian mafia men, and some of the weirdest goons ever assembled in one place. All because of Bud. All because once, in another life, in another world, the only thing Hank wanted was to take third base—without getting caught.

Clandestine missions. Clever, devious, daring. Passionately committed to a cause. During America's most divisive war, both the Union and Confederacy took advantage of brave and courageous women willing to adventurously support their causes. These female spies of the Civil War participated in the world's second-oldest profession-spying-a profession perilous in the extreme. The tales of female spies are filled with suspense, bravery, treachery, and trickery. They took enormous risks and achieved remarkable results-often in ways men could not do. As stated on the grave marker of Union spy Elizabeth Van Lew: "She risked everything that is dear to man-friends, fortune, comfort, health, life itself." Told with personality and pizzazz, author H. Donald Winkler uses primary Civil War sources such as memoirs, journals, letters, and newspaper articles, plus the latest in scholarly research, to make these incredible stories come alive.

A history of shoplifting, revealing the roots of our modern dilemma. Rachel Shteir's The Steal is the first serious study of shoplifting, tracking the fascinating history of this ancient crime. Dismissed by academia and the mainstream media and largely misunderstood, shoplifting has become the territory of moralists, mischievous teenagers, tabloid television, and self-help gurus. But shoplifting incurs remarkable real-life costs for retailers and consumers. The "crime tax"-the amount every American family loses to shoplifting-related price inflation-is more than $400 a year. Shoplifting cost American retailers $11.7 billion in 2009. The theft of one $5.00 item from Whole Foods can require sales of hundreds of dollars to break even. The Steal begins when shoplifting entered the modern record as urbanization and consumerism made London into Europe's busiest mercantile capital. Crossing the channel to nineteenth-century Paris, Shteir tracks the rise of the department store and the pathologizing of shoplifting as kleptomania. In 1960s America, shoplifting becomes a symbol of resistance when the publication of Abbie Hoffman's Steal This Book popularizes shoplifting as an antiestablishment act. Some contemporary analysts see our current epidemic as a response to a culture of hyper-consumerism; others question whether its upticks can be tied to economic downturns at all. Few provide convincing theories about why it goes up or down. Just as experts can't agree on why people shoplift, they can't agree on how to stop it. Shoplifting has been punished by death, discouraged by shame tactics, and protected against by high-tech surveillance. Shoplifters have been treated by psychoanalysis, medicated with pharmaceuticals, and enforced by law to attend rehabilitation groups. While a few individuals have abandoned their sticky-fingered habits, shoplifting shows no signs of slowing. In The Steal, Shteir guides us through a remarkable tour of all things shoplifting-we visit the Woodbury Commons Outlet Mall, where boosters run rampant, watch the surveillance footage from Winona Ryder's famed shopping trip, and learn the history of antitheft technology. A groundbreaking study, The Steal shows us that shoplifting in its many guises-crime, disease, protest-is best understood as a reflection of our society, ourselves.

Half of me was thinking, Georgina, don't do this. Stealing a dog is just plain wrong. The other half of me was thinking, Georgina, you're in a bad fix and you got to do whatever it takes to get yourself out of it. Georgina Hayes is desperate. Ever since her father left and they were evicted from their apartment, her family has been living in their car. With her mama juggling two jobs and trying to make enough money to find a place to live, Georgina is stuck looking after her younger brother, Toby. And she has her heart set on improving their situation. When Georgina spots a missing-dog poster with a reward of five hundred dollars, the solution to all her problems suddenly seems within reach. All she has to do is "borrow" the right dog and its owners are sure to offer a reward. What happens next is the last thing she expected. With unmistakable sympathy, Barbara O'Connor tells the story of a young girl struggling to see what's right when everything else seems wrong. How to Steal a Dog is a 2008 Bank Street - Best Children's Book of the Year. This title has Common Core connections.

It is 1947 and Yankee fever grips the Bronx. Nine-year-old Joey Sexton joins the neighborhood kids who flock to the park to team up and play. However, Joey is of mixed race and his skin is lighter than the other kids’. He is seldom picked. When Joey’s mother dies, he is sent to live with his mother’s estranged family. Joey is whisked away to Brooklyn. Though it’s just across town, it might as well be a different world. His grandfather, his aunt Frieda, and his ten-year-old cousin Roberta are not only white, they are Jewish. Joey knows nothing about Brooklyn or Judaism. The only thing that’s constant is the baseball madness that grips the community. Only this time, the heroes aren’t Joey’s beloved Yankees. They are the Brooklyn Dodgers, especially Jackie Robinson, a man whose struggle to integrate baseball helped set the stage for black America’s struggle for acceptance and civil rights. Joey’s story takes readers to a time when America’s favorite pastime became a battleground for human rights.

An epic joyride through three history-making tours in 1973 that defined rock and roll superstardom—the money, the access, the excess—forevermore. The Who’s Quadrophenia. Led Zeppelin’s Houses of the Holy. Alice Cooper’s Billion Dollar Babies. These three unprecedented tours—and the albums that inspired them—were the most ambitious of these artists’ careers, and they forever changed the landscape of rock and roll: the economics, the privileges, and the very essence of the concert experience. On these juggernauts, rock gods—and their entourages—were born, along with unimaginable overindulgence and the legendary flameouts. Tour buses were traded for private jets, arenas replaced theaters, and performances transmogrified into over-the-top, operatic spectacles. As the sixties ended and the seventies began, an altogether more cynical era took hold: peace, love, and understanding gave way to sex, drugs, and rock and roll. But the decade didn’t become the seventies, acclaimed journalist Michael Walker writes, until 1973, a historic and mind-bogglingly prolific year for rock and roll that saw the release of countless classic albums, from The Dark Side of the Moon to Goat’s Head Soup; Goodbye Yellow Brick Road; Greetings from Asbury Park, N.J.; and The Wild, the Innocent & the E Street Shuffle. Aerosmith, Queen, and Lynyrd Skynyrd released their debut albums. The Roxy and CBGB opened their doors. Every major act of the era—from Fleetwood Mac to Black Sabbath—was on the road that summer, but of them all, Walker writes, it was The Who, Led Zeppelin, and Alice Cooper who emerged as the game changers. Walker revisits each of these three tours in memorable, all-access detail: he goes backstage, onto the jets, and into the limos, where every conceivable wish could be granted. He wedges himself into the sweaty throng of teenage fans (Walker himself was one of them) who suddenly were an economic force to be reckoned with, and he vividly describes how a decade’s worth of decadence was squeezed into twelve heart-pounding, backbreaking, and rule-defying months that redefined, for our modern times, the business of superstardom. Praise for What You Want Is in the Limo “Required reading . . . 1973 is a turning point in popular music — the border between hippie-ethos ’60s rock ’n’ roll and conspicuous-consumption excess ’70s rock.”—New York Post “Loud and boisterous . . . Like a good vinyl-era single, it’s over before it wears out its welcome. You may even want to flip it over and start again when you’re finished.”—Fort Worth Star-Telegram “You don’t have to love the music or personas of the three bands highlighted here . . . to appreciate the vital roles that all three played in creating the modern rock star. . . . [Walker] is convincing and entertaining in explaining why 1973 was a seminal year in rock.”—The Daily Beast “[There’s] so much rock n' roll history packed inside.”—GQ “Very well written . . . It gives an intellectual immersion into these bands’ lives.”—Led-Zeppelin.org “[Walker] argues for [1973] as a tipping point, when big tours—and bigger money—became a defining ethos in rock music.”—NPR