The Code Of The Roadies

Hired to be a roadie for the skinhead band Der Akt, undercover special agent Jack Carson learns about the band's Nazi ties and its mind control effort to incite violent riots at concerts.

Techo thriller in which a teenage hacker must combat the evil schemes of a skinhead rock band.

Techo thriller in which a teenage hacker must combat the evil schemes of a skinhead rock band.

Techno thriller in which a teenager breaks the computer code of a drug-smuggling cartel.

Sequel to 'Code of Deception', this is the story of 15 year old Jake's summer vacation. Employed as a computer roadie with a famous rock band, Jake soon realises he must decode the techno-mystery in a hurry or face death himself. Suitable for adolescent readers.

Michelle Cruz Gonzales played drums and wrote lyrics in the influential 1990s female hardcore band Spitboy, and now she’s written a book—a punk rock herstory. Though not a riot grrl band, Spitboy blazed trails for women musicians in the San Francisco Bay Area and beyond, but it wasn’t easy. Misogyny, sexism, abusive fans, class and color blindness, and all-out racism were foes, especially for Gonzales, a Xicana and the only person of color in the band. Unlike touring rock bands before them, the unapologetically feminist Spitboy preferred Scrabble games between shows rather than sex and drugs, and they were not the angry manhaters that many expected them to be. Serious about women’s issues and being the band that they themselves wanted to hear, a band that rocked as hard as men but sounded like women, Spitboy released several records and toured internationally. The memoir details these travels while chronicling Spitboy’s successes and failures, and for Gonzales, discovering her own identity along the way. Fully illustrated with rare photos and flyers from the punk rock underground, this fast-paced, first-person recollection is populated by scenesters and musical allies from the time including Econochrist, Paxston Quiggly, Neurosis, Los Crudos, Aaron Cometbus, Pete the Roadie, Green Day, Fugazi, and Kamala and the Karnivores.

Today, freedom is so closely associated with the United States that most people still view America as the ultimate symbol of freedom. This is one reason why the desire to immigrate to the United States from almost anywhere in the world has not waned for more than a century. Because of this image, the idea that Americans are constrained by restrictive ordinances and rules seems contrary and therefore difficult for most citizens to accept.Vladimir Shlapentokh and Eric Beasley argue that the idea of basing American society upon unadulterated freedom in all spheres of life is both unrealistic and simplistic. The authors define freedom as the ability to choose one of many available alternatives. They note that this concept of freedom sometimes leads to a paradox: occasionally, freedoms are expanded through the creation of additional restrictions because the restrictions provide people with more alternatives. Thus, being free or restricted is not an all or nothing proposition, but rather a question of degrees.Many works discuss restrictions in relation to a particular area of life, but none of them explore the magnitude of how limitations shape people's everyday lives. Restricting Freedoms is unique in that the authors provide case studies that illustrate a wide variety of social contexts in relation to religious activity, noise-making, and sexual activities, among others. This overview of the role of restrictions in American life will be of interest to all American readers.

In The Grail Guitar: The Search for Jimi Hendrix’s Purple Haze Telecaster, Chris Adams takes readers on a fascinating mystery tour to determine whether a Fender Telecaster bought secondhand in a London music store in 1973 was the one used by Jimi Hendrix to record “Purple Haze” in January 1967. The only clues are its left-handed tuners and the salesman’s chance remark that the guitar was brought into the shop by a Hendrix roadie. But these are enough to set the author off on this intriguing journey into Hendrix history. With firsthand details from model Linda Keith, who discovered Hendrix in New York, Adams recounts how the rising star left for London with a white Stratocaster belonging to Keith Richards. The man who made Hendrix’s pedals explains how this Strat failed to make the “Purple Haze” recording session and how it was replaced by a borrowed Telecaster. As Adams tracks down the surviving musicians, they shed light on the fate of that Telecaster and gradually the two guitars begin to merge into one. Throughout, Adams weaves his own story as a rock musician and tells how, against the odds, he managed to hold on to this remarkable instrument. Here is a riveting story of one man seeking the truth about a cultural artifact that changed rock history, a story for rock fans and guitar aficionados, treasure hunters and antique dealers, as well as anyone who likes a detective story.