The Infamous Frankie Lorde 3 No Admissions

A group of parents looking to buy their less-deserving children into elite schools is about to learn a thing or two from a criminal mastermind in the third book in the Infamous Frankie Lorde series, perfect for fans of Ally Carter's Gallagher Girls and Heist Society. When Frankie discovers that a classmate’s invention has been stolen the day before a school-wide competition, the once-renowned international thief figures she might as well flex her skills to steal it back. But just when Frankie’s about to call her mission a success, she learns there’s more to the story than she’d originally thought. A group of wealthy Greenwich parents are using their influence -- and wallets -- to guarantee that their kids get into the most exclusive institutions on the East coast, no matter how undeserving their kids are, or how far they have to go to ensure success. Easy peasy for Frankie to crack. Until she gets to know these classmates of hers...and their parents...and everyone's real motivations and issues. Frankie sets the bar higher, to take the scam down from the top. The guy who's been hired to get the kids into their desired schools: "Mr. Admissions."

Tiger King meets Ocean's 8 in this slick second book in the Infamous Frankie Lorde series as potentially reformed international thief Frankie dives into the dangerous and political world of trafficking exotic animals. Perfect for fans of Ally Carter's Gallagher Girls and Heist Society. For Frankie, using her less-than-legal set of skills to pull a heist against a crooked real estate mogul with the help of her new friend Ollie was super gratifying, but she's getting restless now. And with her no end in sight for her dad's prison sentence, she's finally coming to terms with the fact that she may be in Connecticut for a lot longer than she expected. Volunteering at a local animal shelter over school break, Frankie and Ollie hear that there's a dangerous exotic animal farm supplying Greenwich's elite with lions and tigers and bears. (Oh my!) Feeling an instant kinship with the endangered creatures locked away in their cages, Frankie makes it her mission to find the perpetrators, free the beautiful beasts, and ensnare the bad guys in a trap of her own.

The untold story of the world's most controversial album---a surreal tale of secret recordings, the Wu-Tang Clan, baffled customs agents, the world's most hallowed art institutions, and a villain of comic book proportions: Martin Shkreli. In 2007, the innovative young Wu-Tang producer, Cilvaringz, took an incendiary idea to his mentor the RZA. They felt that the impact of digitization threatened the sustainability of the record industry and independent artists, while shifting the perception of music from treasured works of art to disposable consumer products. Together they conceived a statement so radical that it would unleash a torrent of global debate---a sole copy of an album in physical form, encased in gleaming silver and sold through an auction house for millions as a work of contemporary art. The execution of this plan raised a number of complex questions: Would selling an album for millions be the ultimate betrayal of music? How would fans react to an album that's sold on the condition that it could not be commercialized? And could anyone ever justify the selling of the album to the infamous Martin Shkreli? As headlines flashed across the globe, the mystery only deepened. Opinions were sharply divided over whether this was high art or hucksterism---quixotic idealism or a cynical cash grab. Was it a noble act of protest, an act of cultural vandalism, an obscene symbol of greed, a subversive masterpiece, a profound mirror for our time, or a joker on capitalism's card table? As senior adviser to the project, Cyrus Bozorgmehr is uniquely placed to unlock the secrets behind the album and tell the full, unadulterated story. With explosive revelations about backroom plans made public for the first time, Once Upon a Time in Shaolin charts the album's journey from inception to disruption in vivid style. An extraordinary adventure that veers between outlandish caper and urgent cultural analysis. Once Upon a Time in Shaolin twists and turns through the mayhem and the mischief, while asking profound questions about our relationship with art, music, technology, and ultimately ourselves.

Popular high schooler Hadley Bishop, a descendant of the first woman executed in the Salem witch trials, must face down an evil, supernatural presence from the past.

A warm and surprisingly real-life biography, featuring never-before-seen photos, of one of rock’s greatest talents: Prince. Neal Karlen was the only journalist Prince granted in-depth press interviews to for over a dozen years, from before Purple Rain to when the artist changed his name to an unpronounceable glyph. Karlen interviewed Prince for three Rolling Stone cover stories, wrote “3 Chains o’ Gold,” Prince’s “rock video opera,” as well as the star’s last testament, which may be buried with Prince’s will underneath Prince’s vast and private compound, Paisley Park. According to Prince's former fiancée Susannah Melvoin, Karlen was “the only reporter who made Prince sound like what he really sounded like.” Karlen quit writing about Prince a quarter-century before the mega-star died, but he never quit Prince, and the two remained friends for the last thirty-one years of the superstar’s life. Well before they met as writer and subject, Prince and Karlen knew each other as two of the gang of kids who biked around Minneapolis’s mostly-segregated Northside. (They played basketball at the Dairy Queen next door to Karlen’s grandparents, two blocks from the budding musician.) He asserts that Prince can’t be understood without first understanding ‘70s Minneapolis, and that even Prince’s best friends knew only 15 percent of him: that was all he was willing and able to give, no matter how much he cared for them. Going back to Prince Rogers Nelson's roots, especially his contradictory, often tortured, and sometimes violent relationship with his father, This Thing Called Life profoundly changes what we know about Prince, and explains him as no biography has: a superstar who calls in the middle of the night to talk, who loved The Wire and could quote from every episode of The Office, who frequented libraries and jammed spontaneously for local crowds (and fed everyone pancakes afterward), who was lonely but craved being alone. Readers will drive around Minneapolis with Prince in a convertible, talk about movies and music and life, and watch as he tries not to curse, instead dishing a healthy dose of “mamma jammas.”

It all started in London. More than fifty years ago, a generation of teens created something that would change the face of music forever. London, Reign Over Me immerses us in the backroom clubs, basement record shops, and late-night faint radio signals of 1960s Britain, where young hopefuls like Peter Frampton, Dave Davies, and Mick Jagger built off American blues and jazz to form a whole new sound. Author Stephen Tow weaves together original interviews with over ninety musicians and movers-and-shakers of the time to uncover the uniquely British story of classic rock’s birth. Capturing the stark contrast of bursting artistic energy with the blitzkrieg landscape leftover from World War II, London, Reign Over Me reveals why classic rock ‘n’ roll could only have been born in London. A new sound from a new generation, this music helped spark the most important cultural transformation of the twentieth century. Key interviews include: •Jon Anderson (Yes) •Ian Anderson (Jethro Tull) •Rod Argent (The Zombies) •Chris Barber (Chris Barber Jazz Band) •Joe Boyd (Producer/manager) •Arthur Brown (Crazy World of Arthur Brown) •David Cousins (The Strawbs) •Dave Davies (The Kinks) •Spencer Davis (Spencer Davis Group) •Judy Dyble (Fairport Convention) •Ramblin’ Jack Elliott (Solo folk/blues artist) •Peter Frampton (Humble Pie, solo artist) •Roger Glover (Deep Purple) •Steve Howe (Yes) •Neil Innes (Bonzo Dog Band; Monty Python) •Kenney Jones (The Small Faces; The Who) •Greg Lake (King Crimson; Emerson, Lake & Palmer) •Manfred Mann (Manfred Mann) •Terry Marshall (Marshall Amplification) •Dave Mason (Traffic) •Phil May (The Pretty Things) •John Mayall (The Bluesbreakers) •Jim McCarty (The Yardbirds) •Ian McLagan (The Small Faces) •Jacqui McShee (The Pentangle) •Peter Noone (Herman’s Hermits) •Carl Palmer (Atomic Rooster; Emerson, Lake & Palmer) •Jan Roberts (Eel Pie Island Documentary Project) •Paul Rodgers (Free) •Peggy Seeger (Solo folk artist) •Hylda Sims (Club owner) •Keith Skues (DJ: Radio Caroline, Radio London, Radio One) •Jeremy Spencer (Fleetwood Mac) •John Steel (The Animals) •Al Stewart (Solo folk artist) •Dick Taylor (The Pretty Things) •Ray Thomas (The Moody Blues) •Richard Thompson (Fairport Convention) •Rick Wakeman (The Strawbs, Yes) •Barrie Wentzell (Photographer: Melody Maker)

Reality first appeared in the late 1980s—in the sense not of real life but rather of the TV entertainment genre inaugurated by shows such as Cops and America’s Most Wanted; the daytime gabfests of Geraldo, Oprah, and Donahue; and the tabloid news of A Current Affair. In a bracing work of cultural criticism, Eric Harvey argues that reality TV emerged in dialog with another kind of entertainment that served as its foil while borrowing its techniques: gangsta rap. Or, as legendary performers Ice Cube and Ice-T called it, “reality rap.” Reality rap and reality TV were components of a cultural revolution that redefined popular entertainment as a truth-telling medium. Reality entertainment borrowed journalistic tropes but was undiluted by the caveats and context that journalism demanded. While N.W.A.’s “Fuck tha Police” countered Cops’ vision of Black lives in America, the reality rappers who emerged in that group’s wake, such as Snoop Doggy Dogg and Tupac Shakur, embraced reality’s visceral tabloid sensationalism, using the media's obsession with Black criminality to collapse the distinction between image and truth. Reality TV and reality rap nurtured the world we live in now, where politics and basic facts don’t feel real until they have been translated into mass-mediated entertainment.

Featured in the film Twenty Feet From Stardom, the woman whose voice the New York Times said "is as embedded in the history of rock 'n' roll as Eric Clapton's guitar and Bob Dylan's lyrics" tells her story Right out of high school, Darlene Love began singing lead vocals for legendary producer Phil Spector, cutting such classic hits as the number one "He's a Rebel," "Da Doo Ron Ron," and "He's Sure the Boy I Love." As part of the girl group the Blossoms, she held a regular spot on television's Shindig!, and with Bob B. Soxx & the Blue Jeans she toured the country. Later, she sang backup—and collected numerous scintillating backstage stories—with, among others, Dionne Warwick, the Mamas and the Papas, and Sonny and Cher. Now in My Name Is Love, Darlene is ready to tell her tales about Elvis coming on to her backstage during his famous '68 Comeback Special, about wild parties she witnessed at Tom Jones's house, and about her love affair with Bill Medley of the Righteous Brothers. She also recalls how she found herself cleaning houses in Beverly Hills, heard herself on the radio, and vowed to make a comeback. That comeback has included roles in all of the Lethal Weapon movies, starring roles on Broadway, and headlining concert appearances worldwide. A dishy, behind-the-scenes showbiz memoir, My Name Is Love is also the inspiring story of a woman who refused to give up.