Search results for ""Author Joe Bonomo""

Legendary New Yorker writer and editor Roger Angell is considered to be among the greatest baseball writers to date. He brought a fan’s love, a fiction writer’s eye, and an essayist’s sensibility to the game. No other baseball writer has a through line quite like Angell’s: born in 1920, he was an avid fan of the game by the Depression era, when he watched Babe Ruth and Lou Gehrig hit home runs at Yankee Stadium. He began writing about baseball in 1962 and continued through the decades, blogging about baseball’s postseasons, until shortly before his death in 2022.No Place I Would Rather Be tells the story of Angell’s contribution to sportswriting, including his early short stories, pieces for the New Yorker, autobiographical essays, seven books, and the common threads that run through them. His work reflects rapidly changing mores as well as evolving forces on and off the field, reacting to a half century of cultural turmoil, shifts in trends and professional attitudes of ballplayers and executives, and a complex, discerning, and diverse audience. Baseball is both change and constancy, and Angell was the preeminent essayist of that paradox. His writing encompassed fondness for the past, a sober reckoning of the present, and hope for the future of the game. This edition features a new epilogue.

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This is a brilliant study of the creation, impact, and legacy of one of rock's great albums, and a hymn to the nature of teenage fandom. Released in 1979, AC/DC's "Highway To Hell" was the infamous last album recorded with singer Bon Scott, who died of alcohol poisoning in London in February of 1980. Officially chalked up to "Death by Misadventure," Scott's demise has forever secured the album's reputation as a partying primer and a bible for lethal behavior, branding the album with the fun chaos of alcoholic excess and its flip side, early death. The best songs on "Highway To Hell" achieve Sonic Platonism, translating rock & roll's transcendent ideals in stomping, dual-guitar and eighth-note bass riffing, a Paleolithic drum bed, and insanely, recklessly odd but fun vocals. Joe Bonomo strikes a three - chord essay on the power of adolescence, the durability of rock & roll fandom, and the transformative properties of memory. Why does "Highway To Hell" matter to anyone beyond non-ironic teenagers? Blending interviews, analysis, and memoir with a fan's perspective, "Highway To Hell" dramatizes and celebrates a timeless album that one critic said makes 'disaster sound like the best fun in the world.' 'A growing Alexandria of rock criticism' - "Los Angeles Times", 2008. 'Ideal for the rock geek who thinks liner notes just aren't enough - "Rolling Stone". 'A brilliant series...each one a word of real love' - "NME"(UK).

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Legendary New Yorker writer and editor Roger Angell is considered to be among the greatest baseball writers to date. He brought a fan’s love, a fiction writer’s eye, and an essayist’s sensibility to the game. No other baseball writer has a through line quite like Angell’s: born in 1920, he was an avid fan of the game by the Depression era, when he watched Babe Ruth and Lou Gehrig hit home runs at Yankee Stadium. He began writing about baseball in 1962 and continued through the decades, blogging about baseball’s postseasons, until shortly before his death in 2022.No Place I Would Rather Be tells the story of Angell’s contribution to sportswriting, including his early short stories, pieces for the New Yorker, autobiographical essays, seven books, and the common threads that run through them. His work reflects rapidly changing mores as well as evolving forces on and off the field, reacting to a half century of cultural turmoil, shifts in trends and professional attitudes of ballplayers and executives, and a complex, discerning, and diverse audience. Baseball is both change and constancy, and Angell was the preeminent essayist of that paradox. His writing encompassed fondness for the past, a sober reckoning of the present, and hope for the future of the game. This edition features a new epilogue.

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In The Birth of Rock and Roll, Americana collector Jim Linderman has arranged a storyboard of sorts that dramatizes the spirit of rock and roll in its early days—when "a juke-joint with fifty patrons was a big show," as Linderman writes in his introduction. "A church with fifty congregants was a full house. The annual square dance at the town hall, a rent party, a fish-fry, the honky-tonk piano in the whore house, the union meeting … There was no real money in it. A performer was lucky to be fed, get drunk and get laid." The photographs have little to do with the conventional iconography of the birth of rock and roll: conspicuously absent are pictures of young white men in Memphis, poodle skirts, Alan Freed and Bill Haley's Brylcream. These photographs instead document and celebrate the pure but indefinable essence of rocking. Ordinary, anonymous men, women and children—some white, some black—are holding guitars and strumming while looking relaxed or frantic, but nearly always blissful. Some of the action takes place in rural fields, some in dance halls, some at civic events, some in living rooms and basements. Wherever there was an urge to make acoustic or electric music—whether to help at a rent party, busk in front of a crowd or testify in the name of Jesus—there was an uncredited photographer there to snap an image, and these are the photographs that comprise Linderman's fascinating narrative.

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