NAMED A BEST MUSIC BOOK OF 2023 by PITCHFORK, VARIETY, AND ROLLING STONE A companion to the #1 music podcast on Spotify, this book takes readers through the greatest hits that define a weirdly undefinable decade. The 1990s were a chaotic and gritty and utterly magical time for music, a confounding barrage of genres and lifestyles and superstars, from grunge to hip-hop, from sumptuous R&B to rambunctious ska-punk, from Axl to Kurt to Missy to Santana to Tupac to Britney. In 60 SONGS THAT EXPLAIN THE '90s, Ringer music critic Rob Harvilla reimagines all the earwormy, iconic hits Gen Xers pine for with vivid historical storytelling, sharp critical analysis, rampant loopiness, and wryly personal ruminations on the most bizarre, joyous, and inescapable songs from a decade we both regret entirely and miss desperately.

An instant New York Times bestseller! From the bestselling author of But What if We’re Wrong, a wise and funny reckoning with the decade that gave us slacker/grunge irony about the sin of trying too hard, during the greatest shift in human consciousness of any decade in American history. It was long ago, but not as long as it seems: The Berlin Wall fell and the Twin Towers collapsed. In between, one presidential election was allegedly decided by Ross Perot while another was plausibly decided by Ralph Nader. In the beginning, almost every name and address was listed in a phone book, and everyone answered their landlines because you didn’t know who it was. By the end, exposing someone’s address was an act of emotional violence, and nobody picked up their new cell phone if they didn’t know who it was. The 90s brought about a revolution in the human condition we’re still groping to understand. Happily, Chuck Klosterman is more than up to the job. Beyond epiphenomena like "Cop Killer" and Titanic and Zima, there were wholesale shifts in how society was perceived: the rise of the internet, pre-9/11 politics, and the paradoxical belief that nothing was more humiliating than trying too hard. Pop culture accelerated without the aid of a machine that remembered everything, generating an odd comfort in never being certain about anything. On a 90’s Thursday night, more people watched any random episode of Seinfeld than the finale of Game of Thrones. But nobody thought that was important; if you missed it, you simply missed it. It was the last era that held to the idea of a true, hegemonic mainstream before it all began to fracture, whether you found a home in it or defined yourself against it. In The Nineties, Chuck Klosterman makes a home in all of it: the film, the music, the sports, the TV, the politics, the changes regarding race and class and sexuality, the yin/yang of Oprah and Alan Greenspan. In perhaps no other book ever written would a sentence like, “The video for ‘Smells Like Teen Spirit’ was not more consequential than the reunification of Germany” make complete sense. Chuck Klosterman has written a multi-dimensional masterpiece, a work of synthesis so smart and delightful that future historians might well refer to this entire period as Klostermanian.

Twenty years after the release of Nirvana’s landmark album Nevermind comes Everybody Loves Our Town: An Oral History of Grunge, the definitive word on the grunge era, straight from the mouths of those at the center of it all. In 1986, fledgling Seattle label C/Z Records released Deep Six, a compilation featuring a half-dozen local bands: Soundgarden, Green River, Melvins, Malfunkshun, the U-Men and Skin Yard. Though it sold miserably, the record made music history by documenting a burgeoning regional sound, the raw fusion of heavy metal and punk rock that we now know as grunge. But it wasn’t until five years later, with the seemingly overnight success of Nirvana’s “Smells Like Teen Spirit,” that grunge became a household word and Seattle ground zero for the nineties alternative-rock explosion. Everybody Loves Our Town captures the grunge era in the words of the musicians, producers, managers, record executives, video directors, photographers, journalists, publicists, club owners, roadies, scenesters and hangers-on who lived through it. The book tells the whole story: from the founding of the Deep Six bands to the worldwide success of grunge’s big four (Nirvana, Pearl Jam, Soundgarden and Alice in Chains); from the rise of Seattle’s cash-poor, hype-rich indie label Sub Pop to the major-label feeding frenzy that overtook the Pacific Northwest; from the simple joys of making noise at basement parties and tiny rock clubs to the tragic, lonely deaths of superstars Kurt Cobain and Layne Staley. Drawn from more than 250 new interviews—with members of Nirvana, Pearl Jam, Soundgarden, Alice in Chains, Screaming Trees, Hole, Melvins, Mudhoney, Green River, Mother Love Bone, Temple of the Dog, Mad Season, L7, Babes in Toyland, 7 Year Bitch, TAD, the U-Men, Candlebox and many more—and featuring previously untold stories and never-before-published photographs, Everybody Loves Our Town is at once a moving, funny, lurid, and hugely insightful portrait of an extraordinary musical era.

At no time since the rock & roll explosion of the 1960s did music matter more than in the 1990s—the decade of grunge, gangsta rap and Britney Spears. The Nineties might have kicked off with Vanilla Ice, but music changed forever the following year when Nirvana's "Smells Like Teen Spirit" exploded onto the airwaves, giving birth to the alternative nation. The decade spawned dozens of new stars (Pearl Jam, Eminem, Dave Matthews, Christina Aguilera and Jay-Z among them); top artists from U2 to Madonna made their most adventurous records; and hip-hop icons Tupac Shakur and Biggie Smalls met violent ends. Rolling Stone was there to tell all those stories and more—and The '90s collects the best of them: the last major interview with Kurt Cobain, conducted by David Fricke three months before the Nirvana singer took his life in 1994; Jonathan Gold's 1993 trip to Compton to check in with Snoop Dogg and Dr. Dre; Carrie Fisher's intimate one-on-one with Madonna following her 1991 film, Truth or Dare; Kim Neely partying with a riot-starting Guns n' Roses in 1991; Anthony Bozza riding along with an Ecstasy-gobbling Eminem in 1999; and, that same year, Steven Daly's visit to the bedroom of a teenage Britney Spears. Packed with over fifty stories, portraits by the biggest names in photography including Mark Seliger, David LaChapelle and Steven Meisel, and a guide to the decade's hundred greatest albums, The '90s is a definitive look back at the decade that rocked.

Bastard Prince Eugene has decided on a whim that he will be a HERO . . . much to the dismay of the adventuring party of Michel, Hocus and Ani. But the decision is out of their hands, and they're forced to take him along on their travels. Life on the road is different than Eugene expected, but there's no time to wallow in pouty disappointment; townsfolk are going missing. It's the perfect opportunity for the prince to save the day, and even make his companions some coin! But unfortunately, his royal highness is about to learn the system that kept him safe in his silk-sheeted bed isn't particularly concerned with the well-being of anyone who isn't him. A funny, moving, tongue-in-cheek fantasy adventure!

Podcasting burst onto the media landscape in the early 2000s. At the time, there were hopes it might usher in a new wave of amateur and professional cultural production and represent an alternate model for how to produce, share, circulate and experience new voices and perspectives. Twenty years later, podcasting is at a critical juncture in its young history: a moment where the early ideals of open standards and platform-neutral distribution are giving way to services that prioritize lean-back listening and monetizable media experiences. This book provides an accessible and comprehensive account of one of digital media’s most vibrant formats. Focusing on the historical changes shaping podcasts as a media format, the book explores the industrial, technological and cultural components of podcasting alongside case studies of various podcasts, industry publications, and streaming audio platforms (e.g. Spotify, Google and Apple Podcasts). Jeremy Morris argues that as streaming platforms push to make podcasting more industrialized, accessible, user-friendly and similar to other audio media like music or audiobooks, they threaten podcasting’s early, though always unrealized, promises. This is the go-to introduction for students and researchers of media, communication and cultural studies, as well as readers who enjoy making and listening to podcasts.

"What a vibrant, propulsive, wildly intelligent and big-hearted slice of life Sophomores is, an intricate portrait of a family in crisis rendered with a great deal of humor and compassion. I loved this family, this corner of the world, this novel." -Claire Lombardo, author of The Most Fun We Ever Had The late 1980s come alive in this moving and keenly observed story of one boy's unforgettable sophomore year, and his parents' surprising journey alongside him. It's fall 1987 and life as normal is ending for the Malone family. With their sterile Dallas community a far cry from the Irish-American Bronx of their youth, Pat and Anne Malone have reached a breaking point. Pat, faced with a debilitating MS diagnosis, has fallen into his drinking. Anne, his devoutly Catholic wife, is selected as a juror for a highly publicized attempted murder trial, one that raises questions--about God, and about men in power--she has buried her entire life. Together, they try to raise their only son, Daniel, a bright but unmotivated student who is shocked into actual learning by an enigmatic English teacher. For once, Dan is unable to fly under the radar, and is finally asked to consider what he might want to make of his life. With humor and tenderness, Sophomores brilliantly captures the enduring poignancy of coming of age, teenage epiphanies and heartbreak, and family redemption.

“The most trusted opinion in rock music” (Billy Corgan, The Smashing Pumpkins) Matt Pinfield offers the ultimate music fan’s memoir, an “entertaining and insightful” (Clive Davis) chronicle of the songs and artists that inspired his improbable career alongside some of the all-time greats, from The Beatles to KISS to U2 to The Killers. Matt Pinfield “makes rock ‘n’ roll fandom sound like a lifelong heroic quest—which it is” (Rob Sheffield). He’s the guy who knows every song, artist, and musical riff ever recorded, down to the most obscure band’s B-side single on its vinyl-only import EP. As a child, Pinfield made sense of the world through music. Later, as a teenager, Pinfield would approach his music idols after concerts and explain why he loved their songs. As an adult, rock music inspired his career, fueled his relationships, and, at times, became a life raft. In this “charming, rambling account of a life saved by rock ’n’ roll...Pinfield is a disarmingly likable guide” (Kirkus Reviews) through his lifelong music obsession—from the heavy metal that infused his teenage years, to his first encounters with legends like Lou Reed and the Ramones and how, through his MTV years, he played a major role in bringing nineties alt rock mainstream. Over his long career Pinfield has interviewed everyone from Paul McCartney to Nirvana to Jay-Z, earning the trust and admiration of artists and fans alike. Now, for the first time, he shares his five decades of stories from the front lines of rock ‘n’ roll, exploring how, with nothing more than passion and moxy, he became a sought-after reporter, unlikely celebrity, and the last word in popular music. Featuring a rousing collection of best-of lists, favorite tracks, and artist profiles, All These Things That I’ve Done “is an excellent read” (Publishers Weekly) about how a born outsider wound up in the inner circle.

This is a story about love, but not the kind of love you think. You'll see... In the lush and magical Pacific Northwest live two best friends who grew up like sisters: charismatic, mercurial, and beautiful Aurora, and the devoted, watchful narrator. Each of them is incomplete without the other. But their unbreakable bond is challenged when a mysterious and gifted musician named Jack comes between them. His music is like nothing I have ever heard. It is like the ocean surging, the wind that blows across the open water, the far call of gulls. Suddenly, each girl must decide what matters most: friendship, or love. What both girls don't know is that the stakes are even higher than either of them could have imagined. They're not the only ones who have noticed Jack's gift; his music has awakened an ancient evil—and a world both above and below which may not be mythical at all. We have paved over the ancient world but that does not mean we have erased it. The real and the mystical; the romantic and the heartbreaking all begin to swirl together in All Our Pretty Songs, Sarah McCarry's brilliant debut, carrying the two on journey that is both enthralling and terrifying. And it's up to the narrator to protect the people she loves—if she can.

For the first time, Appetite for Self-Destruction recounts the epic story of the precipitous rise and fall of the recording industry over the past three decades, when the incredible success of the CD turned the music business into one of the most glamorous, high-profile industries in the world -- and the advent of file sharing brought it to its knees. In a comprehensive, fast-paced account full of larger-than-life personalities, Rolling Stone contributing editor Steve Knopper shows that, after the incredible wealth and excess of the '80s and '90s, Sony, Warner, and the other big players brought about their own downfall through years of denial and bad decisions in the face of dramatic advances in technology. Big Music has been asleep at the wheel ever since Napster revolutionized the way music was distributed in the 1990s. Now, because powerful people like Doug Morris and Tommy Mottola failed to recognize the incredible potential of file-sharing technology, the labels are in danger of becoming completely obsolete. Knopper, who has been writing about the industry for more than ten years, has unparalleled access to those intimately involved in the music world's highs and lows. Based on interviews with more than two hundred music industry sources -- from Warner Music chairman Edgar Bronfman Jr. to renegade Napster creator Shawn Fanning -- Knopper is the first to offer such a detailed and sweeping contemporary history of the industry's wild ride through the past three decades. From the birth of the compact disc, through the explosion of CD sales in the '80s and '90s, the emergence of Napster, and the secret talks that led to iTunes, to the current collapse of the industry as CD sales plummet, Knopper takes us inside the boardrooms, recording studios, private estates, garage computer labs, company jets, corporate infighting, and secret deals of the big names and behind-the-scenes players who made it all happen. With unforgettable portraits of the music world's mighty and formerly mighty; detailed accounts of both brilliant and stupid ideas brought to fruition or left on the cutting-room floor; the dish on backroom schemes, negotiations, and brawls; and several previously unreported stories, Appetite for Self-Destruction is a riveting, informative, and highly entertaining read. It offers a broad perspective on the current state of Big Music, how it got into these dire straits, and where it's going from here -- and a cautionary tale for the digital age.