For the first time in one volume, the three novels that introduced Michael Connelly's great LAPD homicide detective, maverick Hieronymous (Harry) Bosch. The Black Echo (Winner of the Edgar Award for Best First Novel) For Harry Bosch-hero, loner, nighthawk-the body stuffed in a drainpipe off Mulholland Drive isn't just another statistic. This one is personal. Billy Meadows was a fellow Vietnam "tunnel rat," fighting the VC and the fear they used to call the Black Echo. Harry let Meadows down once. He won't do it again. The Black Ice The corpse in the hotel room seems to be that of a missing LAPD narcotics officer. Rumors abound that the cop had crossed over-selling a new drug called Black Ice. Now Harry's making some dangerous connections, leading from the cop to a string of bloody murders, and from Hollywood Boulevard's drug bazaar to Mexico's dusty back alleys. In this lethal game, Harry is likely to be the next victim. The Concrete Blonde When Harry Bosch shot and killed Norman Church, the police were convinced it marked the end of the hunt for the Dollmaker-L.A.'s most bizarre serial killer. But now Church's widow is accusing Harry of killing the wrong man-a charge that rings terrifyingly true when a new victim is discovered with the Dollmaker's macabre signature. For the second time, Harry must hunt the murderer down, before he strikes again. Together, these three novels are the perfect way to discover, or rediscover, the sleuth the New York Times Book Review called a "wonderful, old-fashioned hero who isn't afraid to walk through the flames."

A beautiful song comes to life in this story set in Hawaii The day the baby boy was born, on a beautiful Hawaiian island, the world sang him a lullaby. What a good song. But what is the good song? The boy listens for it and finds it in his heart and shares it with the world. Inspired by the medley of the classic songs “Over the Rainbow” and “What a Wonderful World” sung by Hawaiian singer Israel Kamakawiwo‘ole, the good song is aloha—love.

One of Oprah Daily's 20 Favorite Books of 2021 • Selected as one of Pitchfork's Best Music Books of the Year “One of the best books of its kind in decades.” —The Wall Street Journal An epic achievement and a huge delight, the entire history of popular music over the past fifty years refracted through the big genres that have defined and dominated it: rock, R&B, country, punk, hip-hop, dance music, and pop Kelefa Sanneh, one of the essential voices of our time on music and culture, has made a deep study of how popular music unites and divides us, charting the way genres become communities. In Major Labels, Sanneh distills a career’s worth of knowledge about music and musicians into a brilliant and omnivorous reckoning with popular music—as an art form (actually, a bunch of art forms), as a cultural and economic force, and as a tool that we use to build our identities. He explains the history of slow jams, the genius of Shania Twain, and why rappers are always getting in trouble. Sanneh shows how these genres have been defined by the tension between mainstream and outsider, between authenticity and phoniness, between good and bad, right and wrong. Throughout, race is a powerful touchstone: just as there have always been Black audiences and white audiences, with more or less overlap depending on the moment, there has been Black music and white music, constantly mixing and separating. Sanneh debunks cherished myths, reappraises beloved heroes, and upends familiar ideas of musical greatness, arguing that sometimes, the best popular music isn’t transcendent. Songs express our grudges as well as our hopes, and they are motivated by greed as well as idealism; music is a powerful tool for human connection, but also for human antagonism. This is a book about the music everyone loves, the music everyone hates, and the decades-long argument over which is which. The opposite of a modest proposal, Major Labels pays in full.

This Element focuses on how music is experienced, articulated, and reclaimed in urban commercial environments. Special attention is paid to listeners, spaces, and music, co- and re-produced continuously in their triangular relationship affected by social, legal, economic, and technological factors. The study of the historical development of background music industries, construction of contemporary sonic environments, and individual meaning-making is based on extensive data gathered through interviews, surveys, and fieldwork, and supported by archival research. Due to the Finnish context and the ethnomusicological approach, this study is culture-sensitive, providing a fresh 'factory-to-consumer' perspective on a phenomenon generally understood as industry-lead, behavioral, and global. This title is also available as Open Access on Cambridge Core.

Includes an excerpt from a new book in the series, 'Star Wars. Aftermath: life debt' by Chuck Wendig.

Carly Simon's New York Times bestselling memoir, Boys in the Trees, reveals her remarkable life, beginning with her storied childhood as the third daughter of Richard L. Simon, the co-founder of publishing giant Simon & Schuster, her musical debut as half of The Simon Sisters performing folk songs with her sister Lucy in Greenwich Village, to a meteoric solo career that would result in 13 top 40 hits, including the #1 song "You're So Vain." She was the first artist in history to win a Grammy Award, an Academy Award and a Golden Globe Award, for her song "Let the River Run" from the movie Working Girl. The memoir recalls a childhood enriched by music and culture, but also one shrouded in secrets that would eventually tear her family apart. Simon brilliantly captures moments of creative inspiration, the sparks of songs, and the stories behind writing "Anticipation" and "We Have No Secrets" among many others. Romantic entanglements with some of the most famous men of the day fueled her confessional lyrics, as well as the unraveling of her storybook marriage to James Taylor.

The new neighbors don’t seem interested in socializing . . . “An enormously enjoyable first contact story . . . from a talented new voice in sci-fi.” —A.G. Riddle, bestselling author of The Atlantis Gene Three years ago, a spaceship landed in an open field in the quiet mill town of Sorrow Falls, Massachusetts. It never opened its doors, and for all that time, the townspeople have wondered why the ship landed there, and what—or who—could be inside. Then one day a government operative—posing as a journalist—arrives in town, asking questions. He discovers sixteen-year-old Annie Collins, one of the ship’s closest neighbors and a local fixture known throughout the town, who has some of the answers. As a matter of fact, Annie Collins might be the most important person on the planet. She just doesn’t know it . . . “Doucette’s dry sense of humor and obvious affection for his characters go a long way.” —Kirkus Reviews “Doucette delights with this wonderful example of speculative fiction that relies on startling concepts, beginning with ‘What if an alien ship landed and then nothing happened?’ . . . plenty of humor and action move the plot along. This excellent work will appeal to readers from middle school through adulthood.” —Publishers Weekly (starred review)

They came for the coffee and wound up in the Cretaceous. A ticking sound fills the air as Tim MacGregor enters The Daily Edition Cafe, hoping to meet his new girlfriend for coffee. Moments later, a chunk of building is transported 67 million years back in time, along with everyone inside. Ten unlikely companions find themselves in a world of dinosaurs and prehistoric reptiles. Several survivors compete for leadership as they search for a way home, while one member of the group plots to keep them all trapped in the past..."

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