I was a “Monster Kid” and “The Weird Kid, The Horror Movie Kid.” I found out early…horror is always personal. Now I make horror for a living. It shouldn’t just be WATCHED. Horror should be ENJOYED. This isn’t some stuffy analysis telling you what’s good or bad. Instead, it’s a tour of the 1930s through the 1980s—a personal account of how the best and worst of this era gave us so many memories and experiences that impacted our own lives. It’s fun…just how horror should always be.

Upending the conventional theory that generational differences are caused by major events, Dr. Jean Twenge analyzes data on 39 million people from robust national surveys—some going back nearly a century—to show that changes in technology are the underlying driver of each generation’s unique makeup. In this revelatory work, Twenge outlines key shifts in attitudes and lifestyle choices that define each generation regarding gender, income, politics, race, sexuality, marriage, mental health, and much more.

HBO changed how stories could be told on TV. The Sopranos, Sex and the City, The Wire, Game of Thrones. The network’s meteoric rise heralded the second golden age of television with serialized shows that examined and reflected American anxieties, fears, and secret passions through complicated characters who were flawed and often unlikable.

The day I realized my brother would be a rock star...was the same day I accidentally pooped my pants. They’re not related, just memorable. Should my famous brother be writing his own story? Certainly. But...I'm the one they got to tell the story. Where is he?

It was 1986, and the New York Mets won 108 regular-season games and the World Series, capturing the hearts (and other assorted body parts) of fans everywhere. But their greatness on the field was nearly eclipsed by how bad they were off it. Led by the indomitable Keith Hernandez and the young dynamic duo of Dwight Gooden and Darryl Strawberry, along with the gallant Scum Bunch, the Amazin's left a wide trail of wreckage in their wake-hotel rooms, charter planes, a bar in Houston, and most famously Bill Buckner and the hated Boston Red Sox.

From the do-or-die early days of self-financed recordings and D.I.Y. concert productions that were as flashy as they were foolhardy, to the multi-platinum, MTV-powered glory years of stadium-shaking anthems and chart-topping power ballads, to the ultimate crash when grunge bands like Nirvana forever altered the entire climate of the business, Tom Beaujour and Richard Bienstock's Nothin' But a Good Time captures the energy and excess of the hair metal years in the words of the musicians and industry insiders who lived it.

Reggie Watts is weird. But you knew that. Anyone who’s seen his multifaceted, entirely improvised comedy and music shows knows that. Reggie Watts is also from the town of Great Falls, MT. These two facts are not unrelated. Watts grew up in Montana in the ‘80s, half French, half American, half white, half Black, speaking a bunch of different languages and slipping between the orchestra geeks and the football jocks until he finally found a squad of fellow misfits with an affinity for trouble.

For many families, the holiday season is—in a word—unhinged. In no family is that more true than in Danny Pellegrino’s, beloved podcast host of Everything Iconic and bestselling author. Inappropriately improvised monologues at the children's Christmas pageant, presents that land someone in the emergency room, or just sitting on the absolute roller coaster that is a Hallmark movie marathon, the holidays are a strange and magical time in the Pellegrino household. And nobody knows this better than Danny.

For years, Gary Gulman had been the comedian’s comedian, acclaimed for his delight in language and his bracing honesty. But after two stints in a psych ward, he found himself back in his mother’s house in Boston—living in his childhood bedroom at age forty-six, as he struggled to regain his mental health. That’s where Misfit begins. Then it goes way back. This is no ordinary book about growing older and growing up. Gulman has an astonishing memory and takes the listener through every year of his childhood education, with detailed stories that are in turn alarming and riotously funny.

Set in the mountains of southern Appalachia, Demon Copperhead is the story of a boy born to a teenaged single mother in a single-wide trailer, with no assets beyond his dead father’s good looks and copper-colored hair, a caustic wit, and a fierce talent for survival. Relayed in his own unsparing voice, Demon braves the modern perils of foster care, child labor, derelict schools, athletic success, addiction, disastrous loves, and crushing losses.

Hi! I’m Seth! I was asked to describe my audiobook, Yearbook for websites and shit like that, so...here it goes!!! Yearbook is a collection of true stories that I desperately hope are just funny at worst, and life-changingly amazing at best. (I understand that it’s likely the former, which is a fancy “book” way of saying “the first one.”) I talk about my grandparents, doing stand-up comedy as a teenager, bar mitzvahs, and Jewish summer camp, and tell way more stories about doing drugs than my mother would like.

At age four, Molly Shannon’s world was shattered when she lost her mother, baby sister, and cousin in a car accident with her father at the wheel. Held together by her tender and complicated relationship with her grieving father, Molly was raised in a permissive household where her gift for improvising and role-playing blossomed alongside the fearlessness that would lead her to become a celebrated actress.

If there’s one trait that makes someone well-suited to comedy, it’s being able to take a punch - metaphorically and, occasionally, physically. Told with a healthy dose of self-deprecation, A Very Punchable Face reveals the brilliant mind behind some of the dumbest sketches on television, and lays bare the heart and humor of a hardworking guy - with a face you can’t help but want to punch.

Mindy Kaling has lived many lives: the obedient child of immigrant professionals, a timid chubster afraid of her own bike, a Ben Affleck–impersonating Off-Broadway performer and playwright, and, finally, a comedy writer and actress prone to starting fights with her friends and coworkers with the sentence “Can I just say one last thing about this, and then I swear I’ll shut up about it?”

A stunning, hilarious memoir displaying Koy’s “wide-ranging comedic talent and abundant wells of perseverance” (Kirkus Reviews, starred). Mixed Plate illuminates the burning drive and unique humor that make Jo Koy one of today’s most successful comedians.

The Ultimate History of the '80s Teen Movie goes behind the scenes of a genre where cult hits mingled with studio blockbusters, where giants like Spielberg and Coppola rubbed shoulders with baby-faced first-timers, and where future superstars Sean, Demi, and Tom all got their big break. Music, comedy, and politics all play a part in the surprisingly complex history of the '80s teen movie. And while the films might have been aimed primarily at adolescents, the best tackle universal issues and remain relevant to all ages.

It was a pretty radical idea - a channel for teenagers, showing nothing but music videos. It was such a radical idea that almost no one thought it would actually succeed, much less become a force in the worlds of music, television, film, fashion, sports, and even politics. But it did work. MTV became more than anyone had ever imagined. I Want My MTV tells the story of the first decade of MTV, the golden era when MTV's programming was all videos, all the time, and kids watched religiously to see their favorite bands, learn about new music, and have something to talk about at parties.

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. Landlines fell to cell phones, the internet exploded, and pop culture accelerated without the aid of technology that remembered everything. It was the last era with a real mainstream to either identify with or oppose. The ’90s brought about a revolution in the human condition, and a shift in consciousness, that we’re still struggling to understand.

The landscape that the Brat Pack memorialized is rich with cultural themes and significance, and has influenced an entire generation who still believe that life always turns out like an '80s movie. You Couldn't Ignore Me If You Tried takes us back to that era, through Susannah Gora's interviews with key players such as Molly Ringwald, Anthony Michael Hall, Judd Nelson, Andrew McCarthy, and John Cusack, and mines all the material from the movies to the music to the way the films were made to show how they helped shape our visions for romance, friendship, society, and success.

I was a “Monster Kid” and “The Weird Kid, The Horror Movie Kid.” I found out early…horror is always personal. Now I make horror for a living. It shouldn’t just be WATCHED. Horror should be ENJOYED. This isn’t some stuffy analysis telling you what’s good or bad. Instead, it’s a tour of the 1930s through the 1980s—a personal account of how the best and worst of this era gave us so many memories and experiences that impacted our own lives. It’s fun…just how horror should always be.

From the do-or-die early days of self-financed recordings and D.I.Y. concert productions that were as flashy as they were foolhardy, to the multi-platinum, MTV-powered glory years of stadium-shaking anthems and chart-topping power ballads, to the ultimate crash when grunge bands like Nirvana forever altered the entire climate of the business, Tom Beaujour and Richard Bienstock's Nothin' But a Good Time captures the energy and excess of the hair metal years in the words of the musicians and industry insiders who lived it.

Most people know Andrew McCarthy from his movie roles in Pretty in Pink, St. Elmo's Fire, Weekend at Bernie's, and Less Than Zero, and as a charter member of Hollywood's Brat Pack. That iconic group of ingenues and heartthrobs has come to represent both a genre of film and an era of pop culture. In his memoir, McCarthy focuses his gaze on that singular moment in time. The result is a revealing look at coming of age in a maelstrom, reckoning with conflicted ambition, innocence, addiction, and masculinity.

Joel Miller is an ex-roadie for Guns N’ Roses, Poison, Stone Temple Pilots, and the Cranberries. The book is an often-hilarious personal account of a young man in his early 20s trying to be a “good” roadie while also trying to understand life’s big picture. Through the advice of rock stars and career roadies Joel tries to find the pathway to roadie righteousness.

The 1990s were a chaotic 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.

Ed Ward covers the first half of the history of rock & roll in this sweeping and definitive narrative - from the 1920s, when the music of rambling medicine shows mingled with the songs of vaudeville and minstrel acts to create the very early sounds of country and rhythm and blues, to the rise of the first independent record labels post-World War II, and concluding in December 1963, just as an immense change in the airwaves took hold and the Beatles prepared for their first American tour.

In Searching for John Hughes, Jason tells how a Jewish kid from a broken home in a Chicago suburb - sometimes homeless, always restless - found comfort and connection in the likewise broken lives in the suburban Chicago of John Hughes' oeuvre. He moved to New York to become a writer. He started to write a book he had no business writing. In the meantime he brewed coffee and guarded cupcake cafes. All the while he watched John Hughes movies religiously.

Frank Sinatra. Dean Martin. Sammy Davis, Jr. Peter Lawford. Joey Bishop. They call themselves The Clan. But to an awed world, they are known as The Rat Pack. They had it all. Fame. Gorgeous women. A fabulous playground of a city and all the money in the world. The backing of fearsome crime lords and the blessing of the President of the United States. But the dark side - over the thin line between pleasure and debauchery, between swinging self-confidence and brutal arrogance - took its toll. In four years, their great ride was over, and showbiz was never the same.

Comedians Larry David and Jerry Seinfeld never thought anyone would watch their silly little sitcom about a New York comedian sitting around talking to his friends. NBC executives didn't think anyone would watch either, but they bought it anyway, hiding it away in the TV dead zone of summer. But against all odds, viewers began to watch, first a few and then many, until nine years later nearly 40 million Americans were tuning in weekly.

From the moment their hugely influential 1978 debut landed, Van Halen set a high bar for the rock 'n' roll lifestyle, creating an entirely new style of post-'60s hard rock and becoming the quintessential rock band of the 1980s. But the high-flying success was fraught with difficulty, as Eddie struggled with alcohol and drug addiction while simultaneously battling David Lee Roth over the musical direction of the band, eventually taking the band in an entirely new direction with Sammy Hagar and scaling new heights, before that iteration of Van Halen disintegrated.

In American Scary, noted cultural historian and Columbia professor Jeremy Dauber takes the listener to the startling origins of the horror genre in the United States, drawing a surprising through-line between the lingering influence of the European Gothic, the enslaved insurrection tales propagated by slaveholders, and the apocryphal chronicles of colonial settlers kidnapped by Native Americans, among many others.