Her memoir tells the story of how, through sheer will, talent, and fearlessness, she forced herself into a male-dominated industry, became part of a movement that changed music, and inspired a generation of female rockers.After forming The Flowers of Romance with Sid Vicious in 1976, Albertine joined The Slits and made musical history in one of the first generations of punk bands. The Slits would go on to serve as an inspiration to future rockers, including Kurt Cobain, Carrie Brownstein, and the Riot Grrrl movement in the 1990s. This is the story of what it was like to be a girl at the height of punk: the sex, the drugs, the guys, the tours, and being part of a brilliant pioneering group of women making musical history. Albertine recounts helping define punk fashion, struggling to find her place among the boys, and her romance with Mick Jones, including her pregnancy and subsequent abortion. She also gives a candid account of what happened post-punk, beyond the break-up of The Slits in 1982, including a career in film, surviving cancer, and making music again, twenty-five years later.A truly remarkable memoir told in Viv’s frank, irreverent, and distinctive voice, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys. is a raw, thrilling story of life on the frontier.

    You'd expect a drummer to have better timing. Yes, he parted ways before The Patrol became the Stone Roses. Yes, he turned down The Smiths because he didn't like Morrissey's voice. Right place, right time, wrong choices. Timing is everything.But the beat goes on and while Simon Wolstencroft can see what might have been, cultivating bitterness bears no fruit. And 'Funky Si' has tasted the nectar. Spending an unlikely 11 years in The Fall and hooking up with his old mate Ian Brown during his solo days, 'You Can Drum But You Can't Hide' reflects on a life driven by a passion for playing. Taking you from the warehouses of Manchester and the beaches of Rio de Janeiro to the high rises of Tokyo, this book hands you a backstage pass to an evocative age that restored pride to the city of Manchester. With humour and detail, Si recounts a fascinating tale of drumming and drugs, friendships and fall outs, but, above all, a love of music.

    Teller asked about the people in the drawings: the streetcar operators, waitresses, soldiers, bums. And Mam and Pad (Irene and Joe) began to unfold the hidden history of their world before their Bundle of Joy came along. Out came the Hobo Shoebox, full of letters Joe wrote while riding the rails during the Great Depression; their daring photos as art students, eloping to escape their feuding families; and the War Trunk. Readers stand beside Teller as Pad teaches him why using a ruler in painting is evil; join Mam as she interprets the designs hidden in Joe's "art pancakes"; and enter the world of a most peculiar, philosophical, funny, and loving family.

    Minutes to Midnight is the ambitious photographic record of that adventure, in which Parke presents a proud but uneasy nation struggling to craft its identity from different cultures and traditions. Minutes to Midnight merges traditional documentary techniques and imagination to create a dark visual narrative portraying Australia with a mix of nostalgia, romanticism and brooding realism. This is not a record of the physical landscape but of an emotional one. It is a story of human anxiety and intensity which, although told from Australia, represents a universal human condition in the world today.

    An intimate and revealing look at the personal and professional life of the fashion world's most visionary designer.

    Offers a behind-the scenes, photographic look at a 1996 concert tour with the legendary Patti Smith, presenting more than one hundred images that capture life on the road with the artist.

    Following in the grand tradition of such Irish memoirs as Angela’s Ashes and Are You Somebody?, Liam Clancy relates his life’s story in a raucously funny and star-studded account of moving from provincial Ireland to the bars and clubs of New York City, to the cusp of fame as a member of Tommy Makem and the Clancy Brothers. Born in 1935, the eleventh out of as many children, young Liam was a naive and innocent lad of the Old Country. His memories of childhood include bounding over hills, streams, and the occasional mountain, getting lost, and eventually found, and making mischief in the way of a typical Irish boy.As an aimless nineteen-year-old, Clancy met a strange and wonderfully energetic lover of music, Ms. Diane Guggenheim, an American heiress. She and a colleague from America had set out to record regional Irish folk music, and their undertaking led them to Carrick-on-Suir in the shadow of Slievenamon, "The Mountain of the Women," where Mammie Clancy had been known to carry a tune or two in her kitchen. Guggenheim fell for young Liam and swept him along on her travels through the British Isles, the American Appalachians, and finally Greenwich Village, the undisputed Mecca for aspiring artists of every ilk in the late 1950s. Clancy was in New York to become an actor. But on the side, he played and sang with his brothers, Paddy and Tom, and fellow countryman Tommy Makem, in pubs like the legendary White Horse Tavern. In the heady atmosphere of the Village, Clancy’s life was a party filled with music, sex, and McSorley’s. His friendships with then-unknown artists such as Bob Dylan, Maya Angelou, Robert Redford, Lenny Bruce, Pete Seeger and Barbra Streisand form the backdrop of the charming adventures of a small-town boy making it big in the biggest of cities. In music circles, the Clancy Brothers and Tommy Makem are known as the Beatles of Irish music. The band’s music continues to play on jukeboxes in pubs and bars, in living rooms of folk music fans, and in Irish American homes throughout the country. Liam Clancy’s lively memoir captures their wild adventures on the road to fame and fortune, and brings to life a man who never lets himself off the hook for his sins, and happily views his success as a blessing.From the Hardcover edition.

    A relative unknown at the time, Sargent won the commission to paint her; the two must have recognized in each other a like-minded hunger for fame.Unveiled at the 1884 Paris Salon, Gautreau's portrait generated the attention she craved-but it led to infamy rather than stardom. Sargent had painted one strap of Gautreau's dress dangling from her shoulder, suggesting either the prelude to or the aftermath of sex. Her reputation irreparably damaged, Gautreau retired from public life, destroying all the mirrors in her home.Drawing on documents from private collections and other previously unexamined materials, and featuring a cast of characters including Oscar Wilde and Richard Wagner, Strapless is a tale of art and celebrity, obsession and betrayal.

    Drawing from street culture, high art, and traditional Japanese painting, Murakami takes the contemporary art trend of mixing high and low to an unprecedented level (critics call him the new Warhol), producing original paintings and sculptures as well as mass-produced consumer objects such as toys, books, and most famously, a line of handbags for Louis Vuitton. A committed supporter and spokesperson for Japanese artists and a powerful commentator on postwar culture and society, Murakami has organized influential exhibitions of Japanese art as well as a biannual art fair in Tokyo. Murakami has positioned himself as a new type of artist for the twenty-first century: a hybrid of creator, entrepreneur, and cultural ambassador.In conjunction with the first major retrospective of his work, Murakami traces Murakami’s global impact socially, culturally, and art historically. Essays focus on Murakami’s early works, which were based on a social critique of Japan’s rampant consumerism; the development of his characters; his work with anime, fantasy; otaku culture; and his engagement with global pop culture. Representing output from original works of art to mass-produced multiples, the catalogue also considers the implications of Murakami’s working methods within the tradition of the Western avant-garde.

    The writings include text from the infamous performances that brought her to the Supreme Court in Finley vs. NEA, a battle that became a mainstay of the culture wars and which has made Finley an icon in the struggle for freedom of speech. Included in this volume will be the never before published, Obie Award-winning The American Chestnut for which she received a Guggenheim; such works as We Keep Our Victims Ready, A Certain Level of Denial, The Return of the Chocolate Smeared Woman, and an excerpt from her forthcoming film Shut Up and Love Me. Also appearing will be previously unpublished short stories, photos, artwork, and an essay on censorship. In 1998 Finley was named Woman of the Year by MS. magazine; she posed for Playboy the following year. She has appeared in numerous films including Philadelphia, and will soon be directing her own first feature film, Shut Up and Love Me, produced by Forensic Films. She has recorded albums including a collaboration with Sinead O'Connor. Finley is a regular on Politically Incorrect and can be seen giving her opinions on Exhale, a new show hosted by Candace Bergen on Oxygen. She will be hosting The Naked Players, a "nude Candid Camera" as well as Shock Video, both on HBO. Finley has written four books: Shock Treatment, Enough Is Enough, Living It Up, and Pooh Unplugged. "We need Finley: she doesn't duck the bullets, she keeps her eyes peeled on the artillery aimed at women, and she continues to push against her own boundaries as an artist" -- MS. Magazine

    It includes the Grateful Dead sliding down porch steps in Haight Ashbury, the Beatles on stage and off, a pouting Mick Jagger, and cameos of Jimi Hendrix and Jim Morrison in concert.

    

    Then, as part of the British Invasion, he toured the US with the Kinks during one of the most tumultuous eras in recent history—until the Kinks group was banned from performing there from 1965-69. Many tours and trips later, while living in New Orleans, he experienced a transformative event: the shooting (a result of a botched robbery) that nearly took his life. In Americana, Davies tries to make sense of his long love-hate relationship with the country that both inspired and frustrated him. From his quintessentially English perspective as a Kink, Davies—with candor, humor, and wit—takes us on a very personal road trip through his life and storied career as a rock star, and reveals what music, fame, and America really mean to him. Some of the most fascinating characters in recent pop culture make appearances, from the famous to the perhaps even-more-interesting behind-the-scenes players. The book also includes a photographic insert with images from Davies's own collection from the band's archive.

    While much is known about this iconic group, few books provide a comprehensive history of their time in the studio. In Pink Floyd All the Songs, authors Margotin and Guesdon describe the origin of their nearly 200 released songs, details from the recording studio, what instruments were used, and behind-the-scenes stories of the tensions that helped drive the band.Organized chronologically by album, this massive, 544-page hardcover begins with their 1967 debut album The Piper at the Gates of Dawn, the only one recorded under founding member Syd Barrett's leadership; through the loss of Barrett and the addition of David Gilmour; to Richard Wright leaving the band in 1979 but returning; to Roger Waters leaving in 1985 and the albums recorded since his departure, including their 2014 farewell album, The Endless River, which was downloaded 12 million times on Spotify the week it was released. Packed with more than 500 photos, All the Songs is also filled with stories fans treasure, such as Waters working with engineer Alan Parsons to employ revolutionary recording techniques for The Dark Side of the Moon at Abbey Road Studios in 1972 or producer Bob's Ezrin's contribution in refining Water's original sprawling vision for The Wall.

    It captures bygone New York at its most raucous, dangerous, and outrageous. Grisly murders, tragic accidents, gawking crowds, along with intimate human-interest and high-society images, are all captured by Weegee's flash. Interpretive essays, an annotated chronology, bibliography, filmography, and a list of exhibitions complete this comprehensive volume.