For Pavement fans and rock enthusiasts comes an engaging profile of the band and their quirkily dark, melodic sound and cryptic, mirth-filled lyrics.

    Its goal is to inspire photographers of all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography. Each volume is introduced by a well-known student of the featured photographer. In this book, Larry Fink--well-known for his layered pictures in social settings--explores composing photographs and improvising within a scene to create images with both feeling and meaning. Through words and photographs, he reveals insight into his own practice and discusses a wide range of creative issues, from connecting with the subject in front of the lens to shaping a vision that is authentic. Photographer Lisa Kereszi, a student of Larry Fink, provides the introduction.Larry Fink (born 1941) has been a professor at Yale University School of Art; Cooper Union School of Art and Architecture; Parsons the New School for Design; and Tyler School of Art, Temple University. Currently, he is a tenured professor of photography at Bard College. His work has been widely exhibited in the United States, including solo exhibitions at Light Gallery, New York; Massachusetts Institute of Technology, Cambridge; Museum of Modern Art, New York; and San Francisco Museum of Modern Art.Lisa Kereszi is a photographer and educator. She is now the director of undergraduate studies at the Yale University School of Art, where she has taught since 2004. She has published five books, including "Fun and Games" and "Joe's Junk Yard." Her work is in the collections of the Whitney Museum of American Art, New York, and the Brooklyn Museum, and has appeared in the "New Yorker," "Harper's" and the "New York Times Magazine."

    He's a genuine voice of the people, the bastard child of Woody Guthrie and James Brown, and an elder statesman who has inspired generations of bands. He's won twenty Grammy Awards, an Oscar, two Golden Globes, and is a member of two Halls of Fame.There are dozens of books about Springsteen. What's left to say? Nothing objective, perhaps. But when it comes to music, objectivity is highly overrated. Robert Wiersema has been a Springsteen fan since he was a teenager, following tours to see multiple shows in a row, watching set lists develop in real time via the Internet, ordering bootlegs from shady vendors in Italy. His attachment is deeper than fandom, though: he's grown up with Springsteen's songs as the soundtrack to his life, beginning with his youth in rural British Columbia and continuing on through dreams of escape, falling in love, and becoming a father.Walk Like a Man is the liner notes for a mix tape, a blend of biography, music criticism, and memoir. Like the best mix tapes, it balances joy and sorrow, laughter seasoning the dark-night-of-the-soul questions that haunt us all. Wiersema's book is the story of a man becoming a man (despite getting a little lost along the way), and of Springsteen's songs and life that have accompanied him on his journey.

    The most common type is often where a large group of like-minded punks cram into a house usually intended to accommodate two or three people, resulting in low rent and, thus, extended hours of leisure for the residents to pursue their true interests. "Punk House" features anarchist warehouses, feminist collectives, tree houses, workshops, artists studios, self-sufficient farms, hobo squats, community centers, basement bike shops, speakeasies, and all varieties of communal living spaces. In over 300 images of fifty houses in twenty-five cities in the US, photographer Abby Banks finds the already weathered face of a seventeen-year-old runaway; the soft hands of a vinyl junkie (record collector); the mohawked show-goer; the dirty dishes in the sink; silk screened posters on the wall; and many other revealing glimpses of these anarchist interiors.

    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.

    Recollections of Farrar's father are prominent throughout the stories. Ultimately, it is music and musicians that are given the most space and the final word since music has been the creative impetus and driving force for the past 35 years of his life.In writing these stories, he found a natural inclination to focus on very specific experiences; a method analogous to the songwriting process. The highlights and pivotal experiences from that musical journey are all represented as the binding thread in these stories, illustrated throughout with photography from his life. If life is a movie, then these stories are the still frames.

    It is the sound of isolation that has sold itself to millions.” Miles Davis’s Kind of Blue is the best-selling piece of music in jazz history and, for many listeners, among the most haunting works of the twentieth century. It is also, notoriously, the only jazz album many people own. Recorded in 1959 (in nine miraculous hours), there has been nothing like it since. Richard Williams’s “richly informative” (The Guardian) history considers the album within its wider cultural context, showing how the record influenced such diverse artists as Steve Reich and the Velvet Underground.In the tradition of Alex Ross and Greil Marcus, the “effortlessly versatile” Williams (The Times) “connects these seemingly disparate phenomena with purpose, finesse and journalistic flair” (Financial Times), making masterly connections to painting, literature, philosophy, and poetry while identifying the qualities that make the album so uniquely appealing and surprisingly universal.

    Featuring hundreds of unseen live and candid color and black-and-white photographs, "Murder in the Front Row" captures the wild-eyed zeal and drive that made Metallica, Slayer, and Megadeth into legends, with over 100 million combined records sold.

    A Fast Ride Out of Here tells a story that is so shocking, so outrageous, so packed with excess and leading to such uproar and tragic consequences as to be almost beyond compare. Put simply, in terms of jaw-dropping incident, self-destruction and all-round craziness, Pete Way's rock'n'roll life makes even Keith Richards's appear routine and Ozzy Osbourne seem positively mild-mannered in comparison. Not for nothing did Nikki Sixx, bassist with LA shock-rockers Motley Crue and who 'died' for eight minutes following a heroin overdose in 1988, consider that he was a disciple of and apprenticed to Way.During a forty-year career as founding member and bassist of the venerated British hard rock band UFO, and which has also included a stint in his hell-raising buddy Ozzy's band, Pete Way has both scaled giddy heights and plunged to unfathomable lows. A heroin addict for more than ten years, he blew millions on drugs and booze and left behind him a trail of chaos and carnage. The human cost of this runs to six marriages, four divorces, a pair of estranged daughters and two dead ex-wives. Latterly, Way has fought cancer, but has survived it all and is now ready to tell his extraordinary tale. By turns hilarious, heart-rending, mordant, scabrous, self-lacerating, brutally honest and entirely compulsive, A Fast Ride Out of Here will be a monument to rock'n'roll debauchery on an epic, unparalleled scale and also to one man's sheer indestructability.

    Rollins's observations range from the wry to the raucous in this blistering account of a six-year career with the band - a time marked by crazed fans, vicious cops, near-starvation, substance abuse, and mind numbing all-night drives. Rollins decided to revise this edition by adding a wealth of new photographs, a new foreword, and an afterword to include some "where-are-they-now" information on the people featured in the book. This new edition includes 40 previously unpublished black-and-white photographs from Rollins's private collection and show flyers by artist Raymond Pettibon. Called "a soul-frying experience not to be undertaken by lightweights" by Wired magazine, Get in the Van perfectly embodies what one critic called the "secular gospel" of one of punk and post-punk's most respected and controversial figures.

    A cross between the Rolling Stones and the Sex Pistols, the Dolls became the link in the chain between them, offering a crash course in mischief, cross-dressing and anarchy, but like unheralded prophets of Biblical times they were cast aside until the world finally caught up.“Other people turned the New York Dolls into legends. We just went along for the ride.”

    As bands of misfits from across the region gravitated to the forgotten frontier of Manhattan's Lower East Side. With a a backdrop of despair, bands like Agnostic Front, Cro-Mags, Murphy's Law, and Youth of Today confronted their reality with relentlessly energetic gigs at CBGB, A7, and the numerous squats in the area.Tony Rettman's ambitious oral history captures ten years of struggling, including the scene's regional rivalries with D.C. and Boston, the birth of moshing, the clash and coming to terms of hardcore and heavy metal, the straightedge movement, and the unlikely influence of Krishna consciousness. With a foreword by Freddy Cricien of Madball, who made his stage debut with Agnostic Front at age seven, NYHC slams the sidewalk with savage tales of larger-than-life characters and unlikely feats of willpower. The gripping and sometimes hilarious narrative is woven together like the fabric of New York itself from over 100 original interviews with members of Absolution, Adrenalin O.D., Agnostic Front, Antidote, Bad Brains, Bloodclot, Bold, Born Against, Breakdown, Cause for Alarm, Citizen Arrest, Cro-Mags, Crumbsuckers, Death Before Dishonor, Even Worse, False Prophets, Don Fury, Gorilla Biscuits, H20, Heart Attack, Inhuman, Into Another, Irate, Judge, Kraut, Leeway, Life’s Blood, Major Conflict, Max’s Kansas City, Murphy’s Law, Nausea, Nihilistics, Nuclear Assault, Numskulls, Outburst, Pro-Pain, Quicksand, Rat Cage Records, Raw Deal, Reagan Youth, Rorschach, S.O.D., Sacrilege, Savage Circle, Sheer Terror, Shelter, Shok, Sick of it All, Side by Side, Skinhead Youth, Straight Ahead, the Abused, the Cryptcrashers, the Mad, the Misfits, the Misguided, the Mob, the Psychos, the Ritz, the Stimulators, the Undead, Token Entry, Underdog, Urban Waste, Virus, Warzone, Youth of Today, and many, many more.MOSH IT UP!

    At least half of the images in the book are exclusively published here for the first time; most other images in the book are rare to the public eye.Alongside these remarkable images are fifty engaging, poignant and often funny written vignettes by Parke, which reveal the very human man behind the reclusive superstar: from shooting hoops to renting out movie theatres at 4am; from midnight requests for camels to meaningful conversations that shed light on Prince as a man and artist.STEVE PARKE started working with Prince in 1988, after a mutual friend showed Prince some of Steve's photorealistic paintings. He designed everything from album covers and merchandise to sets for Prince's tours and videos. Somewhere in all of this, he became Paisley Park's official art director. He began photographing Prince at the request of the star himself, and continued to do so for the next several years. The images in this book are the arresting result of this collaboration.Biographical Notes STEVE PARKE is photo editor for Faerie Magazine. He worked as art director for Prince at Paisley Park for fourteen years. As a photographer, his clients have included Prince, David Bowie, Bon Jovi, Bob Dylan, Sheila E., AC/DC and more. He lives in Baltimore, USA.

    One of the few people who has known every major classical musician of the last two-thirds of the twentieth century, he shares his personal and artistic experiences in this warm, passionate account of his life: the story of his rise to eminence; his feelings about music and the violin; and his great friendships and collaborations with colleagues such as Leonard Bernstein and Pablo Casals. Stern the man, the musician, and the cultural institution come alive in the most readable and revealing musical autobiography of the decade.

    And then enthralled. He set about trying to catch their lightning in his Nikon F2AS.That quixotic impulse became a lifelong quest. A little history got made on the way.Collected here for the first time are the fruits of his labour. A Little History is an extraordinary document, tracking Nick Cave's creative career from the apoplectic extravagance of The Birthday Party to the calmer disquiet of 2013's Push The Sky Away via snapshots, spotlit visions and sumptuous, theatrical portraits. It mixes the candid and uncanny, the spontaneous and the patiently staged, and includes eyeball encounters with Cave's baddest lieutenants, men for the most part who long since burned their own bridges down. Butcher's Nikonic eye defines moment after arresting moment in Cave's glorious, sprawling story: it's a splendid testament to two brilliant careers.