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.

    Icons of anti-celebrity rock, who bacame huge celebrity rock stars, they were, according to the story, the first U.S. post new-wave band who were both commercially successful and cool. Drawing on exclusive interviews with Mike Mills, Peter Buck and other members of R.E.M.'s nuclear family, Fiction re-evaluates the music and career of a group who sold almost no records for the first half of their existence, then became 'the biggest rock group in the world' in the second half.

    Indeed the Bloomsbury set has often been identified with liberal, open-minded views; Woolf's circle of artists and writers were considered Bohemians ahead of their time. But they were also of their time. Like thousands of other British households, Virginia Woolf's relied on live-in domestics for the most intimate of daily tasks. That room of her own she so valued was cleaned, heated, and supplied with meals by a series of cooks and maids throughout her childhood and adult life. In Mrs. Woolf and the Servants, Alison Light gives depth and dignity to the long-overlooked servants who worked for the Bloomsbury intellectuals.The result is twofold. For one, Light adds revealing nuances to our picture of Virginia Woolf, both as a woman and as writer. She also captures a fascinating period of British history, primarily between the wars, when modern oil stoves were creeping into kitchens to replace coal, and young women were starting to dream of working in hat shops rather than mansions.Despite the liberal outlook of the Bloomsbury set, and their conscious efforts to leave their Victorian past behind, their homes were nevertheless divided into the worlds of "us" and "them." Alison Light writes with insight and charm about this fraught side of Bloomsbury, and hers is a refreshingly balanced portrait of Virginia Woolf, flaws and all.

    Thinking this is his rock bottom, little does James know that by the end of the year he will have befouled himself in a Los Angeles steakhouse and disrespected a pensioner on television. Luckily, there is one thing he can rely on for comfort – music. In true Acaster fashion, this ends up with a completely unnecessary mission: to buy as much music as he can released in 2016, the year before everything went wrong (for James, at least). Some albums are life-changing masterpieces, others are ‘Howdilly Doodilly’ by Okilly Dokilly, a metalcore album devoted to The Simpsons character Ned Flanders. But all of them play a part in the year that James gets his life back on track.In PERFECT SOUND WHATEVER, James takes us through the music of 2016, the bullshit of 2017, and how the beauty of one defeated the ugliness of the other. He will also reveal how he stole a cookie from Clint Eastwood and attempted to complete his musical odyssey by reforming one of Kettering’s most overlooked bands.

    RIP IT UP AND START AGAIN is a celebration of what happened next.Post-punk bands like PiL, Joy Division, Talking Heads, The Fall and The Human League dedicated themselves to fulfilling punk's unfinished musical revolution. The post-punk groups were fervent modernists; whether experimenting with electronics and machine rhythm or adapting ideas from dub reggae and disco, they were totally confident they could invent a whole new future for music.

    Smith Still going after thirty years, The Fall are one of the most distinctive British bands, their music — odd, spare, cranky and circular — an acknowledged influence on The Smiths, The Happy Mondays, Nirvana and Franz Ferdinand. And Mark E. Smith IS The Fall. For the first time we get to hear his full, candid take on the ups and downs of a band as notorious for its in-house fighting as for its great music; and on a life that has endured prison in America, drugs, bankruptcy, divorce and the often bleak results of a legendary thirst.

    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 loosely formed autobiography by Andy Warhol, told with his trademark blend of irony and detachmentIn The Philosophy of Andy Warhol—which, with the subtitle "(From A to B and Back Again)," is less a memoir than a collection of riffs and reflections—he talks about love, sex, food, beauty, fame, work, money, and success; about New York, America, and his childhood in McKeesport, Pennsylvania; about his good times and bad in New York, the explosion of his career in the sixties, and his life among celebrities.

    There is so much that I have never said, so many incidents I have never spoken of and so many feelings I have never expressed: great love on one hand; pain, torment, and humiliation on the other. Only I know what really happened between us, why we stayed together, why we parted, and the price I have paid for being John’s wife. —From the Introduction

    Here was a group that looked as though it came not only from another era, but from another planet - a band in which art, fashion and music would combine to create, in Bryan Ferry's words, 'above all, a state of mind'. Written with the assistance, for the first time, of all those involved, including Bryan Ferry, Brian Eno, Andy Mackay, and Phil Manzanera, Re-make/Re-model tells how Pop Art, the 1960s underground, and Swinging London were transformed into a unique sound and look - theatrical, arch, literate. clever, sexy, thrilling. In the tradition of Jean Stein and George Plimpton's Edie, Re-make/Re-model is the story of extraordinary individuals and exceptional creativity - and nothing less than the history of an era in music and pop culture.""Exquisitely written...as much a work of art as its subject." - The Observer"Innovative and intelligent." - Publishers Weekly"Michael Bracewell is the most adroitly gifted writer of his generation." - Morrissey

    As well as recording public and historical events, Pepys paints a vivid picture of his personal life, from his socializing and amorous entanglements, to his theatre-going and his work at the Navy Board. Unequaled for its frankness, high spirits and sharp observations, the diary is both a literary masterpiece and a marvelous portrait of seventeenth-century life.Previously published as The Shorter Pepys, this edition is edited and abridged by Robert Latham, Fellow and Pepys Librarian at Magdalene College, Cambridge.

    A popular band in both the United States and United Kingdom allows a respected music writer unprecedented access to the tour bus, backstage dressing rooms, and the five members' lives, resulting in an intimate portrait of the controversial group.

    Here, in their own words and images, is the life of a band who for the last forty years have been playing the soundtrack of our lives.

    Having blasted onto the small screens with his now legendary sitcom Spaced, his rise to nation's favourite son status has been mercurial, meteoric, megatronnic, but mostly just plain great.From his childhood (and subsequently adult) obsession with Star Wars, his often passionate friendship with Nick Frost, and his forays into stand-up which began with his regular Monday morning slot in front of his 12-year-old classmates, this is a joyous tale of a homegrown superstar and a local boy made good.

    It recounts his "de rigeur" plunge into drink, drugs, and debauchery as well as being an intimate portrait of the star-making personalities of the 1980s.