It addresses the technical side of The Beatles' sessions and was written with the assistance of many of the group's former engineers and technicians [1]. The book looks at every piece of recording equipment used at Abbey Road Studios during the Beatles' sessions, including all microphones, outboard gear, mixing consoles, speakers, and tape machines. Each piece is examined in great detail, and the book is illustrated with hundreds of full color photographs, charts, drawings and illustrations. How the equipment was implemented during the group's sessions is also covered. The effects used on the Beatles' records are addressed in great detail, with full explanations of concepts such as ADT and flanging. The Production section of the book looks at the group's recording processes chronologically, starting with their "artist test" in 1962 and progressing through to their final session in 1970. The book contains several rare and unseen photos of the Beatles in the studio. The studio personnel and the studio itself is examined.The authors spent over a decade researching the subject matter and offer up their findings in exhaustive detail. The 540-page hardcover book has been highly praised not only for its massive scope, but also for its presentation. The "Deluxe" version, released in September of 2006, was housed in a replica EMI multi-track tape-box, complete with faux time-worn edges. Rather than a listing of the tape's contents, the back of the box featured the book's contents, hand-written by former Beatles tape-op and engineer, Ken Scott. The book was also accompanied by several "bonus items", including reproductions of never-seen photos of the Beatles. The first printing of 3,000 books sold out in November of 2006, and a second printing was released in February of 2007. The book is currently in its fourth printing.The book has been critically praised by recognized Beatles authority Mark Lewisohn (who also contributed the book's Foreword), The New York Times[2][3], Mojo (magazine) (which gave it 5 stars), Beatles engineers Norman Smith, Ken Scott, and Alan Parsons, Yoko Ono, and many other individuals directly involved with the Beatles' work. The release of the book was celebrated in November 2006 with a party in Studio Two at Abbey Road [4]. In attendance were most of the Beatles' former engineers and technicians.

    Their initial contact grew into a friendship that O'Brien chronicled for the Miami News, where he began his career as a staff photographer. O'Brien's photo essays conveyed empathy for the homeless and the disenfranchised and won two Robert F. Kennedy Journalism Awards. In 2006, O'Brien reconnected with the issue of homelessness and learned the problem has grown exponentially since the 1970s, with as many as 3.5 million adults and children in America experiencing homelessness at some point in any given year.In Hard Ground, O'Brien joins with renowned singer-songwriter Tom Waits, described by the New York Times as "the poet of outcasts," to create a portrait of homelessness that impels us to look into the eyes of people who live "on the hard ground" and recognize our common humanity. For Waits, who has spent decades writing about outsiders, this subject is familiar territory. Combining their formidable talents in photography and poetry, O'Brien and Waits have crafted a work in the spirit of Let Us Now Praise Famous Men, in which James Agee's text and Walker Evans's photographs were "coequal, mutually independent, and fully collaborative" elements. Letting words and images communicate on their own terms, rather than merely illustrate each other, Hard Ground transcends documentary and presents independent, yet powerfully complementary views of the trials of homelessness and the resilience of people who survive on the streets.

    It's what we do for each other all the time, deliberately or unintentionally. It's a way of telling about ourselves in the hope of being recognized as what we'd like to be."--Richard Avedon, 1974The preeminent stars and artists of the performing arts from the second half of the 20th century offered their greatest gifts—and, sometimes, their inner lives—to Richard Avedon. More than 200 are portrayed in Performance, many in photographs that have been rarely or never seen before. Of course, the great stars light the way: Hepburn and Chaplin, Monroe and Garland, Brando and Sinatra. But here too are the actors and comedians, pop stars and divas, musicians and dancers, artists in all mediums with public lives that were essentially performances, who stand at the pinnacle of our cultural achievement. The celebrated author and critic John Lahr offers an elegant assessment of Avedon’s achievement. Four supremely talented artists from the performing arts—Mike Nichols, André Gregory, Mitsuko Uchida, and Twyla Tharp—contribute lively and moving memoirs about their collaborations with Avedon.

    About fathers and sons. It’s about memory and identity, and an insidious illness that can rob a person of both.It’s also a detective story, an investigation into the improbable journey of a baseball bat from one of the most iconic moments in baseball history to a 12-year-old boy’s bedroom.

    His inventive work of the early 1930s helped define the creative potential of modern photography. Following World War II, he helped found the Magnum photo agency, which enabled photojournalists to reach a broad audience through magazines such as Life while retaining control over their work. Cartier-Bresson would go on to produce major bodies of photographic reportage, capturing such events as China during the revolution, the Soviet Union after Stalin's death, the United States in the postwar boom and Europe as its older cultures confronted modern realities. Published to accompany an exhibition at The Museum of Modern Art, this is the first major publication to make full use of the extensive holdings of the Fondation Cartier-Bresson--including thousands of prints and a vast resource of documents relating to the photographer's life and work. The heart of the book surveys Cartier-Bresson's career through 300 photographs divided into 12 chapters. While many of his most famous pictures are included, a great number of images will be unfamiliar even to specialists. A wide-ranging essay by Peter Galassi, Chief Curator of Photography at the Museum, offers an entirely new understanding of Cartier-Bresson's extraordinary career and its overlapping contexts of journalism and art. The extensive supporting material--featuring detailed chronologies of the photographer's professional travels and of spreads of his picture stories as they appeared in magazines--will revolutionize the study of Cartier-Bresson's work.

     The perfect gift for graduates or for the holidays, this title encourages readers to express their own unique creativity and sense of humor.

    In The Music of James Bond, author Jon Burlingame throws open studio and courtroom doors alike to reveal the full and extraordinary history of the soundsof James Bond, spicing the story with a wealth of fascinating and previously undisclosed tales.Burlingame devotes a chapter to each Bond film, providing the backstory for the music (including a reader-friendly analysis of each score) from the last-minute creation of the now-famous James Bond Theme in Dr. No to John Barry's trend-setting early scores for such films as Goldfinger andThunderball. We learn how synthesizers, disco and modern electronica techniques played a role in subsequent scores, and how composer David Arnold reinvented the Bond sound for the 1990s and beyond.The book brims with behind-the-scenes anecdotes. Burlingame examines the decades-long controversy over authorship of the Bond theme; how Frank Sinatra almost sang the title song for Moonraker; and how top artists like Shirley Bassey, Tom Jones, Paul McCartney, Carly Simon, Duran Duran, GladysKnight, Tina Turner, and Madonna turned Bond songs into chart-topping hits. The author shares the untold stories of how Eric Clapton played guitar for Licence to Kill but saw his work shelved, and how Amy Winehouse very nearly co-wrote and sang the theme for Quantum of Solace.New interviews with many Bond songwriters and composers, coupled with extensive research as well as fascinating and previously undiscovered details--temperamental artists, unexpected hits, and the convergence of great music and unforgettable imagery--make The Music of James Bond a must read for 007buffs and all popular music fans. This paperback edition is brought up-to-date with a new chapter on Skyfall.

    Baseball, almost from the first moment Robinson saw it, was more than a sport. It was history, a nearly infinite ocean of information that begged to be organized. He realized that understanding the game, which he fell in love with as an adult, would never be possible just through watching games and reading articles. He turned his obsession into a dizzyingly entertaining collection of graphics that turned into an Internet sensation. Out of Robinson's Web site, www.flipflopflyball.com, grew this book, full of all-new, never-before-seen graphics. Flip Flop Fly Ball dives into the game's history, its rivalries and absurdities, its cities and ballparks, and brings them to life through 120 full-color graphics. Statistics-the sport's lingua franca-have never been more fun. (By the way, the answers: about 26,000 miles, at least if the team in question is the 2008 Kansas City Royals; 3,178 miles; they were the artists atop the Billboard Hot 100 when Ryan first and last appeared in MLB games.) Craig Robinson is, among other things, an Englishman and a New York Yankees fan with a soft spot for the Colorado Rockies and a man-crush on Ichiro. Last season he played outfield for the Prenzlauer Berg Piranhas in the Berlin Mixed Softball League (.452/.548/.575). His previous books include Atlas, Schmatlas: A Superior Atlas of the World and Fun Fun Fun.

    In fact, for the first two years they were published, Wacky Packages were the only Topps product to achieve higher sales than their flagship line of baseball cards. The series has been relaunched several times over the years, most recently to great success in 2007.Known affectionately among collectors as “Wacky Packs,” as a creative force with artist Art Spiegelman, the stickers were illustrated by such notable comics artists as Kim Deitch, , Bill Griffith, Jay Lynch, and Norm Saunders.This first-ever collection of Series One through Series Seven (from 1973 and 1974) celebrates the 35th anniversary of Wacky Packages and is sure to amuse collectors and fans young and old.

    With it landed Bowie s Stardust alter-ego: A glitter-clad, mascara-eyed, sexually-ambiguous persona who kicked down the boundaries between male and female, straight and gay, fact and fiction into one shifting and sparkling phenomenon of 70s self-expression. Together, Ziggy the album and Ziggy the stage spectacular propelled the softly spoken Londoner into one of the world s biggest stars.A key passenger on this glam trip into the stratosphere was fellow Londoner and photographer Mick Rock. Rock bonded with Bowie artistically and personally, immersed himself in the singer s inner circle, and, between 1972 and 1973, worked as the singer s photographer and videographer.This collection, featuring around 50 percent previously unpublished images, brings together spectacular stage shots, iconic photo shoots, as well as intimate backstage portraits. With a lenticular cover of different headshots, it celebrates Bowie s fearless experimentation and reinvention, while offering privileged access to the many facets of his personality and fame. Through the aloof and approachable, the playful and serious, the candid and the contrived, the result is a passionate tribute to a brilliant and inspirational artist whose creative vision will never be forgotten.

    Although technically Norman Rockwell was an academic painter, he had the eye of a photographer and, as he became a mature artist, he used this eye to give us a picture of America that was famliar�astonishingly so�and at the same time unique. Rockwell best expressed this vision of America in his justly famous cover illustrations for magazines like The Saturday Evening Post. 332 of these cover paintings, from beloved classics like "Marbles Champion" to lesser-known gems like "Feeding Time," are reproduced in stunning full color in this large-format volume, which is sure to be treasured by art lovers everywhere.

    Pellicer selected some paintings, drawings, photographs, books and ceramics, maintaining the space just as Kahlo and Rivera had arranged it to live and work in. The rest of the objects, clothing, documents, drawings and letters, as well as over 6,000 photographs collected by Kahlo over the course of her life, were put away in bathrooms that had been converted into storerooms. This incredible trove remained hidden for more than half a century, until, just a few years ago, these storerooms and wardrobes were opened up. Kahlo's photograph collection was a major revelation among these finds, a testimony to the tastes and interests of the famous couple, not only through the images themselves but also through the telling annotations inscribed upon them. Frida Kahlo: Her Photos allows us to speculate about Kahlo's and Rivera's likes and dislikes, and to document their family origins; it supplies a thrilling and hugely significant addition to our knowledge of Kahlo's life and work.

    Yet the game's history cuts much deeper than that. The bottom line, the record books and retired jerseys, can never fully do justice to this wild, chaotic, and energetic game. In between the championships, there's the sight of Earl Monroe, spinning and cajoling his way to every corner of the court; or Allen Iverson, driving headlong into players twice his size.The real history of the game is not its championships, which are indisputable, but the personalities of its heroes, which are, at least, undisputed. It's in the larger-than-life pathos of Wilt, the secret ties that bind Larry Bird to the flashy ABA, and Michael Jordan when he flew a little too high. From the prehistoric teachings of Dr. James Naismith to pioneering superstars such as LeBron James and Kevin Durant, you'll never see roundball the same way again.

    --Margarett Loke, "ARTnews""His coverage of the Spanish civil war established Capa's reputation as a peerless battlefield photojournalist... But he was also a man who loved making pictures of beautiful women, famous men and grand parties. Often overlooked when discussing the Capa legacy, those too, were his life's work. Both Capas--the raconteur of high society and the fearless witness to war--are evident in "Robert Capa: Photographs." The two sides of Capa's work may seem irreconcilable, but they're not. He was recording one world. His own."--Allison Adato, "Life Magazine"

    Evans documented the look and feel of much of his native country in a notably distinct way throughout the majority of the twentieth century. This definitive retrospective of Evans's career, which received France's Prix de Nadar and England's Krasna-Kraus Award when first published in hardcover, is now available for the first time as a reduced-format paperback." "Prepared by John T. Hill in cooperation with Gilles Mora, Walker Evans: The Hungry Eye begins with the artist's early abstractions and his project on the Brooklyn Bridge done in collaboration with American poet Hart Crane, and continues through Evans's photographic studies of New England and New York Victorian buildings; his travels to Tahiti and Cuba; his work in Florida and New Orleans; and his three-year involvement with the Farm Security Administration. A highlight of this volume is the material from Evans's highly influential show American Photographs at The Museum of Modern Art in New York, re-created in exactly the sequence that Evans established for the original exhibition." No broader or more comprehensive view of this important, innovative, and distinguished photographer exists to date. With all of the images superbly reproduced from negatives prepared by Thomas Palmer, this volume will long stand as a tribute to an American original.