The only person ever to win Oscar, Emmy, and Tony awards in the same year, Fosse revolutionized nearly every facet of American entertainment, forever marking Broadway and Hollywood with his iconic style — hat tilted, fingers splayed — that would influence generations of performing artists. Yet in spite of Fosse’s innumerable achievements, no accomplishment ever seemed to satisfy him, and offstage his life was shadowed in turmoil and anxiety.Now, bestselling author Sam Wasson unveils the man behind the swaggering sex appeal, tracing Fosse’s untold reinventions of himself over a career that would spawn The Pajama Game, Cabaret, Pippin, All That Jazz, and Chicago, one of the longest-running Broadway musicals ever. Drawing on a wealth of unpublished material and hundreds of sources — friends, enemies, lovers, and collaborators, many of whom have never spoken publicly about Fosse before — Wasson illuminates not only Fosse’s prodigious professional life, but also his close and conflicted relationships with everyone from Liza Minnelli to Ann Reinking to Jessica Lange and Dustin Hoffman. Wasson also uncovers the deep wounds that propelled Fosse’s insatiable appetites — for spotlights, women, and life itself. In this sweeping, richly detailed account, Wasson’s stylish, effervescent prose proves the ideal vehicle for revealing Bob Fosse as he truly was — after hours, close up, and in vibrant color.

    What she does, with clarity, beauty, and candor, is to document, often in their most extreme moments, the complex lives of others. It’s her work, but it’s much more than that: it’s her singular calling.Lynsey Addario was just finding her way as a young photographer when September 11 changed the world. One of the few photojournalists with experience in Afghanistan, she gets the call to return and cover the American invasion. She makes a decision she would often find herself making—not to stay home, not to lead a quiet or predictable life, but to set out across the world, face the chaos of crisis, and make a name for herself.Addario finds a way to travel with a purpose. She photographs the Afghan people before and after the Taliban reign, the civilian casualties and misunderstood insurgents of the Iraq War, as well as the burned villages and countless dead in Darfur. She exposes a culture of violence against women in the Congo and tells the riveting story of her headline-making kidnapping by pro-Qaddafi forces in the Libyan civil war.Addario takes bravery for granted but she is not fearless. She uses her fear and it creates empathy; it is that feeling, that empathy, that is essential to her work. We see this clearly on display as she interviews rape victims in the Congo, or photographs a fallen soldier with whom she had been embedded in Iraq, or documents the tragic lives of starving Somali children. Lynsey takes us there and we begin to understand how getting to the hard truth trumps fear.As a woman photojournalist determined to be taken as seriously as her male peers, Addario fights her way into a boys’ club of a profession. Rather than choose between her personal life and her career, Addario learns to strike a necessary balance. In the man who will become her husband, she finds at last a real love to complement her work, not take away from it, and as a new mother, she gains an all the more intensely personal understanding of the fragility of life.Watching uprisings unfold and people fight to the death for their freedom, Addario understands she is documenting not only news but also the fate of society. It’s What I Do is more than just a snapshot of life on the front lines; it is witness to the human cost of war.

    This book is a memorial to those men and women, and in many cases it includes the last photographs they took.    Horst Faas and Tim Page, two photographers who worked and were wounded in Vietnam, have gathered many thousands of pictures by those who were killed. Their search has taken them through the archives in Hanoi as well as those of Western agencies. In some cases families have generously provided access to private files where unknown bodies of work have lain unseen for more than forty years.    The list of the dead includes some of the greatest photographers of the century, such as Robert Capa and Larry Burrows, and some who had been working in Vietnam for only a matter of days before their deaths. A number of the Cambodian photographers working for the Western press were executed. Other photographers, like Sean Flynn and Dana Stone, disappeared. Their loss inspired Tim Page to begin this memorial.    The resulting sequence of photographs follows the course of the war and the transformation of the serene landscapes of Cambodia and Vietnam into scenes of nightmarish devastation. At the moments of intense battle one is reminded not only of the courage of the photographers but of the compassion amid the brutality of war. These photographers were intimate with war to a degree that may well be denied future generations. That intimacy led to their deaths. Their photographs are their legacy.

    Manekshaw rose to become the 8th Chief of Army Staff of the Indian Army in 1969 and under his command, Indian forces conducted victorious campaigns against Pakistan in the Indo-Pakistani War of 1971 that led to the liberation of Bangladesh in December 1971.

    . . racial complications, vast sums of money made and lost, the return of the prodigal son, and maybe even bloody murder."In lyrical prose and startlingly revealing photographs, she crafts a totally original form of personal history that has the page-turning drama of a great novel but is firmly rooted in the fertile soil of her own life.

    --Robert CapaRobert Capa: A Graphic Biography is a brilliant portrayal of the career of the great war photographer who, at the time of his death in 1954, had only one wish: to be an unemployed war photographer. -It is not always easy- he said, -to stand aside and be unable to do anything except record the suffering.-Born in 1913 to a Jewish family in Budapest, Endre Friedmann left home at 18 for Germany where he studied journalism and political science and worked in a photo agency darkroom. In 1933, Friedmann went to Paris where he shared a darkroom with Henri Cartier-Bresson and lived with Gerda Taro, also a photographer. Together they contrived the name and image -Robert Capa, famous American photographer-.Capa made several trips to document the Spanish Civil War, where he took the seminal image, -Death of a Loyalist Soldier- for which he was heralded as -the greatest war photographer in the world-.By the start of World War II, Capa was in New York freelancing for LIFE, Time, and other publications. He went abroad with the US army to record Allied involvement in WWII, including D-Day on Omaha beach. Disembarking from a landing boat, he took the only images of the invasion. He went on to cover the war in Leipzig, Nuremberg, Berlin, London and Paris. Even now, it is the D-Day images that marked him as the world's greatest war photographer.Robert Capa: A Graphic Biography, written in the first person, follows his personal and professional life and through his eyes, the social upheaval and earth-shattering wars of the 20th century. It shows his intimate life and his relationships with the day's larger-than-life personalities: Ingrid Bergman, John Steinbeck, Ernest Hemingway, Pablo Picasso, and many others.Sepia watercolors wash the book in the fog of war and recall Capa's generation on the cusp of color film. They show his professional work, his personal battles, his victories and struggles, and his legacy: the founding of the Magnum, a cooperative photo agency which gives photographers control of their work.In 1954, having sworn off war photography but in need of money, he left to cover his fifth war, in Indochina. Driven by his conviction that -if your pictures aren't good enough, you're not close enough, - he was with a French patrol when he stepped on a landmine and was killed, camera in hand.

    Vermeer left no record of his method and indeed we know almost nothing of the man nor of how he worked. But by a close and illuminating study of the paintings Steadman concludes that Vermeer did use the camera obscura and shows how the inherent defects in this primitive device enabled Vermeer to achieve some remarkable effects--the slight blurring of image, the absence of sharp lines, the peculiar illusion not of closeness but of distance in the domestic scenes. Steadman argues that the use of the camera also explains some previously unexplainable qualities of Vermeer's art, such as the absence of conventional drawing, the pattern of underpainting in areas of pure tone, the pervasive feeling of reticence that suffuses his canvases, and the almost magical sense that Vermeer is painting not objects but light itself.Drawing on a wealth of Vermeer research and displaying an extraordinary sensitivity to the subtleties of the work itself, Philip Steadman offers in Vermeer's Camera a fresh perspective on some of the most enchanting paintings ever created.

    With four hundred color photos, including exclusive portraits and all-new stories, Humans of New York is a stunning collection of images that showcases the outsized personalities of New York.Surprising and moving, Humans of New York is a celebration of individuality and a tribute to the spirit of the city.

    Paul. Now, in Once There Were Castles, he offers a richly illustrated look at another world of ghosts in our midst: the lost mansions and estates of the Twin Cities.Nobody can say for sure how many lost mansions haunt the Twin Cities, but at least five hundred can be accounted for in public records and archives. In Minneapolis and St. Paul, entire neighborhoods of luxurious homes have disappeared, virtually without a trace. Many grand estates that once spread out over hundreds of acres along the shores of Lake Minnetonka are also gone. The greatest of these lost houses often had astonishingly short lives: the lavish Charles Gates mansion in Minneapolis survived only nineteen years, and Norman Kittson’s sprawling castle on the site of the St. Paul Cathedral stood for barely more than two decades. Railroad and freeway building, commercial and institutional expansion, fires, and financial disasters all claimed their share of mansions; others succumbed to their own extravagance, becoming too costly to maintain once their original owners died.The stories of these grand houses are, above all else, the stories of those who built and lived in them—from the fantastic saga of Marion Savage to the continent-spanning conquests of James J. Hill, to the all-but-forgotten tragedy of Olaf Searle, a poor immigrant turned millionaire who found and lost a dream in the middle of Lake Minnetonka. These and many other mansion builders poured all their dreams, desires, and obsessions into extravagant homes designed to display wealth and solidify social status in a culture of ever-fluctuating class distinctions.The first book to take an in-depth look at the history of the Twin Cities’ mansions, Once There Were Castles presents ninety lost mansions and estates, organized by neighborhood and illustrated with photographs and drawings. An absorbing read for Twin Cities residents and a crucial addition to the body of work on the region’s history, Once There Were Castles brings these “ghost mansions” back to life.

    Our lives can be a bold, beautiful, deeply human experience that can ripple out and touch others, but they have to be our lives. A Beautiful Anarchy is a vulnerable, honest, and insightful book about the human longing to create, whether that’s a family, a business, a book or a photograph. Our greatest creation can be an intentional life lived on our terms. For those that already identify as creative people, this book is an invitation to more intentionally explore your creative process. For anyone that’s ever said, “but I’m not really creative,” it’s a call to exhume a part of yourself that desperately needs to get out and breathe.This book is available on ABeautifulAnarchy.com or as a Kindle version from Amazon.

    Presenting photographs of legendary figures, among them the model Kiki, Modigliani, Picasso, Satie, Matisse, Leger, Gertrude Stein, James Joyce and Miro. Gossip and anecdotes aim to bring this world alive.

    It speaks of those who loved and betrayed him; of charming ladies and brilliant men around him; of his greatness and of the crafty stupidity of his contemporaries; os the wit and folly of his times; and of the struggle of men and ideas when faced with the march of history. Based on extensive research and original sources, The Sword of Tipu Sultan is an original contribution to historical literature which gives insights into the character of its hero, and the period in which he lived.Tipu, maligned by historians as a cruel and bigoted ruler, emerges here as a humane, enlightened ruler who believes that God is not confined to any one religion and that all religions therefore require equal respect. He was opposed to colonialism; welcomed the American Declaration of Independence and applauded the spirit of the French Revolution. The author establishes him as the first among modern Indian nationalists who knew also that India was weakened not by outside powers but by sickness, decadence and disunity within.The novel vividly portrays the drama of Tipu's times and recaptures the amazing spirit of the man who in the midst of disaster lost neither his dignity nor his love nor his faith in the values he cherished. He chose to court death when he could have saved himself, for he firmly believed that his sacrifice would serve as an example for the future generations of India.

    This is Cherry Denman's witty take on her life trailing husband Charlie round some of the most godforsaken outposts of the world. Illustrated by brilliantly funny cartoons of diplomatic life, this is a collection of clever and very funny tales of global misunderstanding.

    From Sprite commercials to The Source magazine to Soho art galleries, the elements and vernacular of the graffiti aesthetic are apparent in today's society. This book examines graffiti's influence from its earliest days to its undeniable ubiquity now. Written by an insider, it includes a general history, in-depth interviews with both the progenitors of the form and current artists, and full-color illustrations of the most important works over the last 30 years. Unlike other subcultures that have been corrupted by the media and the mainstream, graffiti has maintained its sense of the underground and its clandestine feel. The purity and integrity that have defined the graffiti writer's mission have never faltered. The Art of Getting Over offers an unprecedented glimpse into this deeply affecting urban art form.

    Four see-through vellum sections, of four layers each, begin with a "naked" geisha; they show, stage by stage, how her distinctive costume and make-up are assembled. You'll view the subtle changes of appearance through the round of seasonal events, and the elaborate array of equipment in the geisha's wardrobe, as well as everything she needs to do her demanding jobs. Equally revealing is the incredibly detailed information about the women's training, lives, and history.