Feeding Desire analyses this beauty ideal in the context of Islam, conceptions of health, and notions of desire Full description

    Dismissed by critics and academics, condemned by parents and politicians, fervently embraced by legions of fans, heavy metal music attracts and embodies cultural conflicts that are central to our society. Walser explores how and why heavy metal works, both musically and socially, and at the same time uses metal to investigate contemporary formations of identity, community, gender, and power.

    *Includes some of Martin's most colorful quotes. *Includes a Bibliography for further reading. "If people want to think I get drunk and stay out all night, let 'em. That's how I got here, you know." - Dean Martin A lot of ink has been spilled covering the lives of history's most influential figures, but how much of the forest is lost for the trees? In Charles River Editors' American Legends series, readers can get caught up to speed on the lives of America's most important men and women in the time it takes to finish a commute, while learning interesting facts long forgotten or never known. Like Frank Sinatra, Dean Martin is an American legend for his longevity and success across a garden variety of different platforms. Martin began as a nightclub singer, performed in a comedy act, starred in films, recorded hit albums, and capped his career by serving as a television host. In fact, there may be no star who was better able to transcend the different avenues of entertainment. Martin's success was made all the more amazing by the fact that he never had to change his personality or persona to find success in his different endeavors. From the beginning, Martin's public persona remained largely unchanged. He grew more famous and wealthy, but he always remained the smooth-talking Italian with the easy charm and the cool veneer. As Jerry Lewis noted in his memoirs about Martin, "Dean had this uncanny way of making everything bad look like it wasn't all that bad." If anything, Martin suggested that no matter the circumstances, people can always face their situation with leisurely charm. Martin's versatility is unprecedented even today, an era in which stars routinely alternate between film and musical careers. Martin was able to simultaneously work across different media at the same time; even after rising to fame as a singer, he continued to perform with Jerry Lewis and star in films. But after his film career took off, he continued to perform the crooning style of music that had made him famous and had long since been outdated. While other actors were forced to drastically alter their persona to keep up with the times, Martin's ability to fuse suave glamour with an everyday ordinariness ensured he didn't need to transform anything. Martin's life and career are often compared to his close friend and contemporary Frank Sinatra, and for good reason. Both came from proud Italian families, both were cohorts in the famed Rat Pack in the 1960s, and they each maintained success even late in their careers. However, Sinatra's career was filled with far more ups and downs than Martin, and his public image experienced highs and lows along with it. It's also somewhat ironic that it was Martin who Anglicized his name but remained a bigger Italian icon than Sinatra. They each began their careers as Italian crooners, but Martin maintained his style while Sinatra adopted a brasher, more "All-American" singing method. Martin never strayed far from his humble background, even as he became one of America's biggest stars. American Legends: The Life of Dean Martin profiles the life and career of one of America's most famous performers. Along with pictures of important people, places, and events, you will learn about Dean Martin like you never have before, in no time at all.

    But as the end of the millennium neared, cutting-edge bands began emerging from Seattle, Austin, and London, pushing New York further from the epicenter. The behemoth music industry, too, found itself in free fall, under siege from technology. Then 9/11/2001 plunged the country into a state of uncertainty and war—and a dozen New York City bands that had been honing their sound and style in relative obscurity suddenly became symbols of glamour for a young, web-savvy, forward-looking generation in need of an anthem.Meet Me in the Bathroom charts the transformation of the New York music scene in the first decade of the 2000s, the bands behind it—including The Strokes, The Yeah Yeah Yeahs, LCD Soundsystem, Interpol, and Vampire Weekend—and the cultural forces that shaped it, from the Internet to a booming real estate market that forced artists out of the Lower East Side to Williamsburg. Drawing on 200 original interviews with James Murphy, Julian Casablancas, Karen O, Ezra Koenig, and many others musicians, artists, journalists, bloggers, photographers, managers, music executives, groupies, models, movie stars, and DJs who lived through this explosive time, journalist Lizzy Goodman offers a fascinating portrait of a time and a place that gave birth to a new era in modern rock-and-roll.

    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.

    Even the circumstances of its recording, purportedly in an abandoned cinema and a cave formed from Icelandic lava, have achieved legendary status among their ever-loyal fanbase. Have a Bleedin Guess tells the story of the album, including how each song was written, performed and recorded. It also includes new interviews with key players. Author Paul Hanley, who was one of The Fall's two drummers when Hex was created, is uniquely placed to discuss the album's impact, both when it was released and in the ensuing years.

    When I'm there, sitting with those folks, listening and talking, he said to Coles, I'm part of that life, and I'm near it in my head, too.... Back here, sitting near this typewriter--its different. I'm a writer. I'm a doctor living in Rutherford who is describing 'a world elsewhere.' Williams captured the great difficulty in documentary writing--the gulf that separates the reality of the subject from the point of view of the observer . Now, in this thought-provoking volume, the renowned child psychiatrist Robert Coles, author of the Pulitzer Prize-winning Children in Crisis series, offers a penetrating look into the nature of documentary work. Utilizing the documentaries of writers, photographers, and others, Coles shows how their prose and pictures are influenced by the observer's frame of reference: their social and educational background, personal morals, and political beliefs. He discusses literary documentaries: James Agee's searching portrait of Depression-era tenant farmers, Let Us Now Praise Famous Men, and George Orwell's passionate description of England's coal-miners, The Road to Wigan Pier. Like many documentarians, Coles argues, Agee and Orwell did not try to be objective, but instead showered unadulterated praise on the noble poor and vituperative contempt on the more privileged classes (including themselves) for exploiting these workers. Documentary photographs could be equally revealing about the observer. Coles analyzes how famous photographers such as Walker Evans and Dorthea Lange edited and cropped their pictures to produce a desired effect. Even the shield of the camera could not hide the presence of the photographer. Coles also illuminates his points through his personal portraits of William Carlos Williams; Robert Moses, one of the leaders of the Student Non-Violent Coordinating Committee during the 1960s; Erik H. Erikson, biographer of Mahatma Gandhi and Martin Luther; and others. Documentary work, Coles concludes, is more a narrative constructed by the observer than a true slice of reality. With the growth in popularity of films such as Ken Burns's The Civil War and the controversial basketball documentary Hoop Dreams, the question of what is real in documentary work is more pressing than ever. Through revealing discussions with documentarians and insightful analysis of their work, complemented by dramatic black-and-white photographs from Lange and Evans, Doing Documentary Work will provoke the reader into reconsidering how fine the line is between truth and fiction. It is an invaluable resource for students of the documentary and anyone interested in this important genre.

    Created in collaboration with Jeff Tweedy, Wilco, and Tony Margherita, this primarily visual book explores what Wilco does, how it does it, and where it all comes together. The band narrates the book in the form of long captions accompanying a variety of images: a Korean postcard, a Stratocaster, a backstage practice session, and so on. Along the way, central topics such as instruments, touring, and recording are covered both in general (i.e., what happens, physically, when a guitar string breaks) and specific to Wilco. Just as the band assembles its disparate talents and inspirations to make music, this book coheres in the end to reveal a 40 minute CD of original, unreleased songs. Just as Wilco experiments with music by turning convention on its head, this book is an utterly new take on the old genre of the rock 'n' roll book. The Wilco Book will look and read like a Wilco record sounds; it's a translation of the band's sensibility from sound into print.

    This work also covers various political and social subtexts of the movies.

    Following on from Our Story, Ron Kray fills in the gaps and gives his version of the murders of Jack The Hat McVitie and George Cornell, describing his bisexuality and his marriage in Broadmoor and clarifying many of the misconceptions about the years when he and Reg ruled the London underworld, shot enemies at will and simultaneously socialized with some of the most glittering politicians, celebrities and hostesses of the time.

    In Until Now, Geddes takes us behind the scenes to find out what she was thinking when she captured these images, her 113 most-favorite photographs. Her text also provides a background to each photograph and helps readers understand how this artist and her subjects work together.Consider, for example, Geddes' comments about the shot she captured in 1991, which she titled "Rebecca": "She didn't want to hold the tulips, and she didn't want to sit on the chair-there were too many other things to be done. How do you get a 14-month-old to sit still' Show her the jelly bean, and then put it down her trousers."From signature photos of newborns to touching interactions between parent and child to enthusiastic poses from older children, this gift-size hardcover edition of Until Now gathers together Geddes' most revealing and compelling work. Whether she's posing babies in the garden or in the studio, Anne Geddes' deep affection for babies and children is obvious in the award-winning images she creates.

    Streisand. Dylan. Pavarotti. McCartney. Sting. Madonna. What do these musicians have in common besides their super-stardom? They have all worked with legendary music producer Phil Ramone. For almost five decades, Phil Ramone has been a force in the music industry. He has produced records and collaborated with almost every major talent in the business. There is a craft to making records, and Phil has spent his life mastering it. For the first time ever, he shares the secrets of his trade.Making Records is a fascinating look "behind the glass" of a recording studio. From Phil's exhilarating early days recording jazz and commercial jingles at A&R, to his first studio, and eventual legendary producer status, Phil allows you to sit in on the sessions that created some of the most memorable music of the 20th century -- including Frank Sinatra's Duets album, Bob Dylan's Blood on the Tracks, Ray Charles's Genius Loves Company and Paul Simon's Still Crazy After All These Years. In addition to being a ringside seat for contemporary popular music history, Making Records is an unprecedented tutorial on the magic behind what music producers and engineers do. In these pages, Phil offers a rare peek inside the way music is made . . . illuminating the creative thought processes behind some of the most influential sessions in music history. This is a book about the art that is making records -- the way it began, the way it is now, and everything in between.

    It left the business of rock stardom to rock stars. But by 1992 alternative rock had spawned a revolution in music and style that transformed youth culture and revived a moribund music industry. Five years later, alternative rock was over, leaving behind a handful of dead heroes, a few dozen masterpieces, and a lot more questions than answers. What, if anything, had the alternative revolution meant? And had it been possible - as so many of its heroes had insisted - for it to be both on MtV and under the radar? Had it used the machinery of corporate rock to destroy corporate rock? In ENtERtAIN US! Craig Schuftan takes you on a journey through the nineties - from Sonic Youth's 'Kool thing' to Radiohead's 'Kid A', NEVERMIND to ODELAY, Madchester to Nu-Metal, Lollapalooza to Woodstock '99 - narrated in the voices of the decade's most important artists. this is the story of alternative rock - the people who made it, the people who loved it, the industry that bought and sold it, and the culture that grew up in its wake - in the last decade of the twentieth century.

    It fills our Facebook feeds. It keeps afloat a whole armada of late-night comedians, YouTube auteurs, and twitter wits … an endless stream of "Worst Things Ever." Recall, if you will, Rebecca Black's chart-topping disasterpiece, "Friday." Or “The Room”, Tommy Wiseau's cinematic tragedy turned cult farce. Or the devout Spanish septuagenarian who produced an infamously botched, and now stunningly ubiquitous, retouching of a 19th-century fresco of her Lord and Savior Jesus Christ. The Internet era has fueled an obsession with these and other acts of cultural cluelessness. Hardly a week goes by, it seems, without some new aesthetic travesty spreading across the globe in the form of ones and zeros, spawning countless remixes and riffs, like the world's biggest inside joke. And once more the cry goes up: Fail! Epic Fail!But what, exactly, draws us to these futile attempts at making songs, movies, and art? What are the essential ingredients that render a ridiculous failure sublime? More important, what does our seemingly insatiable appetite for the "succès d'incompetence" say about our aesthetic impulses? Our ethical ones? Is our laughter all in good fun or is something more sinister at work?

    They are bold, brazen, fierce—and sexy. They aren’t known for following rules, they are known for doing—and wearing—whatever they want. Tomboy captures the tomboy’s style, her je ne sais quoi, her wardrobe, and most importantly, her spirit. Throughout the twentieth century, the mass marketing of gender stereotypes meant tomboys cropped up against the odds, trends, and ads. As menswear-inspired fashions for women have exploded into the mainstream under the helm of designers and stylists ranging from J.Crew to Rag & Bone to Boy by Band of Outsiders, acceptance of both the word tomboy and the women associated with its edge has been set into play. But a tomboy is not just about style—tomboys are measured in equal parts wardrobe and spirit.A visual history that chronicles the past eighty years of women who blur the line between masculinity and femininity, Tomboy explores the evolution of the style and its icons. Vivid commentary illuminates the tomboy’s history and captures a diversity of women who are bound together by their inherent ability to seamlessly blend a rugged sensibility with classic, understated elegance.