Together with Yoko Ono Lennon, they have also made available the full transcripts (including all the outtakes) of the television and video series The Beatles Anthology. Through painstaking compilation of sources worldwide, John Lennon's words are equally represented in this remarkable volume. Furthermore, The Beatles have opened their personal and management archives specifically for this project, allowing the unprecedented release of photographs which they took along their ride to fame, as well as fascinating documents and memorabilia from their homes and offices. What a book The Beatles Anthology is! Each page is brimming with personal stories and rare vintage images. Snapshots from their family collections take us back to the days when John Lennon, Paul McCartney, George Harrison and Richard Starkey were just boys growing up in Liverpool. They talk in turn about those early years and how they came to join the band that would make them known around the world as John, Paul, George and Ringo. Then, weaving back and forth, they tell the astonishing story of life as The Beatles: the first rough gigs, the phenomenon of their rise to fame, the musical and social change of their heyday, all the way through to their breakup. From the time Ringo tried to take this drum kit home on the bus to their much anticipated audience with Elvis, from the making of the Sgt. Pepper album to their last photo session together at John's house, The Beatles Anthology is a once-in-a-lifetime collection of The Beatles' own memories.Interwoven with these are the recollections of such associates as road manager Neil Aspinall, producer George Martin and spokesman Derek Taylor. And included in the vast array of photographs are materials from both Apple and EMI, who also opened their archives for this project. This, indeed, is the inside story, providing a wealth of previously unpublished material in both word and image.Created with their full cooperation, The Beatles Anthology is, in effect, The Beatles' autobiography. Like their music has been a part of so many of our lives, it's warm, frank, funny, poignant and bold. At last, here is The Beatles' own story.

    It developed concurrently everywhere, and every region had it's own identity. But it was in San Francisco and L.A. where the most radical behavior in stateside punk rock style and attitude was exhibited. It was anti-hippie, anti-disco, anti-parent and anti-"nice". And it was shockingly new. These photos are ground zero of punk rock style—delirious innovation and a snarling takeover of youth culture still resonating more than 20 years hence.

    But three? It's enough to make you believe in the supernatural. The Cleveland Indians were surely tempting the fates when they traded away Rocky Colavito. He was young, strong, rugged, popular, and coming off back-to-back 40 home run/100 RBI seasons. He was the type of player you just don't trade, especially not for a three-years-older singles hitter, even if Harvey Kuenn had just won the American League batting title. Frank Lane's blunder could be expected to hurt the Tribe's pennant chances for a while. But for a generation? In the thirteen years before the trade, the Indians finished above .500 twelve times, and were first, second, or third in the league nine times. In the thirty-three years since the trade, they've finished above .500 six times, and were in the top three in their league just once (never finishing as high as third in their division). With the sharp-edged wit and keen eye for detail that have made him Cleveland's favorite sportswriter, Terry Pluto looks at the strange goings-on of the past thirty-plus years, unusual occurrences that could only be the result of some cosmic plan. Other teams lose players to injuries; the Indians lose them to alcoholism (Sam McDowell), a nervous breakdown (Tony Horton), and the pro golf tour (Ken Harrelson - okay, so it was only for a little while). Other teams bask in the glow when a young star plays in the All-Star Game in his first full season; the Indians saw catcher Ray Fosse's career derailed by a homeplate collision with Pete Rose in the 1970 midsummer classic. Other teams make deals to improve the ballclub; the Indians had to trade young Dennis Eckersley because his wife had fallen in love with hisbest friend and teammate, Rick Manning. Through long years of trials and tribulations that would have tested Job, the Indians' faithful have continued to come to huge, drafty Cleveland Stadium. Pluto understands the fierce attachment Tribe fans feel for their team, because he's

    This edition spans the years between 1973's Can't Buy a Thrill and their 2000 comeback Two against Nature.

    In Wicked Messenger, acclaimed cultural-political commentator Mike Marqusee advances the new thesis that Dylan did not drop politics from his songs but changed the manner of his critique to address the changing political and cultural climate and, more importantly, his own evolving aesthetic. Wicked Messenger is also a riveting political history of the United States in the 1960s. Tracing the development of the decade’s political and cultural dissent movements, Marqusee shows how their twists and turns were anticipated in the poetic aesthetic—anarchic, unaccountable, contradictory, punk— of Dylan's mid-sixties albums, as well as in his recent artistic ventures in Chronicles, Vol. I and Masked and Anonymous.Dylan’s anguished, self-obsessed, prickly artistic evolution, Marqusee asserts, was a deeply creative response to a deeply disturbing situation. "He can no longer tell the story straight," Marqusee concludes, "because any story told straight is a false one."

    Could he pull it off? In a captivating collection of poems, Roxane Orgill steps into the frame of Harlem 1958, bringing to life the musicians’ mischief and quirks, their memorable style, and the vivacious atmosphere of a Harlem block full of kids on a hot summer’s day. Francis Vallejo’s vibrant, detailed, and wonderfully expressive paintings do loving justice to the larger-than-life quality of jazz musicians of the era. Includes bios of several of the fifty-seven musicians, an author’s note, sources, a bibliography, and a foldout of Art Kane’s famous photograph.

    Yet in 1979, the Amon Carter Museum of Fort Worth, Texas, daringly commissioned him to do just that.The resulting 1985 exhibition and book, In the American West, was a milestone in American photography and Avedon's most important body of work. His unflinching portraits of oilfield and slaughterhouse workers, miners, waitresses, drifters, mental patients, teenagers, and others captured the unknown and often-ignored people who work at hard, uncelebrated jobs. Making no apologies for shattering stereotypes of the West and Westerners, Avedon said, "I'm looking for a new definition of a photographic portrait. I'm looking for people who are surprising—heartbreaking—or beautiful in a terrifying way. Beauty that might scare you to death until you acknowledge it as part of yourself."Photographer Laura Wilson worked with Avedon during the six years he was making In the American West. In Avedon at Work, she presents a unique photographic record of his creation of this masterwork—the first time a major photographer has been documented in great depth over an extended period of time. She combines images she made during the photographic sessions with entries from her journal to show Avedon's working methods, his choice of subjects, his creative process, and even his experiments and failures. Also included are a number of Avedon's finished portraits, as well as his own comments and letters from some of the subjects.Avedon at Work adds a new dimension to our understanding of one of the twentieth century's most significant series of portraits. For everyone interested in the creative process it confirms that, in Laura Wilson's words, "much as all these photographs may appear to be moments that just occurred, they are finally, in varying degrees, works of the imagination."

    Told in his own way, in his own words, a symphony written by the King of Jazz. His story spans and defines a half-century of modern music.This man who created over 1500 compositions was as much at home in Harlem's Cotton Club in the ‘20s as he was at a White House birthday celebration in his honor in the ‘60s. For Duke knew everyone and savored them all. Passionate about his music and the people who made music, he counted as his friends hundreds of the musicians who changed the face of music throughout the world: Bechet, Basie, Armstrong, Lena Horne, Ella Fitzgerald, Sinatra, to name a few of them. Here are 100 photographs to give us an intimate view of Duke's world—his family, his friends, his associates.What emerges most strongly in his commitment to music, the mistress for whom he saves the fullest intensity of his passion. ”Lovers have come and gone, but only my mistress stays,” he says. He composed not only songs that all the world has sung, but also suites, sacred works, music for stage and screen and symphonies. This rich book, the embodiment of the life and works of the Duke, is replete with appendices listing singers, arrangers, lyricists and the symphony orchestras with whom the Duke played. There is a book to own and cherish by all who love Jazz and the contributions made to it by the Duke.

    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.

    By 1900, Paris had recovered and the Belle Epoque was in full flower, but the decades between were difficult, marked by struggles between republicans and monarchists, the Republic and the Church, and an ongoing economic malaise, darkened by a rising tide of virulent anti-Semitism. Yet these same years also witnessed an extraordinary blossoming, in art, literature, poetry, and music, with the Parisian cultural scene dramatically upended by revolutionaries such as Monet, Zola, Rodin, and Debussy, even while Gustave Eiffel was challenging architectural tradition with his iconic tower. Through the eyes of these pioneers and others, including Sarah Bernhardt, Georges Clemenceau, Marie Curie, and Cesar Ritz, we witness their struggles with the forces of tradition during the final years of a century hurtling towards its close. Through rich illustrations and evocative narrative, McAuliffe brings this vibrant and seminal era to life."

    Although Edward Steichen had exhibited some of Leiter's color photography at The Museum of Modern Art in 1953, it remained virtually unknown to the world thereafter. Leiter moved to New York in 1946 to become a painter, but through his friendship with Richard Pousette-Dart he quickly recognized the creative potential of photography. Leiter continued to paint, exhibiting with Philip Guston and Willem de Kooning, but the camera remained his ever-present means of recording life in the metropolis. None of Leiter's contemporaries, with the partial exception of Helen Levitt, assembled a comparable body of work: subtle, often abstract compositions of lyrical, eloquent color.

    From Robert Capa's stark photograph of a Loyalist soldier being shot in the head during the Spanish Civil War to Eve Arnold's astonishingly intimate portraits of well-known faces - from Joan Crawford to Malcolm X - Magnum has changed how we perceive our political leaders, social crises, and the communities next door.Magnum's photographers are some of the most talented, brave, and resourceful in the world: the founders, Robert Capa, David Seymour, George Rodger, and Henri Cartier-Bresson; and recruits, including Eve Arnold, Bruce Davidson, Mary Ellen Mark, Susan Meiselas, Inge Morath, James Nachtwey, Eugene Richards, and Sebastiao Salgado. Magnum follows them on assignment, facing bodyguards and visa troubles and taking to the risk-filled trenches of several wars for the perfect shot. Full of wonderful stories and heroic feats, Magnum is an essential volume for anyone interested in photography or photojournalism.

    Seventeen years after their last album, they resurrected themselves with an intense, socially conscious record, We Got It from Here . . . Thank You 4 Your Service, which arrived when fans needed it most, in the aftermath of the 2016 election. Poet and essayist Hanif Abdurraqib digs into the group's history and draws from his own experience to reflect on how its distinctive sound resonated among fans like himself. The result is as ambitious and genre-bending as the rap group itself.Abdurraqib traces the Tribe's creative career, from their early days as part of the Afrocentric rap collective known as the Native Tongues, through their first three classic albums, to their eventual breakup and long hiatus. Their work is placed in the context of the broader rap landscape of the 1990s, one upended by sampling laws that forced a reinvention in production methods, the East Coast-West Coast rivalry that threatened to destroy the genre, and some record labels' shift from focusing on groups to individual MCs. Throughout the narrative Abdurraqib connects the music and cultural history to their street-level impact. Whether he's remembering The Source magazine cover announcing the Tribe's 1998 breakup or writing personal letters to the group after bandmate Phife Dawg's death, Abdurraqib seeks the deeper truths of A Tribe Called Quest; truths that--like the low end, the bass--are not simply heard in the head, but felt in the chest.

    --"Andy Grundberg"~The world is so visually complicated that the word "banal" scarcely is very intelligent to use. All days are similar, no matter what part of this planet we're in. --"William Eggleston"

    Uncompromising and unapologetic, between her record-breaking, award-winning music and artistry, it's no surprise that she has become one of the biggest and most loved artists of her generation.Now in her first book -- a stunning visual narrative journey through her life -- Billie is ready to share more with her devoted audience for the first time, including hundreds of never-before-seen photos. This gorgeous book will capture the essence of Billie inside and out, offering readers personal glimpses into her childhood, her life on tour, and more. It will be a must-have for every fan.Published simultaneously with the book, Hachette will release a standalone audiobook of exclusive, unique content in which Billie reflects on her life. Including never-before-told stories and recollections from her personal life and career, from the early years to her breakout success andincluding memories shared by her parents, this is an audiobook like no other – providing a truly intimate window into her journey, in Billie’s own words.