Lloyd recounts the founding of Television, the band's rise alongside other bands and personalities in the 1970’s New York Music scene, and the legend-making of the unparalleled music venue CBGB. As the rock ‘n’ roll tales unfold, he accompanies them with insights into his approach to music and the electric guitar.Lloyd’s mid-career vignettes detail his solo years, including the backstory of critically praised records such as Alchemy and Field of Fire, his drug addiction and recovery, his 90s-era work, and touring adventures with artists such as Matthew Sweet, John Doe, and Robert Quine. Throughout the book is an undercurrent—Lloyd’s continually evolving spiritual-philosophical approach to life, emerging from the conscious digestion of the highs and the lows—both ends of the same stick.In Everything is Combustible, Richard Lloyd relates his life, both inner and outer, in the narrative style, digging beneath the events and revealing their meanings.Considered a foundational band of alternative rock, Television’s debut record, Marquee Moon, is widely viewed by critics and musicians as one of the greatest albums ever recorded. As one half of Television’s unique guitar sound, and a legendary solo artist in his own right, Richard Lloyd’s music has influenced a range of bands and artists from U2, Johnny Marr and Joy Division to R.E.M., Sonic Youth, Wilco and John Frusciante.

    His memoir begins with surprising and often moving stories of his early life—his time at the Spanish & Portuguese Jewish Orphanage in Maida Vale, fighting fascists in London's East End, and fighting in the army of the fledgling state of Israel in the late 1940s. He then discusses his extraordinary career, during which he cut the hair of everyone who was anyone—including Mary Quant, Grace Coddington, Twiggy, Rita Hayworth, and Mia Farrow; launched salons all over the world; founded the hairdressing school that still bears his name; and became a global brand. He also shares the passions that drive him—architecture and beautiful women, Israel and anti-Semitism, family ties and season tickets at Chelsea. The compelling memoir of a genuine fashion icon who reinvented the art of hairdressing.

    Suspecting her new boyfriend is cheating on her, John decides to follow Frank's Lexus and find out the truth once and for all. Turns out John's in for a major surprise. Frank isn't heading for some sack time with another girl. Instead he drags John into the middle of a shootout on the banks of the Hudson River, and before John knows what's happening, he's knee-deep in bodies.Before the corpses can even cool, Frank disappears and John finds himself wanted for five murders. With no way to prove his innocence, John goes on the run—not only from the police, but a vicious assassin as well. And when Michelle is kidnapped, John’s worst-case scenario comes true. Though his head tells him to stay in hiding, his heart says otherwise. He has to save the woman he loves or die trying.As John begins to uncover the truth surrounding the events that have turned his life upside down, he learns it isn’t just Michelle he must rescue. Thousands of other innocent lives are in jeopardy too.

    Arguably one of the most astute art and cultural critics working today, Hickey’s collection of essays questions and challenges the cultural status quo.He recently announced his retirement from the field of criticism due to the new extreme popularity and over-simplification and commoditisation of art, he said ‘I miss being an elitist and not having to talk to idiots.’Author of popular books such as Air Guitar: Essays on Art & Democracy and The Invisible Dragon: Four Essays on Beauty, Hickey’s newest body of essays looks at the super collectors, the trope of the biennale, the loss of looking and much, much more!

    Stokes Company, February 24, 1938.

    To deliver the crown is to lose her. To hide it will forever doom the already decimated empire of the Seven Kingdoms. He must choose, but how?

    Ranging from neo-Conceptual artworks to broader forms of cultural criticism, these rare texts are brought together in this volume for the first time, placing Gordon’s writing within the context of the artist-critics of her generation, including Mike Kelley, John Miller, and Dan Graham. In addressing key stakes within contemporary art, architecture, music, and the performance of male and female gender roles, Gordon provides a prescient analysis of such figures as Kelley, Glenn Branca, Rhys Chatham, Tony Oursler, and Raymond Pettibon, in addition to reflecting on her own position as a woman on stage. The result—Is It My Body?—is a collection that feels as timely now as when it was written. This volume additionally features a conversation between Gordon and Jutta Koether, in which they discuss their collaborations in art, music, and performance.

    Their encounter seems fated: Eleanor, a teacher and recent Vassar graduate, needs a job. Patricia’s difficult thirteen-year-old daughter Margaux, recovering from polio, needs a private tutor.Though she feels out of place in the Bellamys’ rarefied and elegant Park Avenue milieu, Eleanor forms an instant bond with Margaux. Soon the idealistic young woman is filling the bright young girl’s mind with Shakespeare and Latin. Though her mother, a hat maker with a little shop on Second Avenue, disapproves, Eleanor takes pride in her work, even if she must use the name “Moss” to enter the Bellamys’ restricted doorman building each morning, and feels that Patricia’s husband, Wynn, may have a problem with her being Jewish.Invited to keep Margaux company at the Bellamys’ country home in a small town in Connecticut, Eleanor meets Patricia’s unreliable, bohemian brother, Tom, recently returned from Europe. The spark between Eleanor and Tom is instant and intense. Flushed with new romance and increasingly attached to her young pupil, Eleanor begins to feel more comfortable with Patricia and much of the world she inhabits. As the summer wears on, the two women’s friendship grows—until one hot summer evening, a line is crossed, and both Eleanor and Patricia will have to make important decisions—choices that will reverberate through their lives.Gripping and vividly told, Not Our Kind illuminates the lives of two women on the cusp of change—and asks how much our pasts can and should define our futures.

    R., Mr. Big, The Fixer, The Big Bankroll, The Man Uptown, and The Brain -- Rothstein seemed more myth than man. He was gambling, and he was money. The inspiration for Meyer Wolfsheim in The Great Gatsby and Nathan Detroit in Guys and Dolls, he was rumored to be the mastermind of the Black Sox scandal, the fixing of the 1919 World Series. He was Mr. Broadway and had his own booth at Lindy's Restaurant in Manhattan, where he held court.Now, in King of the Jews, Nick Tosches, "one of the greatest living American writers" (Dallas Observer), examines Rothstein's extraordinary legacy by placing him at the center of nothing less than the history of the entire Western world.

    How can she when the most important people in her life are no longer around to enjoy the festivities – because of her? Hiding out in her grandparents’ failing micro-pub, she wants to forget that the season of goodwill even exists; but her grandmother has other ideas. It’s time for Libby to face her fears – and Christmas – head on. And what better way to immerse herself in the celebrations, than working in her great aunt’s Christmas shop, just a few blocks from Central Park? Making new friends is the easy bit, but leaving the past behind proves much more difficult. The only way Libby can cope is by taking long walks in Central Park and joining an art therapy group to help her express her emotions. Harry Stanwick is a Central Park Ranger, who’s as beautiful on the inside as he is on the outside. He seems to know instinctively when Libby wants to talk and when she just needs to be left alone. Working with Harry and the rest of her new friends to save an old off-Broadway theatre and community centre from closure, Libby finally starts to remember the magic of Christmas. But she can’t stop questioning her right to be happy when her parents are gone. Can Harry convince Libby that she deserves her own Christmas miracle, or will she leave her heart -and her chance of happiness - in the Christmas shop at Central Park?

    murder of a business tycoon and finds himself held captive with the murdered man's arrogant daughter. The two escape and go on the run, trying to stay one step ahead of a hitwoman while Tom unravels the mystery behind the violence.Alan Hruska is the author of the novels Borrowed Time, Pardon the Ravens and Wrong Man Running, the writer of several plays, and the writer and director of multiple films, most recently The Man on Her Mind. A former trial lawyer, he is a New York native and a graduate of Yale University and Yale Law School.

    The East Village, NYC, 1976. A 26-year-old starving poet needs $60. What else to do but register with a temp agency as a house cleaner? The excitement never wanes as he is catapulted into the everyday yet unimaginable worlds behind closed (apartment) doors. Bob knows one thing: dirt will always win. Clients are a bit more unpredictable, he discovers, as he comes to terms with eccentric domestic habits and intimate dramas; weird vibes and strange discoveries; appreciation, dependency, dismissal...and seduction. Even if he's asked to clean up a loft the size of the Strand - and he is, and it's above the legendary bookstore - he coffees up with a donut, fortifies himself with some (pocketed) weed, and sets out anew, with disarming insight, originality, and humor. With alternate chapters devoted to practical cleaning tips, Cleaning Up New York is a quirky reinvention in the tradition of George Orwell's Down and Out in Paris and London, Studs Terkel's chronicles of the working class, and Mrs. Beeton's Book of Household Management; its narrator a spiritual descendent of Candide, Ida Tarbell, and Holden Caulfield.

    The glue holding the collection together is autobiography. Every item carries deep personal significance, and most are rooted in lived experience, in particular Sante’s youth on the Lower East Side of New York in the fertile 1970s and ’80s. He traces his deep engagement with music, his experience of the city, his progression as an artist and observer, his love life and ambitions. Maybe the People Would Be the Times is organized as a series of sequences, in which one piece leads into the next. Memoir flows into essay, fiction into critical writing, humor into poetry, the pieces answering and echoing one another, examining their subjects from multiple vantages. The collection shows Sante at his most lyrical, impassioned, and imaginative, a writer for whom every assignment brings the challenge of inventing a new form. “Luc Sante is a superb writer who can give astonishing form to floating moods and thoughts that no one noticed before.—JOHN ASHBERY

    Five star- Top Pick Series of The Romance Review. Callie's Heart Callie Daniels' mother has one dying wish. She wants neighboring rancher, Garrett O'Neill, to marry her seventeen year old daughter. It's not supposed to be a conventional marriage.Garrett O'Neill would keep Callie's ranch safe and Callie would go away to college. Four years later, Callie comes home with stars in her eyes and happily ever after in her heart. She plans to make their marriage real until finds the new housekeeper, Sylvie in Garrett's arms. Heartbroken, Callie takes off to her own house, which they closed up four years ago. She stays there with Old Henry, a longtime friend and ranch hand, until her new horse injures her. Garrett forces Callie to move back in to his house. Callie finally gets her heart's desire. Alone in a line shack, they make sweet love for the first time. Unfortunately the love light is gone from Garret's eyes the next morning. Lone Star Joy Finalist in the 2012 RONE Awards FOUR STARS from InD'tale Magazine February 2013 edition Top Pick Five Stars- The Romance Reviews Sexy, Cowboy, Stamos Walker runs a work release program for nonviolent male prisoners. When Joy Courtland shows up on his doorstep, he assumes she's the nanny. He hands her his son and rushes out to work. Joy, a convicted felon, bonds with little Dillon immediately. Stamos isn't happy when he returns and finds out Joy is not the nanny. While trying to get Joy back to prison through the proper channels, Stamos realizes Joy is not a killer. He doesn't want her to go back to prison. Stamos is willing to try everything he can to keep Joy safe even if it means marriage. Stetson's Storm Five years ago, hunky rodeo star Stetson Scott left town, never looking back, convinced he had no reason to stay. He unknowingly left behind more than just a love, so much more. Storm McCrory's heart was ripped out that same day. Now Stetson is back in town. He's shocked to find not just Storm McCrory living in poverty, but his son. The son he never knew. Both shunned by most of the town. Will Storm allow Stetson to help her and be a father to his son, or will her stubborn pride get in the way of their true love?

    And now you're turning away from me. You are saying something but I can't hear you. It's too windy. You're crying now. Now you're smiling. I'm done. I love you...' It's been two years since Raghu left his first love Brahmi on the edge of the roof one fateful night--he couldn't save her. Having lost everything, Raghu now wants to stay hidden from the world. However, the annoyingly persistent Advaita finds his elusiveness very attractive. And thee more he ignores her, the more she's drawn to him till she bulldozes her way into an unlikely friendship.What attracts at first, begins to grate. Advaita can't help but want to knwo what Raghu's left behind, what he's hiding, and who broke his heart. She wants to love him back to life, but for that she needs to discover what wrecked him in the first place .After all, the antidote to heartache is love.