Anselmi covers the bands and musicians that have impacted those styles most―Black Sabbath, Candlemass, Melvins, Eyehategod, Godflesh, Neurosis, Saint Vitus, and many others―while diving into the cultural doom that has spawned such music, from the bombing of Birmingham and hurricane devastation of New Orleans to glaring economic inequality, industrial alienation, climate change, and widespread addiction. Along the way, Anselmi interweaves the musical experiences that have led him to proudly identify as one of the doomed.

    So was the priceless cultural heritage of thousands of years.In the midst of the conflict, the Allied Forces appointed the monuments officers—a motley group of art historians, curators, architects, and artists—to ensure that the great masterworks of European art and architecture were not looted or bombed into oblivion. The journalist Ilaria Dagnini Brey focuses her spellbinding account on the monuments officers of Italy, quickly dubbed “the Venus Fixers” by bemused troops.Working on the front lines in conditions of great deprivation and danger, these unlikely soldiers stripped the great galleries of their incomparable holdings and sent them into safety by any means they could; when trucks could not be requisitioned or “borrowed,” a Tiepolo altarpiece might make its midnight journey across the countryside balanced in the front basket of a bicycle. They blocked a Nazi convoy of two hundred stolen paintings—including Danae, Titian’s voluptuous masterpiece, an intended birthday present for Hermann Göring.They worked with skeptical army strategists to make sure air raids didn’t take out the heart of an ancient city, and patched up Renaissance palazzi and ancient churches whose lead roofs were sometimes melted away by the savagery of the attacks, exposing their frescoed interiors to the harsh Tuscan winters and blistering summers. Sometimes they failed. But to an astonishing degree, they succeeded, and anyone who marvels at Italy’s artistic riches today is witnessing their handiwork.In the course of her research, Brey gained unprecedented access to private archives and primary sources, and the result is a book at once thorough and grandly entertaining—a revelatory take on a little-known chapter of World War II history. The Venus Fixers is an adventure story with the gorgeous tints of a Botticelli landscape as its backdrop.

    When many years later the truth of the past is finally revealed, Glen Butler feels deceived. His reaction to events betrays the one he loves most, his daughter. Returning to the city to try and find her, Glen discovers she has a secret of her own, presenting him with a terrible dilemma. Set in Italy and England from the 1940s to the 1970s, a novel about the cost of keeping secrets.

    

    but after graduating from law school at age forty-seven, she still faced the question: "What now?" Casual conversations about far-off travels with husband Glenn became a reality with the offer of a dream job at the United Nations in Rome, Italy.Coins in the Fountain brings life the challenges of acclimating to the beautiful and chaotic ancient city of Rome. Judith shares her struggles to learn the arcane rules and folkways of the UN while Glenn begins his valiant effort to cook Italian-style, as they both endeavor to embrace la dole vita. With an extraordinary count and countess for friends, dogs in the doctor's office, snakes and unexploded bombs on the golf course, along with a sinking sailboat rocking on the ocean, the unexpected was always just around the corner.Through wit, wry humor, and descriptions of enticing food and travel adventures, Judith takes you on a journey into the heart of what it is truly like to live in the Eternal City.According to Roman lore, if you toss a coin over your shoulder into the famous Trevi Fountain, the gods will grant you a return trip. When it was time for them to leave, Judith made that hopeful toss and her wish was granted.

    But as the Black Death reaches its hand into his uncle’s workshop, young Tonino is faced with making a choice to survive. From the author of THE GONDOLA MAKER and MADE IN VENICE comes a short tale of pestilence, Venetian artisanship, and the will to live.

    But the beauty and pageantry masks the deadly rivalry that exists among the city's districts. Each ward, represented by an animal symbol, puts forth a rider to claim the winner's banner, but the contest turns citizens into tribes and men into beasts—and beautiful, headstrong, young Pia Tolomei is in love with a rider of an opposing ward, an outsider who threatens the shaky balance of intrigue and influence that rules the land.

    Things are powerfully on the move inside him too as he comes to the small village of Fontanalba, on a mission to track down two friends from a lifetime ago.

    Today's Formula One would be unthinkable without the presence of the Ferrari cars on the grid. Win or lose, Ferrari attract more fans than all the other teams combined. And the cars unique appeal - their mystique, their myth - has its origins in the story of one man with a dictator's will and the cunning of a Machiavelli. Going back to the origins of "The Old Man", tracing his remarkable rise to prominence, and using sources which have hitherto remained silent, Richard Williams tells the story of a man who was one of the key figures of sport in the twentieth century, and whose influence over his sport is undiminished today, more than a decade after his death.

    Priceless lessons, that only mistakes and sorrow can teach, leap out from the middle part of the book with the forethought to heal an inner wound that is still raw, still painful. This book of yearning, heartache and realisations gradually comes to a beautiful end in part three by unveiling how love is supposed to look like when it truly enters one’s life. By expressing some of the sweet feelings of falling in love and being consumed by it in this last section, with the right person this time, the aim of the book is one: to give hope to souls that propels them to the continuous search for Love. True Love. Throughout this book, loss, lessons and love have been portrayed in a brief, whimsical, poetic manner with meanings that are intensely deep.

    This newly translated book -- from Dino Buzatti's newspaper accounts at the time -- captures the excitement of that contest, which drew national attention and made heroes of the cyclists Coppi and Bartali.

     Fast and heavy-gunned, the battle-cruiser could overhaul and destroy anything at sea except the battleship. The brain child of Admiral Jacky Fisher, the battle-cruiser was intended to be light, fast, and able to avoid action with ships-of-the-line. However, the battle-cruisers came to be treated as fast battleships …And expected to fight as a battleship. But their design rendered them vulnerable and left them outmatched. This weakness was cruelly exposed at the battle of Jutland in 1916, where three of the battle-cruisers exploded. Known as the ‘Splendid Cats’ for their speed and viciousness, battle cruisers fought at Heligoland Bight, the Falkland’s Islands, Dogger Bank and Jutland. Following the First World War the battle-cruisers biggest enemy was the scrapyard. Once more the world was plunged into war, and four battle-cruisers would be lost during the Second World War. The most famous is perhaps the Hood, following the action against the Bismark. Only the Renown survived both world wars, yet she was condemned to the breaker’s yard in the summer of 1948. From the far side of the world to home waters, the battle-cruisers played a vital part in the British war effort. Combining meticulous research with a novelist’s flair for storytelling, Battle-Cruisers vividly describes the life and times of the sixteen battle-cruisers built for the Royal Navy and Royal Australian Navy. Yet ships do not fight on their own. This is also the story of the men who served, lived, fought and faced adversity in these floating worlds. Ronald Bassett (1924-1996) was born in Chelsea. During the Munich crisis, at age fourteen, he falsified enlistment papers to become a Rifleman of the King's Royal Rifle Corps (60th Rifles). Following active service, he was exposed and discharged. In his records, his colonel noted, ‘A good soldier. I am sorry to lose him.' Undismayed, he immediately entered the Royal Navy, in which he remained for fourteen years, serving in the Arctic, North Atlantic, Mediterranean, the Far East and, later, Korea. He died in Surrey.

    . . [Saltzman] has written a distinctive study that transcends both art and history and forces us to explore the connections between the two." --Roger Lowenstein, The Wall Street JournalA captivatingstudy of Napoleon's plundering of Europe's art for the Louvre, told through the story of a Renaissance masterpiece seized from VeniceCynthia Saltzman's Plunder recounts the fate of Paolo Veronese's Wedding Feast at Cana, a vast, sublime canvas that the French, under the command of the young Napoleon Bonaparte, tore from a wall of the monastery of San Giorgio Maggiore, on an island in Venice, in 1797. Painted in 1563 during the Renaissance, the picture was immediately hailed as a masterpiece. Veronese had filled the scene with some 130 figures, lavishing color on the canvas to build the illusion that the viewers' space opened onto a biblical banquet taking place on a terrace in sixteenth-century Venice. Once pulled from the wall, the Venetian canvas crossed the Mediterranean rolled on a cylinder; soon after, artworks commandeered from Venice and Rome were triumphantly brought into Paris. In 1801, the Veronese went on exhibition at the Louvre, the new public art museum founded during the Revolution in the former palace of the French kings.As Saltzman tells the larger story of Napoleon's looting of Italian art and its role in the creation of the Louvre, she reveals the contradictions of his character: his thirst for greatness--to carry forward the finest aspects of civilization--and his ruthlessness in getting whatever he sought. After Napoleon's 1815 defeat at Waterloo, the Duke of Wellington and the Allies forced the French to return many of the Louvre's plundered paintings and sculptures. Nevertheless, The Wedding Feast at Cana remains in Paris to this day, hanging directly across from the Mona Lisa.Expertly researched and deftly told, Plunder chronicles one of the most spectacular art appropriation campaigns in history, one that sheds light on a seminal historical figure and the complex origins of one of the great museums of the world.

    Yet this major subject is not well known and is little understood. That is why the publication of James Falkner's absorbing new study is so timely and important. In a clear and perceptive narrative he describes and analyses the complex political manoeuvres and a series of military campaigns which also involved the threat posed by Ottoman Turks in the east and Sweden and Russia in the north. Fighting took place not just in Europe but in the Americas and Canada, and on the high seas. All European powers, large and small, were involved - France, Spain, Great Britain, Holland, Austria and Portugal were the major players. The end result of eleven years of outright war was a French prince firmly established on the throne in Madrid and a division of the old Spanish empire. More notably though, French power, previously so dominant, was curbed for almost ninety years.

    In 1477, Botticelli is suddenly fired by his prestigious patron and friend Lorenzo de’ Medici. In the villa of his irritating new patron, the artist’s creative well runs dry—until the day he sees Floriana, a Jewish weaver imprisoned in his sister’s convent. But events threaten to keep his unlikely muse out of reach. So begins a tale of one of the art world’s most beloved paintings, La Primavera, as Sandro, a confirmed bachelor, and Floriana, a headstrong artist in her own right, enter into a turbulent relationship.