King, and Howlin' Wolf; the multicolored psychedelic hallucinations promoting the Grateful Dead, Dylan, and the Doors; the deliciously tasteless art for the Sex Pistols, Crime, and the Clash. From the Red Dog Saloon in San Francisco, where the psychedelic scene started, to CBGB, New York's punk Mecca, and beyond. 1,500 images searched out world-wide from clubs, attics, and bedrooms—as well as more formal collections—are reproduced in their original blazing colors. Replete with firsthand history—including exclusive interviews with scores of insiders, poster artists, musicians, and promoters—this is the ultimate high for the rock music fan, required reading for the poster collector, a treasure trove for the graphic artist, and a riotous feast for anyone who digs pop culture.

    The club's electrifying live scene soon translated to vinyl, and Factory Records went on to become the most innovative and celebrated record label of the next 30 years. Factory introduced the listening public to bands such as Joy Division, whose Unknown Pleasures was the label's first album release, New Order, Durutti Column, and Happy Mondays. Propelled onwards by cultural entrepreneur Tony Wilson, Factory always sought new ways to energize the popular consciousness, such as the infamous Hacienda nightclub, which enjoyed a checkered 15-year history after opening in 1982. Factory's reputation as a cultural hub was also bolstered by its fierce commitment to its own visual identity, achieved through the iconic sleeve designs and campaigning artwork of Peter Saville. However, the lofty reputation of Factory's artistic ventures only sporadically translated into commercial success, and when London Records pulled out of a 1992 takeover bid because of the absence of contracts, the fate of Factory Communications Ltd. was sealed. But the label's downfall has done nothing to quell interest in the Factory legend, as films such as 24-Hour Party People and Control attest. Despite this perennial interest, the definitive, authentic story of Factory Records has never been told until now. This is the most complete, authoritative, and thoroughly researched account of how a group of provincial anarchists and entrepreneurs saw off bankers, journalists, and gun-toting gangsters to create the most influential record label of modern times.

    It took a group of skateboarders, a teacher and a census clerk to wake the city up and start one of the first hardcore punk scenes in America. Why Be Something That You're Not chronicles the first wave of Detroit hardcore from its origins in the late 70s to its demise in the mid-80s. Through oral histories and extensive imagery, the book proves that even though the California beach towns might have created the look and style of hardcore punk, it was the Detroit scene - along with a handful of other cities - that cultivated the music's grassroots aesthetic before most cultural hot spots around the globe even knew what the music was about.The book includes interviews with members of The Fix, Violent Apathy, Negative Approach, Necros, Pagans, Bored Youth, and L-Seven along with other people who had a hand in the early hardcore scene like Ian MacKaye, Tesco Vee and Dave Stimson.

    From the advent of photography in the 19th and into the 20th century, medical students, often in secrecy, took photographs of themselves with the cadavers that they dissected: their first patients. Featuring 138 of these historic photographs and illuminating essays by two experts on the subject, Dissection reveals a startling piece of American history. Sherwin Nuland, MD, said this is "a truly unique and important book [that] documents a period in medical education in a way that is matched by no other existing contribution." And Mary Roach said Dissection "is the most extraordinary book I have ever seen--the perfect coffee table book for all the households where I'd most like to be invited for coffee."

    Constructed through hip hop and the performance of Blackness, Muslim Cool is a way of engaging with the Black American experience by both Black and non-Black young Muslims that challenges racist norms in the U.S. as well as dominant ethnic and religious structures within American Muslim communities.Drawing on over two years of ethnographic research, Su'ad Abdul Khabeer illuminates the ways in which young and multiethnic US Muslims draw on Blackness to construct their identities as Muslims. This is a form of critical Muslim self-making that builds on interconnections and intersections, rather than divisions between "Black" and "Muslim." Thus, by countering the notion that Blackness and the Muslim experience are fundamentally different, Muslim Cool poses a critical challenge to dominant ideas that Muslims are "foreign" to the United States and puts Blackness at the center of the study of American Islam. Yet Muslim Cool also demonstrates that connections to Blackness made through hip hop are critical and contested--critical because they push back against the pervasive phenomenon of anti-Blackness and contested because questions of race, class, gender, and nationality continue to complicate self-making in the United States.

    This new perspective has created the need for a fresh, full-scale approach, biographical and critical, to the evaluation of the man and his music.For more than ten years Alan Walker, a leading authority on nineteenth-century music and the author of important studies of Chopin and Schumann, has traveled throughout Europe discovering unpublished material in museums and private collections, in the parish registries of tiny villages in Austria and Hungary, and in major archives in Weimar and Budapest, seeking out new information and corroborating or correcting the old. He has left virtually no source unexamined--from the hundreds of contemporary biographies (many of them more fiction than fact) to the scores of memoirs, reminisces, and diaries of his pupils and disciples (the list of his students from his Weimar masterclasses reads like a Burke's Peerage of pianists). Dr. Walker's efforts have culminated in a study that will stand as definitive for years to come. A feat of impeccable scholarship, it also displays a strong and compelling narrative impulse and a profound understanding of the complicated man Liszt was.In this, the first of three volumes, Dr. Walker examines in greater detail than has ever before been amassed Liszt's family background and his early years. We see "Franzi," a deeply religious and mystical child, whose extraordinary musical gifts lead to studies with the great Carl Czerny in Vienna and propel him into overnight fame in Paris--his youthful opera, Don Sanche, performed when he is fourteen--and in a disorderly and impulsive way of life by the time he is sixteen....We see Liszt drifting into obscurity after a nervous breakdown at the age of seventeen, then hearing Paganini for the first time and being so fired by the violinist's amazing technique that he sets for himself a titanic program of work, his aim no less than to create an entirely new repertoire for the piano....We see him, after years if successful touring, returning triumphantly to Hungary, his homeland, and publishing in the same year his "Transcendental" and "Paganini" studies. the signposts of his astonishing technical breakthrough....Finally, we see Liszt at the height of his artistic powers, giving well over a thousand concerts across Europe and Russia during the years 1839-47: "inventing" the modern piano recital, playing entire programs from memory, performing the complete contemporary piano repertoire, breaking down the barriers that had traditionally separated performing artists from their "social superiors," fostering the Romantic view of the artist as superior bring, because divinely gifted....until--his colossal career virtually impossible to sustain--he gives his last paid performance at the age of thirty-five.Alan Walker explores as well Liszt's relationships with Berlioz, Chopin, and Schumann; his long, tumultuous affair with Countess Marie d'Agoult (who abandoned husband, family and social standing in order to follow the twenty-one-year-old genius and who, later, in her thinly disguised roman à clef Nélida, depicted him as an artistically impotent painter, and herself as a callously abandoned noblewoman); and his close associations with Lamennais, Lamartaine, Victor Hugo, George Sand, and other leading figures of the Romantic era. Dr. Walker reveals the origin and development of the psychological and emotional influences that so strongly informed Liszt's art throughout his life; and he analyzes individual pieces of music and discusses, in considerable detail, Liszt's piano technique.Unparalleled in its completeness, its soundness of documentation, and in the quality of its writing, The Virtuoso Years is the first volume of what will unquestionably be the most important biography of Franz Liszt in English or any other language.

    Beginning with the primordial sounds of nature, we have experienced an ever-increasing complexity of our sonic surroundings. As civilization develops, new noises rise up around us: from the creaking wheel, the clang of the blacksmith’s hammer, and the distant chugging of steam trains to the “sound imperialism” of airports, city streets, and factories. The author contends that we now suffer from an overabundance of acoustic information and a proportionate diminishing of our ability to hear the nuances and subtleties of sound. Our task, he maintains, is to listen, analyze, and make distinctions. As a society we have become more aware of the toxic wastes that can enter our bodies through the air we breathe and the water we drink. In fact, the pollution of our sonic environment is no less real. Schafer emphasizes the importance of discerning the sounds that enrich and feed us and using them to create healthier environments. To this end, he explains how to classify sounds, appreciating their beauty or ugliness, and provides exercises and “soundwalks” to help us become more discriminating and sensitive to the sounds around us. This book is a pioneering exploration of our acoustic environment, past and present, and an attempt to imagine what it might become in the future.

    In the early days of photography, many believed and hoped that the camera would prove more efficient than the human eye in capturing the unseen. Spiritualists and animists of the nineteenth century seized on the new technology as a method of substantiating the existence of supernatural beings and happenings. This fascinating book assembles more than 250 photographic images from the Victorian era to the 1960s, each purporting to document an occult phenomenon: levitations, apparitions, transfigurations, ectoplasms, spectres, ghosts, and auras. Drawn from the archives of European and American occult societies and private and public collections, the photographs in many cases have never before been published.The Perfect Medium studies these rare and remarkable photographs through cultural, historical, and artistic lenses. More than mere curiosities, the images on film are important records of the cultural forces and technical methods that brought about their production. They document in unexpected ways a period when developing photographic technology merged with a popular obsession with the occult to create a new genre of haunting experimental photographs.

    Rosen offers a firsthand witnessing of Foley’s transformation from a reticent hippie musician to the enigmatic singer/songwriter who would live and die outside society's rules. While Foley's own performances are only recently being released, his songs have been covered by Merle Haggard, Lyle Lovett, and John Prine. When he first encountered “If I Could Only Fly,” Merle Haggard called it “the best country song I've heard in fifteen years.”In a work that is part-memoir, part-biography, Rosen struggles to finally come to terms with Foley's myth and her role in its creation. Her tracing of his impact on her life navigates a lovers' roadmap along the permeable boundary between life and death. A must-read for all Blaze Foley and Texas music fans, as well as romantics of all ages, Living in the Woods in a Tree is an honest and compassionate portrait of the troubled artist and his reluctant muse.

    Musicians of this genre have developed an often impenetrable sound that teeters on the edge of screaming, incomprehensible noise. Extreme metal circulates on the edge of mainstream culture within the confines of an obscure 'scene', in which members explore dangerous themes such as death, war and the occult, sometimes embracing violence, neo-fascism and Satanism. In the first book-length study of extreme metal, Keith Kahn-Harris draws on first-hand research to explore the global extreme metal scene. He shows how the scene is a space in which members creatively explore destructive themes, but also a space in which members experience the everyday pleasures of community and friendship. Including interviews with band members and fans, from countries ranging from the UK and US to Israel and Sweden, Extreme Metal: Music and Culture on the Edge demonstrates the power and subtlety of an often surprising and misunderstood musical form.

    While ostensibly purporting to be a history of that much derided (though currently fashionable) four-letter word, 'folk', Electric Eden will be a magnificent survey of the visionary, topographic and esoteric impulses that have driven the margins of British visionary folk music from Vaughan Williams and Holst to The Incredible String Band, Nick Drake, John Martyn and Aphex Twin. For the first time the full story of the extraordinary period of folk rock from the mid 1960s to the mid 1970s will be told in a book with the breadth of a social history touching on sonic worship, pagan architecture, land art, ley lines and ther outer fringes of the avant garde. Electric Eden identifies a particularly English wellspring of imagery and imagination, an undercurrent that has fed into the creative and organic strand of Britain's music over the past century.

    Exploring how the bombings of 7/7 can be traced back to groups and individuals trained and supported by Britain, Curtis draws on formerly classified government files to unravel a long history of the British government's secret collusion with and direct involvement in Islamic terrorism, from 1945 to the present day.From the overthrow of Iran's popular government during the 1950s and the rise of the Muslim Brotherhood in Syria, to Libya, Kosovo, Afghanistan and Saudi Arabia's ruthless internal oppression, Secret Affairs shows Britain's hidden hand in the rise of global terrorism. At a time when British forces are being sent to wage war in Afghanistan in increasing numbers, Mark Curtis' book shows how the seeds of today's lose-lose situation were sown a long time ago in a hidden politics as ineffective as it was immoral.

    Edited and introduced by Dr. Israel Regardie, the three texts included are Gematria, 777, and Sepher Sephiroth.Gematria, reprinted from "The Temple of Solomon the King," The Equinox, Vol. 1, No. 5. It provides essential explanations of theoretical and practice Qabalistic number analysis and philosophy. "An Essay ion Number," also included, provides invaluable insights into key numbers as well as techniques and safeguards for practical magical work.777 itself contains, in concise tabulated form, an overview of the symbolism of the major world religions, as well as the system of correspondence of the Hermetic Order of the Golden Dawn. In short, it is a complete magical and philosophical dictionary—a key to all religion and practical occultism—an amazing work whose value has been recognized through many edition since its first appearance in 1909 and subsequent enlargement in 1955.The thrid text is Sepher Sephiroth, a unique dictionary listing hundreds of Hebrew words arranged by numerical value. It was compiled jointly by Crowley and Allan Bennett and first appeared in The Equinox, Vol. 1, No. 8.

    Nothing has been added in the interests of sensationalism. What happened in the small town of Watseka, Illinois, between the years 1865 and 1878 may strain credibility, as well as shock. But it did happen...Mary Roth, a gentle, unassuming 19 year old girl, died suddenly on the night of July 5th, 1865, in the town of Watseka, Illinois. Her death was strange, but her life had been stranger. For several years she had been subject to sudden, unaccountable "fits" - sometimes horrifically violent, sometimes so chilling in their effects her parents thought her insane: she would speak in German, or in a man's bass voice, as if possessed... But death brought to an end her sad and disturbing case...Thirteen years later, in 1878, Mary Roth reappeared - in the living body of Lurancy Vennum...

    " In Mozart's Letters, Mozart's Life, Robert Spaethling presents "Mozart in all the rawness of his driving energies" (Spectator), preserved in the "zany, often angry effervescence" of his writing (Observer). Where other translators have ignored Mozart's atrocious spelling and tempered his foul language, "Robert Spaethling's new translations are lively and racy, and do justice to Mozart's restlessly inventive mind" (Daily Mail). Carefully selected and meticulously annotated, this collection of letters "should be on the shelves of every music lover" (BBC Music Magazine).