The Americans were outsiders to the sport, the underdogs of the event, a 500-to-1 long shot. But they were also proud and loyal men -- to one another, to their communities, and certainly to their country. Facing almost no time to prepare, opponents with superior training, and skepticism from the rest of the world, this ragtag group of unknowns was inspired to a stunning victory over England and one of the most thrilling upsets in the history of sports.Written by critically acclaimed author Geoffrey Douglas, and now a film directed by David Anspaugh (Hoosiers), The Game of Their Lives takes us back to a time before million-dollar contracts and commercial endorsements, and introduces us to the athletes -- the Americans -- who showed the world just how far a long shot could really go.

    Like the arguments over any effort to crown "the greatest," "the best," or "the worst," that answer is unlikely to ever be resolved to everyone's satisfaction. One fact is indisputable, though. For those who watched wrestling before it became "sports entertainment," there is only one answer — Lou Thesz.The son of European immigrants, Thesz discovered his love of amateur wrestling as a shy eight-year-old, scuffling with his father at night on the linoleum floor of the family's kitchen in south St. Louis. He was a natural at the sport, blessed with lightning-fast reflexes and a determination to succeed. He was obsessive about conditioning and hungry to learn, and those qualities eventually led him, as a teenager, into the closed and secretive world of pro wrestling, the only place where he could continue to compete on the mat.This is Thesz' story — an adventure that took him to the heights of his chosen profession at a very young age and eventually into rings throughout the world. A devoted fan of pro wrestling, he won the respect and friendship of many of the legends. In the 1940s, when television demanded more action and a flashier style of wrestling, he became the transitional figure, the link to the past. Thesz decried the rise of "gimmick" performers like Gorgeous George and Buddy Rogers, who diminished the importance of the authentic style of wrestling he loved and practiced, but he adjusted because the bottom line of pro wrestling, as with any pro endeavor, was making money, and he could see where the future lay.In the late 1940s and well into the 1950s, he was the world heavyweight champion of the National Wrestling Alliance, its standard-bearer, and he carried those colors with dignity and class. "My gimmick was wrestling," he said, and it was evident to anyone who ever bought a ticket to see Lou Thesz that he was the real thing."Hooker" was something of a sensation among wrestling fans when it was first published in the 1990s because it was among the first accounts ever published by a major wrestling star that discussed the business with candor from the inside. Academics praised the book, too, for its clear depiction of an era and the rise of a cultural phenomenon.This is a book for everyone with an interest in professional wrestling. This new edition published by Crowbar Press contains pages and pages of new material — stories and anecdotes — none of which has been published in any previous edition and all in the voice of one of the legendary figures of the game. Every sentence has been thoroughly combed over and vetted in order to answer any questions previously asked by readers, or to correct and/or re-order the "facts" as Lou recalled them, and each chapter now has detailed endnotes to further supplement the text. Combine all those ingredients with all-new, spellbinding forewords by Charlie Thesz and Kit Bauman (comprising 26 pages), an extensive 32-page "addendum" in Lou's own words, and a comprehensive name-and-subject index, and you have the definitive tome devoted to wrestling's golden era.This is "no holds barred" material — far more open and truthful than anything ever written about professional wrestling.

    But ambition quickly took wing. The house swelled to 225 rooms and became - until 2012 when it was topped by the home of a billionaire in Mumbai, India – the world’s largest residence ever built for a private citizen. Here’s the story of the house that Vanderbilt built - from the gardens by Frederick Law Olmsted to the John Singer Sargent portraits that adorn its walls.

    Led off by an authoritative biographical essay by Elizabeth Partridge (Lange's goddaughter), the book goes on to showcase Lange's work in over a hundred glorious plates. Dorothea Lange is the only career-spanning monograph of this major photographer's oeuvre in print, and features images ranging from her iconic Depression-era photograph "Migrant Mother" to lesser-known images from her global travels later in life. Presented as the companion book to a PBS American Masters episode that will air in 2014, this deluxe hardcover offers an intimate and unparalleled view into the life and work of one of our most cherished documentary photographers.

    Getting on the air (legitimately) in San Francisco was a multimillion-dollar ambition. But in 1995, with the help of a few subversive techies and pirate-radio gurus, Sue built her first transmitter in her hilltop San Francisco apartment and launched KPBJ, enlisting friends as DJs. A few months later, Sue landed a magazine job in Los Angeles, took her transmitter with her, and established KBLT.From these humble beginnings KBLT emerged as one of L.A.'s best-loved radio stations, staffed with more than a hundred DJs and supported by major music labels eager to reach a different kind of audience. The station expanded its playlist from indie rock to an eclectic mix of jazz, hip-hop, electronica, and countless other styles. In the three and a half years before the FCC finally caught up with Sue, KBLT went from interviewing unknowns to hosting live performances by the Red Hot Chili Peppers -- without ever leaving Sue's apartment."40 Watts from Nowhere" is Sue's frank and hilarious account of her bizarre double life during the height of California's pirate-radio boom: journalist by day, counterculture icon by night. It's an amazing true story, one that will instantly appeal to music fans -- and free spirits -- everywhere.

    First published in 1972, it was based on the BBC television series about which the (London) Sunday Times critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures." By now he has."Berger has the ability to cut right through the mystification of the professional art critics . . . He is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation" —Peter Fuller, Arts Review"The influence of the series and the book . . . was enormous . . . It opened up for general attention to areas of cultural study that are now commonplace" —Geoff Dyer in Ways of TellingWinner of the 1972 Booker Prize for his novel, G., John Peter Berger (born November 5th, 1926) is an art critic, painter and author of many novels including A Painter of Our Time, From A to X and Bento’s Sketchbook.

    Born with an unshakeable belief that she was destined for greatness, Alma de Bretteville Spreckels (1881-1968) rose from poverty to become one of San Francisco's most powerful women. Alma's humble beginnings and scandalous lifestyle would alienate her from the cream of San Francisco society: she became an artists' model, befriended European royalty, married sugar magnate Adolph Spreckels, lived in the grandest mansion in San Francisco, and at age fifty-seven chartered a plane and eloped with a cowboy. But that same larger-than-life personality was a fruitful asset in the many pursuits that claimed her passions, the most notable of which still stands high on the Golden Gate headlands. Big Alma celebrates the woman who brought Rodin's works to America and built the Palace of the Legion of Honor to hold them.

    Photographer, filmmaker, novelist, poet, and composer, Gordon Parks is one of the most inspiring success stories of our time. Now in a trade paperback edition, Half Past Autumn gives us the first complete retrospective of his photographic career, along with his own account of his amazing life. Half Past Autumn chronicles Parks's remarkable documentary images for the Farm Security Administration, his hard-hitting work for Life magazine, elegant fashion photos for Vogue, insightful portraits of notables, and his more recent abstract color images. With engaging anecdotal text that gives us the stories behind the images, this is an inspiring memoir of Parks's life and his struggle against racism.

    The Pixels of Paul Cezanne is a collection of essays by Wim Wenders in which he presents his observations and reflections on the fellow artists who have influenced, shaped, and inspired him."How are they doing it?" is the key question that Wenders asks as he looks at the dance work of Pina Bausch, the paintings of Cezanne, Edward Hopper, and Andrew Wyeth, as well as the films of Ingmar Bergman, Michelanelo Antonioni, Ozu, Anthony Mann, Douglas Sirk, and Sam Fuller.He finds the answer by trying to understand their individual perspectives, and, in the process revealing his own art of perception in texts of rare poignancy.

    This title presents a retrospective of the beautiful haze that was rock's golden age, from the end of the hippies through glam and punk, and into 80's heavy metal.

    Decades of lawsuits and countersuits revealed the reality that Keane was more of a con man than an artist, and that he forced his wife Margaret to sign his name to her own paintings. As a result, those weepy waifs may not have been as capricious an invention as they seemed.Parfrey's story was reprinted in Juxtapoz magazine and inspired a Margaret Keane exhibition at the Laguna Art Museum. And now director Tim Burton is filming a movie about the Keanes called Big Eyes, and it's scheduled for release in 2014. Burton's Ed Wood, starring Johnny Depp, was based upon the Feral House book edited and published by Parfrey about the angora sweater-wearing B-film director.Citizen Keane is a book-length expansion of Parfrey's original article, providing fascinating biographical and sociological details, photographs, color reproductions, and appendices with legal documents and pseudonymous essays by Tom Wolfe inflating big eye art to those painted by the great masters.

    Each image in Talking Pictures reveals a singular, frozen moment in a person’s life, be it joyful, quiet, or steeped in sorrow. Yet the book’s unique depth comes from the writing accompanying each photo: as with the caption revealing how one seemingly random snapshot of a dancing couple captured the first dance of their 40-year marriage, each successive inscription shines like a flashbulb illuminating a photograph’s particular context and lighting up our connection to the past.

    LUCIFER HIMSELF IS THE STAR OF THIS BOOK, WHICH CONTAINS IMAGES OF HIM THROUGHOUT THE HISTORY OF ART. ETCHINGS, WOODCUTS, PAINTINGS, ILLUSTRATIONS, DRAWINGS, PHOTOGRAPHS, AND ADVERTISEMENTS FEATURING OF THE DEVIL, BY THE LIKES OF DA VINCI, BOSCH, PIERRE ET GILLES, GIGER, AND MANY MORE, POPULATE THE PAGES OF THIS SUPREMELY "EVIL" BOOK.

    Eye-witness perspective of founding band member Richie Furay, the story of an influential group, pop culture, and politics in the 60's and 70's.

    Matthew Bannister said he was going to reinvent the station, the most popular in Europe. But things didn't go exactly to plan. The station lost millions of listeners. Its most famous DJs left, and their replacements proved to be disasters. Radio 1's commercial rivals regarded the internal turmoil with glee. For a while a saviour arrived, in the shape of Chris Evans. But his behaviour caused further upheavals, and his eventual departure provoked another mass desertion by listeners. What was to be done? In the middle of this crisis, Radio 1 bravely (or foolishly) allowed the writer Simon Garfield to observe its workings from the inside. For a year he was allowed unprecedented access to management meetings and to DJs in their studios, to research briefings and playlist conferences. Everyone interviewed spoke in passionate detail about their struggle to make their station credible and successful once more. The result is a gripping and often hilarious portrait a much loved national institution as it battles back from the brink of calamity.