Featuring the work of Baron Wolman, the first photographer to work for America’s legendary Rolling Stone magazine, many of whose images from the late sixties and early seventies have become iconic shots from rock’s most fertile era. Alongside scores of classic photos is Baron’s first-hand account of the magazine’s early years and his memorable encounters with the rock stars of the day.
* Key images from a time of explosive revolution in music and culture - featuring Pamela des Barres, Catherine James, Sally Mann, Cynthia Plaster Caster and many more* The original chronicle of the women who became deeply influential style icons, integral to the worlds of musicians like Frank Zappa, The Doors, Led Zeppelin, The Rolling Stones, Captain Beefheart, Alice Cooper, The Who and Gram Parsons* Featured in The New York Times, Rolling Stone, The Guardian and New Yorker magazine* Voted one of the Best photo books of the year by the New York Post
Featuring the work of Baron Wolman, the first photographer to work for America’s legendary Rolling Stone magazine, many of whose images from the late sixties and early seventies have become iconic shots from rock’s most fertile era. Alongside scores of classic photos is Baron’s first-hand account of the magazine’s early years and his memorable encounters with the rock stars of the day.
When a brash rock-music tabloid named Rolling Stone appeared in 1967, it became the leading voice of the youth culture. The magazine's first chief photographer, Wolman, now shares his astounding portfolio of legendary musicians, including Jimi Hendrix, Janis Joplin, Jim Morrison, Jerry Garcia, Mick Jagger, Bob Dylan, and Ike and Tina Turner. 23 color and 100 duotone photographs.
Roller derby first appeared in Chicago during the Depression. With the advent of television, this dynamic, sometimes violent sport became a national favorite. In Roller Derby to RollerJam, Keith Coppage takes a fond look at the origins, history, and players of the game who made it successful, from promoters to superstars.
Why was the term ‘intertextuality’ coined? Why did its first theorists feel the need to replace or complement those terms – of quotation, allusion, echo, reference, influence, imitation, parody, pastiche, among others – which had previously seemed adequate and sufficient to the description of literary relations? Why, especially in view of the fact that it is still met with resistance, did the new concept achieve such popularity so fast? Why has it retained its currency in spite of its inherent paradoxes? Since 1966, when Kristeva defined every text as a ‘mosaic of quotations’, ‘intertextuality’ has become an all-pervasive catchword in literature and other humanities departments; yet the notion, as commonly used, remains nebulous to the point of meaninglessness. This book seeks to shed light on this thought-provoking but treacherously polyvalent concept by tracing the theory’s core ideas and emblematic images to paradigm shifts in the fields of science, philosophy, psychoanalysis, and linguistics, focusing on the shaping roles of Darwin, Nietzsche, Freud, Saussure, and Bakhtin. In so doing, it elucidates the meaning of one of the most frequently used terms in contemporary criticism, thereby providing a much-needed foundation for clearer discussions of literary relations across the discipline and beyond.
In contemporary culture, existing audiovisual recordings are constantly reused and repurposed for various ends, raising questions regarding the ethics of such appropriations, particularly when the recording depicts actual people and events. Every reuse of a preexisting recording is, on some level, a misuse in that it was not intended or at least anticipated by the original maker, but not all misuses are necessarily unethical. In fact, there are many instances of productive misuse that seem justified. At the same time, there are other instances in which the misuse shades into abuse. Documentary scholars have long engaged with the question of the ethical responsibility of documentary makers in relation to their subjects. But what happens when this responsibility is set at a remove, when the recording already exists for the taking and repurposing? Reuse, Misuse and Abuse surveys a range of contemporary films and videos that appropriate preexisting footage and attempts to theorize their ethical implications.
also many newer lines of research, to which I will return below, are represented in various chapters. And finally, I have included a sepa rate unit on methods for the study of aggression-a feature that I believe to be unique to the present volume. In these ways, I have at tempted to produce a text that is as broad and eclectic in coverage as I could make it. While the present volume grew, in part, out of my desire to pro duce what I thought might prove to be a useful teaching aid, it also developed out of a second major motive. During the past few years, a large number of new-and to me, exciting-lines of investigation have emerged in rapid order. These have been extremely varied in scope, including, among many others, such diverse topics as the effects of sexual arousal upon aggression, the impact of environmental factors (e. g. , heat, noise, crowding) upon such behavior, interracial aggres sion, and the influence of heightened self-awareness. Despite the fact that such topics have already generated a considerable amount of re search, they were not, to my knowledge, adequately represented irt any existing volume. Given this state of affairs, it seemed to me that a reasonably comprehensive summary of this newer work might prove both useful and timely.
This book explores the puzzling phenomenon of new veiling practices among lower middle class women in Cairo, Egypt. Although these women are part of a modernizing middle class, they also voluntarily adopt a traditional symbol of female subordination. How can this paradox be explained? An explanation emerges which reconceptualizes what appears to be reactionary behavior as a new style of political struggle--as accommodating protest. These women, most of them clerical workers in the large government bureaucracy, are ambivalent about working outside the home, considering it a change which brings new burdens as well as some important benefits. At the same time they realize that leaving home and family is creating an intolerable situation of the erosion of their social status and the loss of their traditional identity. The new veiling expresses women's protest against this. MacLeod argues that the symbolism of the new veiling emerges from this tense subcultural dilemma, involving elements of both resistance and acquiescence.
Walter Richard Sickert (1860-1942) was an artist of prodigious creativity. For sixty years, in his roles as painter, teacher, and polemicist, he was a source of inspiration and influence to successive generations of British painters. With his roots in the Victorian era, Sickert broke all taboos. He was uncompromisingly truthful, revealing beauty in the squalid as in the sublime: in cockney music halls, the crumbling streets of Dieppe, the grand sites of Venice, and the low-life of Camden Town. Decades before Warhol, he exploited the potential of photo-based imagery and of studio production lines to create iconic portraits of the grandees of theatrical, social, and political life. This catalogue is divided into two parts: essay chapters describe Sickert's chronology in terms of stylistic and technical development, and a fully illustrated catalogue presents more than 2800 drawings and paintings, many of which have never been published before.
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