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A captivating, 2-volume photography collection of more than 200 photos reflecting the life and legacy of The Band from 1968 to 1969, as captured by friend and renowned photographer, Elliott Landy

Landy Elliott: The Band Photographs,
1968-1969

The Band Photographs, 1968-1969

Dr Stuart Campbell provides here the first English translation of Tchaikovsky's critical writings on music. Much of the material originates from the numerous articles written by the composer for the Moscow periodical press between 1868 to 1875, and affords a survey of eminent performers to be heard there, including Auer, von BÃ¿low, Nilsson, Patti and the Rubinstein brothers. As well as following Tchaikovsky's reaction to the Russian musical scene much material is devoted to the operas then being experienced by Moscow audiences, with reviews of works by Halévy, Meyerbeer, Mozart, Rossini, Thomas, Verdi and Wagner and orchestral works by Beethoven, Berlioz, Saint-SaÃ'ns, Schubert and Schumann. The volume also covers Tchaikovsky's first visit to the Bayreuth Festival of 1876, the autobiographical account of his European concert tour in 1888, and his attitude to the music of his great contemporaries Brahms, Verdi and Wagner. The collection therefore offers valuable insight into Tchaikovsky's views on music, performance and repertoire that are relevant to the study of his own compositions, and extends our understanding of nineteenth-century music in general.

Dr Stuart Campbell provides here the first English translation of Tchaikovsky's critical writings on music. Much of the material originates from the numerous articles written by the composer for the Moscow periodical press between 1868 to 1875, and affords a survey of eminent performers to be heard there, including Auer, von BÃ¼low, Nilsson, Patti and the Rubinstein brothers. As well as following Tchaikovsky's reaction to the Russian musical scene - Balakirev, Glinka, Rimsky-Korsakov and others - much material is devoted to the operas then being experienced by Moscow audiences, with reviews of works by Halévy, Meyerbeer, Mozart, Rossini, Thomas, Verdi and Wagner and orchestral works by Beethoven, Berlioz, Saint-SaÃ«ns, Schubert and Schumann. The volume also covers Tchaikovsky's first visit to the Bayreuth Festival of 1876, the autobiographical account of his European concert tour in 1888, and his attitude to the music of his great contemporaries Brahms, Verdi and Wagner.  The collection therefore offers valuable insight into Tchaikovsky's views on music, performance and repertoire that are relevant to the study of his own compositions. In addition, the articles provide fascinating glimpses into the composer's personality and an appreciation of his elegant literary style. The volume is not only of importance for elucidating a time when Russian musical life was developing rapidly, but also in extending an understanding of nineteenth-century music in general.

Tchaikovsky's Writings about Music

Seoul Days & Nights

Kids, Wait Till You Hear This!

Icons, Legends, and Muses

Moments

In Common

Using the metaphor of the Grateful Dead's music and community spirit, this book analyses the processes of political transformation in the USA from Fordist capitalism to today's platform capitalism.

This book pays homage to a rock band that has most influenced alternative culture, the Grateful Dead. It critically discussing the evolution of the libertarian spirit in the USA, which was born and developed in the 1960s and merged in the last three decades into a libertarian ideology, based on individual freedom, antistatalism and the primacy of the spirit of the self-made man. Examining how this transition was functional, on the one hand, to high-tech digital innovation and, on the other, to the spirit of new platform capitalism. Andrea Fumagalli suggests that the process of capturing the libertarian spirit for capitalist purposes, which represents one of the clearest examples of "life subsumption", the acknowledgment that the life of individuals at the very moment that it triggers processes of social cooperation is a potential source of subversive behaviour, and how this can turn into a powerful tool for today's capitalist valorisation.

Financial Psychedelia and the Commons

33 1/3

Marvin Gaye sang like he lived in bed. He could croon, deliver a political commentary, and sing to you like you were the only other soul on this earth. And in 1976 he gave us a taste of his erotic imagination with I Want You. An album made in honor of his ongoing love affair with Janis (Jan) Hunter, Gaye delivered excess and restraint to sound his desire. I Want You is an album that stands apart from Gaye's earlier collaborations with Diana Ross, Tammi Terrell, Mary Wells, and Kim Weston. Though not technically a duet, Gaye forges another kind of collaboration with Jan, the result of which is an album that provides an intimate portrait of an artist in love and lust. Using interviews, visual art, poetry, criticism, and gossip, this book explores ecstasy, funk, sensation, and a host of other delicious and fleshy concerns that animate I Want You. It does not attempt a strict historicization of the album as that would do it a disservice. Instead, this book seeks fidelity to the album by centering Gaye's fantasies, his engagement with Ernie Barnes' painting Sugar Shack, and sonic expression of desire for Jan.

Marvin Gaye sang like he lived in bed. He could croon, deliver a political commentary, and sing to you like you were the only other soul on this earth. And in 1976 he gave us a taste of his erotic imagination with I Want You. An album made in honor of his ongoing love affair with Janis (Jan) Hunter, Gaye delivered excess and restraint to sound his desire. I Want You is an album that stands apart from Gaye’s earlier collaborations with Diana Ross, Tammi Terrell, Mary Wells, and Kim Weston. Though not technically a duet, Gaye forges another kind of collaboration with Jan, the result of which is an album that provides an intimate portrait of an artist in love and lust.

Using interviews, visual art, poetry, criticism, and gossip, this book explores ecstasy, funk, sensation, and a host of other delicious and fleshy concerns that animate I Want You. It does not attempt a strict historicization of the album as that would do it a disservice. Instead, this book seeks fidelity to the album by centering Gaye’s fantasies, his engagement with Ernie Barnes’ painting Sugar Shack, and sonic expression of desire for Jan.

Marvin Gaye's I Want You

A New History of Photographic Cultures in Egypt

Decolonizing Images

This lavishly illustrated book offers a comprehensive overview of the work of the great Malian photographer Seydou Keïta, one of the most important portraitists of the 20th century.

Seydou Keita

Strange Things Are Happening

The Beatles Changed the World. but Who Changed Theirs?

WITH A LITTLE HELP FROM THEIR FRIENDS

A stunning, official book of pictures from George Michael's life by renowned music photographer Brian Aris. It includes many unseen images of George at different stages of his career.

A stunning, official book of pictures from George Michael's life by renowned music photographer Brian Aris. It includes many unseen images of George at different stages of his career. George Michael hated having his photo taken, which makes this stunning collection of images spanning over 20 years such an unusual and beautiful tribute to one of the most consummate performers the music world has ever seen. Brian Aris first met George when he shot him and his Wham! colleague Andrew Ridgeley in 1984. He gained George's trust and subsequently took some of the most iconic shots of the star that provide an illuminating document of a complex character. With text documenting George's life and Brian's memories of his sessions and meetings with the star, together with iconic images, contact sheets and previously unseen images, this is a beautiful tribute to pop's most likeable and talented singer.

Three decades of George through the lens

George Michael

Raised on Radio

The Band Photographs, 1968-1969

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