Ian Tilton knew The Stones Roses before they were famous and shot every key moment during the band’s meteoric rise to fame in the late Eighties. He photographed their first TV appearance, the Roses three famous early gigs at Blackpool Tower, Glasgow Green and Spike Island, his photos appeared on their classic first album, he was the first photographer to do a Jackson Pollock shoot with the band and Ian is the man who first got Ian Brown to pull his famous monkey face!

'The Stone Roses have become folk heroes, frozen in time. And their story, with roots in punk through post-punk, scooter boys, skinheads, Northern Soul, psychedelia, acid house and Madchester, is everything that is great about British street culture.' Reni. Mani. Ian Brown. John Squire. Names that will forever be remembered for creating their defining album The Stone Roses and a unique but inimitable baggy style. Their phenomenal story was first documented by the man who was with them every step of the way: John Robb. And now, in this special edition of his acclaimed and intimate biography, Robb brings the ultimate rock 'n' roll tale fully up to date.

The Stone Roses captures the magic—and chaos—behind the UK band's rise, fall, and recent resurrection. The iconic Brit pop band The Stone Roses became an overnight sensation when their 1989 eponymous album went double platinum. It was a recording that is still often listed as one of the best albums ever made. Its chiming guitar riffs, anthemic melodies, and Smiths-like pop sensibility elevated The Stone Roses to a cult-like status in the UK and put them on the map in the U.S. But theirs is a story of unfulfilled success: their star imploded as their sophomore effort took years to complete and the band broke up acrimoniously in 1996. Sixteen years later, they reunited and have been playing sold out gigs, thrilling fans around the globe, and working on new material. In 2013, they nabbed the coveted headline spot at the Coachella Festival. With one hundred interviews of key figures, forty rare photographs, and exclusive insider material including how they created their music, The Stone Roses charts the band's rise from the backwaters of Manchester to becoming the stars of the "Madchester" scene to their successful comeback years later. Going beyond the myths to depict a band that defined Brit pop, Simon Spence illustrates their incandescent talent and jaw-dropping success while contextualizing them in the 90s music scene. This is the definitive story of The Stone Roses.

Memories of clothing feature prominently in auto/biographies, yet traditionally they have not been subjected to the same level of academic scrutiny as other sources. Memories of Dress redresses this imbalance by bringing auto/biographical memories to the centre of a new methodology for understanding fashion history, material culture, and other disciplines. Presenting a comprehensive overview of theoretical and practice-based approaches, the book invites readers to explore the relations between clothing and memory through diverse examples ranging from oral histories of Madchester men and Hungarian socialist sewing, to a quilt-making autoethnography into the complexities of American racial heritage and imagined memories within museum collections. Chapters by leading and emerging experts consider the ways in which dress is remembered and the ways that memories and nostalgia in turn influence everyday dress practices, unpicking the meanings and motivations-both collective and public, personal and private-behind the clothes we wear in different times, places and life stages; and the impact of class, gender, ethnicity, and disability on material identities. Uniquely weaving personal recollection with theory, this multidisciplinary book offers new ways of understanding clothing, material culture, and memory.

Temperature's Rising: Galaxie 500 offers both an oral history of a celebrated band and a lush tour of their personal archives. It weaves together interviews with the band members (Naomi Yang, Dean Wareham, Damon Krukowski) and their music scene peers and many collaborators, accompanied by a stunning array of rare and never-before-seen photographs, artwork and ephemera.

"This book takes you through the collection gallery by gallery, illuminating the art and installations in each room"--From preface.

A ROUGH TRADE BOOK OF THE YEAR "To flip through the book is to be immersed back in the glory days of Cool Britannia... and it's just as cool as you remember" GQ Remember Britpop and the '90s through hundreds of its most striking images - with many seen here for the very first time. Taken by renowned photographer Kevin Cummins, chief photographer at the NME for more than a decade, the images in this book explore the rise and fall of Cool Britannia and all that came with it. Nostalgic, anarchic and featuring contributions from icons of the Britpop era including Noel Gallagher and Brett Anderson, While We Were Getting High is a seminal portrait of a decade like no other. Artists featured include: Oasis Blur Suede Pulp Elastica Supergrass The Charlatans Gene Sleeper Kula Shaker Echobelly The Bluetones ...and many more

Wall Street Journal’s Five Best Books on the Confederates’ Lost Cause Southern Association for Women Historians Julia Cherry Spruill Prize Even without the right to vote, members of the United Daughters of the Confederacy proved to have enormous social and political influence throughout the South—all in the name of preserving Confederate culture. Karen Cox traces the history of the UDC, an organization founded in 1894 to vindicate the Confederate generation and honor the Lost Cause. In this edition, with a new preface, Cox acknowledges the deadly riots in Charlottesville, Virginia, showing why myths surrounding the Confederacy continue to endure. The Daughters, as UDC members were popularly known, were daughters of the Confederate generation. While southern women had long been leaders in efforts to memorialize the Confederacy, UDC members made the Lost Cause a movement about vindication as well as memorialization. They erected monuments, monitored history for "truthfulness," and sought to educate coming generations of white southerners about an idyllic past and a just cause—states' rights. Soldiers' and widows' homes, perpetuation of the mythology of the antebellum South, and pro-southern textbooks in the region's white public schools were all integral to their mission of creating the New South in the image of the Old. UDC members aspired to transform military defeat into a political and cultural victory, in which states' rights and white supremacy remained intact. To the extent they were successful, the Daughters helped to preserve and perpetuate an agenda for the New South that included maintaining the social status quo. Placing the organization's activities in the context of the postwar and Progressive-Era South, Cox describes in detail the UDC's origins and early development, its efforts to collect and preserve manuscripts and artifacts and to build monuments, and its later role in the peace movement and World War I. This remarkable history of the organization presents a portrait of two generations of southern women whose efforts helped shape the social and political culture of the New South. It also offers a new historical perspective on the subject of Confederate memory and the role southern women played in its development.