The decaying industrial rust-belt city of Buffalo, NY had a vibrant punk/new-wave art & music scene that started in the late '70's and continued into the 2000's. The Goo Goo Dolls and 10,000 Maniacs were two Western New York bands that went on to international fame while others had to settle for status as local legends. In August of 2018, Robby Takac, of the Goo Goo Dolls, presented a show at his GCR Audio Studio Gallery in Buffalo that renewed interest in the vintage rock posters and flyers from that era. The show was organized and curated by Don Keller a local illustrator, artist and former nightclub owner. Keller asked fellow artist, Karl Kotas, a former Buffalo native now living in New York City, to contribute his work from that era, and Karl came up with the idea to document and archive the collection into a large-format paperback. This book is the result of that collaboration. Collected from band members and the poster artists themselves, these flyers, handbills and posters seen together create a comprehensive time-capsule of a wild and crazy history of Buffalo's pop culture. The wit, wisdom, humor and satire of these printed peices of throwaway art make a compelling case that Buffalo might have had a rock scene that was just as good, and certainly as much fun, as Seattle, Austin, Chicago or even San Francisco, Los Angeles and New York City. Included are works by well-known Western New York artists like David Kane, Mark Freeland, Don Keller, Karl Kotas, Mark Wisz, Ed Besch, Bud Redding, candio, as well as other anonymous artists and band members. Groups included are: Goo Goo Dolls, The Fems,10,000 Maniacs, Electroman, Erectronics, Paper Faces, Green Jelly, Famous Blue Raincoat, Funk Monsters & Woman, Trek With Quintronic, The Headhunters, Splatcats, Factor, Full Of Grace, Consorting Angels, The Tails, Jacklords, Homeboy Sacred, ELK, Pluto Gang, David Watts, Dolly Dew & The Weiner, Crawlspace, Asleep In Church, Blaze of Glory, Tension, The Pinheads, Nullstadt, and many more. Clubs and venues featured include: The Continental, Crash, Icon, Adventure Club, Scrapyard, Uncle Sam's, The Tralfamadore, Nietzches, Goodbar, Schooners, McVans, Jingles, Cabaret 650, Hat Trick, Artist's and Models Affair and others.

Ken Follett’s magnificent historical epic begins as five interrelated families move through the momentous dramas of the First World War, the Russian Revolution, and the struggle for women’s suffrage. A thirteen-year-old Welsh boy enters a man’s world in the mining pits. . . . An American law student rejected in love finds a surprising new career in Woodrow Wilson’s White House. . . . A housekeeper for the aristocratic Fitzherberts takes a fateful step above her station, while Lady Maud Fitzherbert herself crosses deep into forbidden territory when she falls in love with a German spy. . . . And two orphaned Russian brothers embark on radically different paths when their plan to emigrate to America falls afoul of war, conscription, and revolution. From the dirt and danger of a coal mine to the glittering chandeliers of a palace, from the corridors of power to the bedrooms of the mighty, Fall of Giants takes us into the inextricably entangled fates of five families—and into a century that we thought we knew, but that now will never seem the same again. . . .

This exhibition catalogue is published for the career retrospective of the late Manuel Spain' Rodriguez, at The Burchfield Penney Art Centre in Buffalo, NY. A curated selection of the best of Spain's work as a graphic artist, underground comic pioneer, illustrator and graphic novelist and biographer spans over 43 years. There are nearly 60 illustrations in all, more than 40 of which are plates of works in the exhibition, mostly original ink-over-pencil drawings. The book contains a foreword by Anthony Bannon, gallery director, as well as many essays.'

From civil rights to free love, JFK to LSD, Woodstock to the Moonwalk, the Sixties was a time of change, political unrest, and radical experiments in the arts, sexuality, and personal identity. In this anthology of more than one hundred selections of essays, poetry, and fiction by some of America’s most gifted writers, Ann Charters sketches the unfolding of this most turbulent decade. The Portable Sixties Reader is organized into thematic chapters, from the Civil Rights movement to the Anti-Vietnam movement, the Free Speech movement, the Counterculture movement, drugs and the movement into Inner Space, the Beats and other fringe literary movements, the Black Arts movement, the Women’s movement, and the Environmental movement. The concluding chapter, “Elegies for the Sixties,” offers tributes to ten figures whose lives—and deaths—captured the spirit of the decade. Contributors include: Edward Abbey, Sherman Alexie, James Baldwin, Richard Brautigan, Lenny Bruce, Charles Bukowski, William Burroughs, Jim Carroll, Rachel Carson, Carlos Castenada, Bob Dylan, Betty Friedan, Nikki Giovanni, Michael Herr, Abbie Hoffman, Robert Hunter, Ken Kesey, Martin Luther King, Jr., Timothy Leary, Denise Levertov, Norman Mailer, Malcolm X, Country Joe McDonald, Kate Millet, Tim O’Brien, Sylvia Plath, Susan Sontag, Gloria Steinem, Hunter S. Thompson, Calvin Trillin, Alice Walker, Eudora Welty and more. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Poster Child: The Psychedelic Art & Technicolor Life of David Edward Byrd is a stunning retrospective on the art and stories behind one of rock ’n’ roll’s most influential artists—written by Byrd and author Robert von Goeben. Foreword by Marc Myers, Award-Winning Author of Rock Concert: An Oral History Beginning in the late 1960s, graphic artist David Edward Byrd pioneered the iconic visual styles that have come to define rock ’n’ roll graphics. Byrd created poster, concert, and album art for Jimi Hendrix, the Who, Lou Reed, Janis Joplin, Jefferson Airplane, Ravi Shankar, Traffic, Van Halen, the Grateful Dead, the 1969 Woodstock Festival, and KISS, among others. In fact, the 1968 poster that Byrd created for the Jimi Hendrix Experience was voted #8 in the Top 25 Rock Posters by Billboard. Beyond this, he created the iconic imagery for many Broadway shows, including Follies, Godspell, Jesus Christ Superstar, Little Shop of Horrors, and more. Byrd is considered one of the foremost graphic artists of 20th-century pop culture, and yet, he has never achieved widespread name recognition. Poster Child shares the artwork of Byrd—including never-before-seen sketches of famous posters for celebrated musicians—with incredible accompanying anecdotes about his encounters with rock ’n’ roll legends, which combine to create a book that is sure to thrill music lovers and cultural connoisseurs alike for its visual vibrancy and storytelling.

Sex, Drugs, and Rock ‘n Roll: The American Counterculture of the 1960s offers a unique examination of the cultural flowering that enveloped the United States during that early postwar decade. Robert C. Cottrell provides an enthralling view of the counterculture, beginning with an examination of American bohemia, the Lyrical Left of the pre-WWII era, and the hipsters. He delves into the Beats, before analyzing the counterculture that emerged on both the East and West coasts, but soon cropped up in the American heartland as well. Cottrell delivers something of a collective biography, through an exploration of the antics of seminal countercultural figures Allen Ginsberg, Jack Kerouac, Timothy Leary, and Ken Kesey. Cottrell also presents fascinating chapters covering “the magic elixir of sex,” rock ‘n roll, the underground press, Haight-Ashbury, the literature that garnered the attention of many in the counterculture, Monterey Pop, the Summer of Love, the Death of Hippie, the March on the Pentagon, communes, Yippies, Weatherman, Woodstock, the Manson family, the women’s movement, and the decade’s legacies.

Replete with firsthand history--exclusive interviews with scores of insiders, poster artists, musicians, promoters--this is the ultimate high for the rock music fan, required reading for the poster collector. 1,500 full-color illustrations and 100 black-and-white photographs.

Conceived as a challenge to long–standing conventional wisdom, Creating the Future is a work of social history/cultural criticism that examines the premise that the progress of art in Los Angeles ceased during the 1970s—after the decline of the Ferus Gallery, the scattering of its stable of artists (Robert Irwin, Ed Kienholz, Ed Moses, Ed Rusha and others), and the economic struggles throughout the decade—and didn't resume until sometime around 1984 when Mark Tansey, Alison Saar, Judy Fiskin, Carrie Mae Weems, David Salle, Manuel Ocampo, among others became stars in an exploding art market. However, this is far from the reality of the L.A. art scene in the 1970s. The passing of those fashionable 1960s–era icons, in fact, allowed the development of a chaotic array of outlandish and independent voices, marginalized communities, and energetic, sometimes bizarre visions that thrived during the stagnant 1970s. Fallon's narrative describes and celebrates, through twelve thematically arranged chapters, the wide range of intriguing artists and the world—not just the objects—they created. He reveals the deeper, more culturally dynamic truth about a significant moment in American art history, presenting an alternative story of stubborn creativity in the face of widespread ignorance and misapprehension among the art cognoscenti, who dismissed the 1970s in Los Angeles as a time of dissipation and decline. Coming into being right before their eyes was an ardent local feminist art movement, which had lasting influence on the direction of art across the nation; an emerging Chicano Art movement, spreading Chicano murals across Los Angeles and to other major cities; a new and more modern vision for the role and look of public art; a slow consolidation of local street sensibilities, car fetishism, gang and punk aesthetics into the earliest version of what would later become the "Lowbrow" art movement; the subversive co–opting, in full view of Pop Art, of the values, aesthetics, and imagery of Tinseltown by a number of young and innovative local artists who would go on to greater national renown; and a number of independent voices who, lacking the support structures of an art movement or artist cohort, pursued their brilliant artistic visions in near–isolation. Despite the lack of attention, these artists would later reemerge as visionary signposts to many later trends in art. Their work would prove more interesting, more lastingly influential, and vastly more important than ever imagined or expected by those who saw it or even by those who created it in 1970's Los Angeles. Creating the Future is a visionary work that seeks to recapture this important decade and its influence on today's generation of artists.