Like their two previous collaborations, this book brings together three artists and two cultures in a charming juxtaposition of work and cultures. Yard Birds focuses on common backyard birds.

This is the first full-length biography of Keith Relf, frontman for the Yardbirds and one of the great tragic characters in rock history. Keith's moody vocals and harmonica helped to define the Yardbirds' sound on a string of innovative hit records in the 1960s that influenced garage rock, psychedelia, blues rock, hard rock and heavy metal. Numerous books have been written about the Yardbirds' famous guitarists--Eric Clapton, Jeff Beck and Jimmy Page--yet Keith has remained a mysterious and elusive figure since his death by electrocution at age 33. A deeply private person, prone to depression and poor health, Keith was ill-suited to the life of a rock star. In the years following the Yardbirds' breakup, as the band's guitarists became household names playing blues-based rock, Keith insisted on pursuing new musical paths, always searching for something new and trying to extend the Yardbirds' spirit of curiosity and innovation. By the time of his death in 1976, Keith was nearly forgotten and struggling physically, emotionally and financially. More than forty years after his tragic death, this important artist's story has finally been written and his contributions celebrated as more than just a footnote to the careers of his better-known bandmates.

British art and architecture of the 1950s are little known but extraordinarily topical today. Of particular relevance are the activities of the Independent Group, a loosely structured organization whose members included artists Richard Hamilton, Eduardo Paolozzi, and Magda Cordell, More...photographer Nigel Henderson, critics Reyner Banham and Lawrence Alloway, and architects Alison and Peter Smithson, James Stirling, and Colin St. John Wilson, who sought the essence of the everyday through a sensitivity to the hardships and charm of life in the raw. As Found encounters the transdisciplinary relationship between the constructed environment as it is visually perceived and verbally expressed. Edited by Claude Lichtenstein & Thomas Schregenberger. Artists include: Magda Cordell, Richard Hamilton, Nigel Henderson and Eduardo Paolozzi. Architects include: Alison & Peter Smithson, James Stirling and Colin St. John Wilson.

"A life recording hits with the Rolling Stones, the Who, Led Zeppelin, the Eagles, Eric Clapton, the Faces ..."--Jacket.

This publication on the work of John Ronan Architects explores the firm's spatial-material approach to architecture and the underlying themes of its typologically diverse output. Out of the Ordinary introduces a different approach to architecture which is based on spatial narrative rather than form and influenced by literature rather than appropriations from the world of art world. It advocates for architecture which privileges space over form, experience over image, and narrative over authorship. In previous decades, architectural production was constrained by the limits of technology; architects pushed on the boundaries imposed by technology and it gave them common purpose. Those limits are gone. Over the preceding two decades it has been demonstrated that with enough technology (and money) anything is possible. What does an architect do when anything is possible? This is the question which confronts architects today, who now operate within a professional landscape where all is possible, but little has meaning. The "anything goes" mentality which currently prevails has resulted in innumerable self-referential "object" buildings which engage only with their architect's ego, often resulting in an urban fabric of autonomous formal objects comprised of arbitrarily-applied design tropes which celebrate formal invention for its own sake. But what do architects leave society once the novelty of form has worn off? In this architectural age of arbitrary shape-making, devoid of context or meaning, Out of the Ordinary proposes an architecture of innovation rising from ordinary concerns, about relationships not form, which exposes new spatial relationships with diagrammatic clarity in a process of distillation what seeks to lay bare meaningful relationships between essential building elements.

Critique of contemporary songwriting and call for revolution in the medium

Born to an Irish Catholic working-class family on the Northside of Pittsburgh, Art Rooney (1901–88) dabbled in semipro baseball and boxing before discovering that his real talent lay not in playing sports but in promoting them. Though he was at the center of boxing, baseball, and racing in Pittsburgh and beyond, Rooney is best remembered for his contribution to the NFL, in particular to the Pittsburgh Steelers, the team he founded in 1933. As Rooney led the team in the early years, he came to be known as football’s greatest loser; his influence, however, was instrumental in making the NFL the best-run league in American pro sports. The authors show how Rooney saw professional football—and the Steelers—through the Depression, World War II, the ascension of TV, and the development of the NFL. The book also follows him through the Steelers’ dynasty years under Rooney’s sons, with four Super Bowl titles in the 1970s alone. The first authoritative look at one of the most iconic figures in the history of the NFL, this book is both a critical chapter in the story of football in America and a thoroughly engaging in-depth introduction to a character unlike any other in the annals of American sports.

Unlikely Liberators is the action-filled story of the men of the 100th Battalion and the 442nd Regimental Combat Team. Not trusted to fight in the Pacific, these sons of Japanese immigrants were sent instead to the European theater. In the eyes of their own government and the Europeans they liberated, they were an unlikely group of fighting men. They nevertheless engaged the enemy with astonishing heroism, winning battle after battle at Anzio, Salerno, Cassino, and in the Vosges Mountains. At the end of the war, the 100th and the 442nd emerged as America’s most decorated units. They provided ample evidence of their patriotism to a country that had questioned their loyalty. Masayo Duus begins her story with the formation of the Japanese American units, which were an outgrowth of America’s ambivalent attitude toward the entire Japanese American community at the outbreak of the war. She recounts their experiences in training and during the early battles in Italy, including the conflicts between Japanese American and Caucasian troops. The final part of the story focuses on the battle in the Vosges forest, where the 442nd fought fiercely to rescue the "lost battalion" of Texans hopelessly cut off by the enemy. Based on extensive research in War Department archives and nearly three hundred interviews with veterans of the 100th and 442nd, Unlikely Liberators first appeared in serialized form in Japan, where it won the Bungeishunjusha Reader’s Prize. It is an absorbing and personalized account of young men suddenly separated from their families and friends, often confused and sometimes suspicious about what the army wanted from them. It portrays them as individuals confronting the multiple crises of war and social rejection and it shows that their greatest achievement was not their victory over a foreign enemy, but over prejudice at home. This book is a tribute to those men, who by their heroism reestablished for all Japanese Americans their personal dignity as full citizens in the country of their birth.

David Bowie's career as a pioneering artist spanned nearly 50 years and brought him international acclaim. He continues to be cited as a major influence on contemporary artists and designers working across the creative arts. This book, published to accompany the blockbuster international exhibition launched at London's Victoria and Albert Museum, is the only volume that grants access to Bowie's personal archive of performance costumes, ephemera, and original design artwork by the artist, bringing it together to present a completely new perspective on his creative work and collaborations. The book traces his career from its beginnings in London, through the breakthroughs of Space Oddity and The Rise and Fall of Ziggy Stardust and the Spiders from Mars, and on to his enormous impact on 20th-century avant-garde music and art. Essays by V&A curators on Bowie's London, image, and influence on the fashion world are complemented by Howard Goodall on musicology; Camille Paglia on gender and decadence, and Jon Savage on Bowie's relationship with William Burroughs and his fans. The more than 300 color illustrations include personal and performance photographs, album covers, costumes, original lyric sheets, and much more. Praise for David Bowie Is "Perusing David Bowie Is (V&A Publishing, distributed by Abrams), the exhibition's catalog, with its procession of poses and costumes and weighty essays tracking the cross-references to pop culture and high art, you get a sense of how much hard work it took to be Mr. Bowie." --The New York Times "The fans of 50 years or those making discoveries in retrospect will be intrigued by the accompanying book David Bowie Is that is far more than a fanzine."--The New York Times "Lends context and picks away at Bowie with such insight that it's a rare hagiography with soul." --Chicago Tribune "Combining top-notch articles on the singer/actor's life and work with official images and reproductions of his fashion and associated ephemera, the hefty, mango-colored book is nothing short of a treasure trove of all things Bowie; a one-stop smorgasbord for the eyes whose pictorials chronicle the groundbreaking star from Ziggy Stardust to Thin White Duke to Heathen and every personality in between." --Examiner.com

Drawing on unpublished documents and oral histories, an illustrated examination of an iconic artwork of an artist who has made a lifework of tactical evasion. One wintry day in 1983, alongside other street sellers in the East Village, David Hammons peddled snowballs of various sizes. He had neatly laid them out in graduated rows and spent the day acting as obliging salesman. He called the evanescent and unannounced street action Bliz-aard Ball Sale, thus inscribing it into a body of work that, from the late 1960s to the present, has used a lexicon of ephemeral actions and self-consciously “black" materials to comment on the nature of the artwork, the art world, and race in America. And although Bliz-aard Ball Sale has been frequently cited and is increasingly influential, it has long been known only through a mix of eyewitness rumors and a handful of photographs. Its details were as elusive as the artist himself; even its exact date was unrecorded. Like so much of the artist's work, it was conceived, it seems, to slip between our fingers—to trouble the grasp of the market, as much as of history and knowability. In this engaging study, Elena Filipovic collects a vast oral history of the ephemeral action, uncovering rare images and documents, and giving us singular insight into an artist who made an art of making himself difficult to find. And through it, she reveals Bliz-aard Ball Sale to be the backbone of a radical artistic oeuvre that transforms such notions as “art,” “commodity,” “performance,” and even “race” into categories that shift and dissolve, much like slowly melting snowballs.