Books 352 Items

- 400 page hardcover large format book - Includes CD with 10 Japanese Jazz tracks - Compiled by Tony Higgins and Mike Peden - Only 2000 copies printed - Largest picture book on Japanese Jazz ever printed - First and only picture book devoted to Japanese Jazz covers to be produced outside Japan - Extra sections on non-Japanese artists and Blue Note albums produced exclusively for the Japanese market - Includes intro by Terumasa Hino plus articles by Yusuke Ogawa, Mats Gustafsson, Tony Higgins and interview with Tohru Aizawa - DJ J Jazz Top Tens from around the world BBE Music is thrilled to present J Jazz: Free and Modern Jazz From Japan 1954-1988, a remarkable large-format book covering some of the deepest, rarest, and most innovative jazz music released anywhere in the post-war era. Compiled by Tony Higgins and Mike Peden, co-curators of BBE Music's acclaimed J Jazz Masterclass Series, the book also features a foreword by Japanese jazz icon, Terumasa Hino.

This is the first time a book of this type has been published outside of Japan and the first anywhere of this size and scale. It is a unique collection of over 500 albums of free and modern jazz released in Japan during a period of radical transformation and constant reinvention. An era that saw Japan return from the ravages of World War Two to become a global economic power and emerge as both a technological leader and an international cultural force.

Through a unique gallery of albums, J Jazz charts the development of jazz in Japan from the first stirrings of the modern jazz scene in the mid to late 1950s and on through the hard bop and modal jazz of the 1960s. It steers the reader into the radical directions of the 1970s when free jazz, fusion, post-bop, and jazz-funk opened up a growing number of Japanese jazz artists to a new global audience before consolidating in the mid to late 1980s with a musical scene that laid the path for the contemporary jazz generation to follow.

Over 500 full-colour sleeves from many of the leading names in Japanese jazz sit alongside rare and private pressings that tell a story of constant change and musical exploration. J Jazz includes profiles of several leading record labels such as East Wind, Frasco, King Records, and Nippon Columbia as well as critical independents such as Three Blind Mice, ALM, and Aketa’s Disk. J Jazz includes interviews with celebrated jazz photographer Tadayuki Naito, and pianist Tohru Aizawa, bandleader on the totemic spiritual jazz album, Tachibana Vol 1, as well as free-jazz record collector and jazz musician Mats Gustafsson.

The book also features a chapter on albums by non-Japanese artists that only received a Japanese release, with collectible, rare, and obscure releases by figures such as Herbie Hancock, Miles Davis, Mal Waldron, Steve Lacy, and Art Blakey. J Jazz includes Japanese jazz charts from some of the world's leading jazz DJs including Gilles Peterson, Toshio Matsuura, Paul Murphy, and Shuya and Yoshihiro Okino. Among the specialist content is a feature on obi strips by record dealer and Japanese jazz expert, Yusuke Ogawa, plus a special article on Japanese Blue Note albums.

Across its 300-plus pages, J Jazz includes a detailed introduction contextualising the music, tracing the story of Japan's fascination with jazz back before the war. It also features biographical information on many of the key artists involved in shaping the post- war Japanese jazz scene including Sadao Watanabe, Toshiko Akiyoshi, Masabumi Kikuchi, Masahiko Togashi, Terumasa Hino, Yosuke Yamashita, Fumio Itabashi, Masayuki Takayanagi, Takeo Moriyama, Isao Suzuki, and many more.

A guy you don’t know writes a message you don’t understand in neighborhoods you don’t go in and yet you still think you know what it all means? What are you smoking and can you pass that this way? People go on podcasts claiming to know what the writings on walls and objects mean while city officials use the writings to win political points and slumlord land developers follow the writings in order to know which poor area to buy up to take advantage of the most vulnerable. Whatever they are smoking, pass that.

Much has changed since the first edition of this groundbreaking text, therefore, we have to break bread one last time before putting this world of ideas to rest. This third, and final green edition, brings in a new post-pandemic hyper speed internet migrant over the border crack is back chapter where a zone of exceptionalism is discovered & recovered.
In this book, King Kong Novy goes through time portals in subway tunnels dressed as Santa to translate simple graffiti into abstruse DIY folk music, keeping the driving question Can the WoWO Speak? foremost in mind.

Dr. Dumar Novy is the proud step-father once removed of Graffito Studies. His writings have helped people use an obscure name in their Works Cited pages as well as be a reference for Wikipedia pages that probably should be debated more in the sandbox. Take LSD and understand the truth. Some newly published essays are: Peace 2 Fred & 16art (2023), Sazo, Spair & You (2011), Desa & Les Are Beautiful (2022), Tsombikos & Tianen Rock & Roll (2019), Phase II Spawned Writers (2025).

The story of Jackson C. Frank is tragic. The victim of a school fire in his youth, struggling with homelessness and mental illness throughout his life, half-blinded in old age before his death in 1999, Frank met continuous obstacles. And yet he enjoyed a shining moment with the release of Jackson C. Frank on Columbia Records in 1965. The album would go on to be seen as one of the greatest folk albums of the decade—maybe of all time—and its opening track “Blues Run the Game” has become a standard covered by hundreds. Jim Abbott’s book is the result of years of research piecing together evidence, relations and apocryphal stories from Frank’s life. It is also part memoir, as Abbott cared for Frank through the final decade of his life. Their friendship was fraught with difficulties, which Abbott portrays with the honesty of a journalist. In doing so, he draws a portrait of a uniquely gifted songwriter, blessed with talent and besotted by demons. At 250 pages, Abbott’s memoir shows a flawed and caring individual whose struggle was best depicted in his songs. Following the release of Jackson C. Frank: The Clear, Hard Light of Genius, Ba Da Bing will release three volumes of Jackson C. Frank: The Complete Recordings in early 2015, compiling work from throughout his life, including unreleased material.

Edited by Damon Murray, Edited by Stephen Sorrell

Packed full of vintage hi-fi brochures, many of which are extremely rare and previously unpublished in book form.

A striking screenprinted graphic cover on ‘brushed aluminium’ paper, to echo the hi-fi systems shown in the brochures.

Another Jonny Trunk / FUEL publication, acting as a companion title to (and same format as) Auto Erotica, AZ Record Shop Bags and Own Label.

Description
Audio Erotica is a perfectly pitched visual anthem to home audio entertainment. Using sales brochures from the 1950-1980s, a symphony of graphic nostalgia tracks the technological progress of our listening pleasure.
Remember roller-skating wearing your first Walkman? Or relaxing to easy-listening in your pure white Philips lounge? Or playing chess on your JVC tabletop radio? All these scenarios can be found in the geeky and rarefied world of the vintage hi-fi brochure, where graphic design and acoustic apparatus make magical music together.
From austere post-war Britain to poppy pre-millennium Japan, Audio Erotica presents a nostalgic nirvana of the strangest and most significant period hi-fi brochures.
Alphabetically listed, from Aiwa to Zenith, with Braun, JVC Nivico, Nakamichi, Sony and everything in between, this book will resonate with any music fan.
Setting the tempo are the pipe-smoking, high-end separates (amplifiers, speakers, turntables) of the 1950s, followed by the swinging Dansette record players of the 1960s, the prog-brushed-metal music centres of the 1970s, and the sleek capitalist cabinet stack systems of the 1980s – not forgetting the aerobic stereo sound portability facilitated by the boom-box, and that final high-fidelity, hardware hurrah: the compact disc. All accompanied by questionable fashion decisions and acres of shag-pile carpet.
The evocative brochures in Audio Erotica track the technological development of audio equipment before the digital download, while simultaneously revealing the way hi-fi was marketed to the listening public. With knobs on.

Author
Nostalgia enthusiast Jonny Trunk founded his record label Trunk Records in 1995, which specialises in releasing lost and archived recordings. He compiled and wrote The Music Library a book that documented the hidden world of library music, and Own Label a book about Sainsbury’s packaging from 1962-1977. He has worked with Oliver Postgate, Derek Griffiths, Tony Hart and other celebrated artists of the 1960s and 1970s. Jonny also writes for a number of magazines and broadcasts his own weekly Patreon show.

Damon Murray and Stephen Sorrell – FUEL – have been publishing books since 2004. They have worked with Jonny Trunk for almost 20 years on a number of publications, including The Music Library, Own Label, Wrappers Delight and A-Z
Record Shop Bags.

The Shadow Ring (1992-2002) presents a comprehensive overview of the work produced by British musiciansGraham Lambkin, Darren Harris, and later Tim Goss over the course of a decade. Throughout theirlegendary ten-year run, this shambolic rock outfit, formed by a group of teenagers in the port townFolkestone, were an enigmatic force on the international musical sub-underground. The group have leftbehind a mighty run of eight LPs, a handful of 7-inches, and a spate of raucous live shows and cryptic zineappearances on both sides of the Atlantic. In aggregate, this significant collection not only plums the depths of theband and its attendant lore, but reveals a vivid minor history of mail-order networks, bedroom recordingsessions, cross-USA couch-surfing, and encounters with fellow travelers such The Dead C, Harry Pussy,Charalambides, Richard Youngs and the No-Neck Blues Band. Where is the connecting thread between RalfWehowsky and Squirrel Nut Zippers? Inquire within.The roughly 200 songs in this set trace the band from its earliest days recording in Lambkin's parents' house(SHP Studios), through its brooding mid-period, garnering word-of-mouth notoriety that peaked with the trioturning down an invitation to tour with Pavement, to a string of increasingly uncompromising experimentswith electronics, voice, and tape. Although the band's sound morphs considerably during this time period,from spartan beginnings using pots and pans as a drum set to their ultra-deconstructed latter-day approach,certain core sensibilities are apparent throughout: brash youthful rawness, wry and m...

A retrospective of Third Earth Visual Arts and the career of AbuQadim Haqq who as many of you know created art for Transmat, Drexciya and Underground Resistance.
The book covers his early life in Detroit to his last project for Third Earth Visual Arts in 2023.

Over 100 pages of art.
Over 100 pages of photos.
258 pages

Archivio is a new series of publications by Never Sleep focused on the exploring archiving practices displaying private collections of visual artefacts, memorabilia, collecting garments and graphic curiosities. A memories wunderkammer: from rave-club culture to the youth subcultures. The first issue, curated by Gabber Eleganza, is a publication made it during the Covid lockdown, collecting and scanning Rave records store advertisements, graphics curiosity and illustration ephemera find consulting tons of old techno and rave fanzines from the early 90s from: USA, UK, Holland, Belgium, France, Italy and Germany. A pure, rough and beautiful visual testimony of a unique and unrepeatable historical moment. Preface by Colin Stevan (Knowledge magazine and Velocity Press founder)

For the biggest artists to the most underground, field recordings have become the vital spark of electronic music. Whether documenting nature, sampling the city or capturing the atmosphere of archaeological sites, musicians are using found sounds to make sense of our world. Ears To The Ground explores the relationship between electronics, landscape and field recordings in the UK, Ireland and around the globe, discovering how producers and artists evoke the natural world, history and folklore through sampled sounds.

From the cacophonous surrounds of London to the sea stacks of Orkney, via the abandoned military facilities of the Suffolk coast and the watery expanses of the Blackwater Estuary in Essex, from the quarries and neolithic sites of Snowdonia and the wide open skies of Norfolk to the hubbub of Nairobi and Berlin, the streets of Kyiv and the windblown wilds of Antarctica – music is everywhere. You just need to know or learn how to listen.

Ears To The Ground: Adventures in Field Recording and Electronic Music explores how electronic music producers and sound artists use field recordings and samples to document their environments. Author Ben Murphy takes you on a journey to discover how field recordings can create context, emotion, atmosphere, humour and meaning – and examine the most pressing topics of our times.

Composed of extensive interviews with music producers, the book will show how field recordings have become a vital way of understanding, celebrating and interrogating the landscape and the places we live. The book features interviews with Leafcutter John, KMRU, Ultramarine, Kate Carr, Erland Cooper, Proc Fiskal, Flora Yin-Wong, Langham Research Centre, Claire Guerin, Toshiya Tsunoda, Lawrence English, Heinali, Oliver Ho, Matthew Herbert, Matmos, Scanner, Felicia Atkinson and many more.

On its journey, the book takes in abandoned military test sites, remote bird colonies, estuaries, cities, coastlines, old quarries, neolithic burial grounds, scientific research centres and docklands, and ventures between Orkney, Edinburgh and Cork to Norfolk, Kent and Snowdonia, before heading to Kenya, Ukraine, Japan and Antarctica

Quotes:
“Recording or celebrating ‘place’ in art and music feels increasingly relevant, as our environment faces more serious threats than ever before, and Ears To The Ground is a timely examination of this development.” Ultramarine

HoZac Books is proud to present The White Label Promo Preservation Society: 100 Flop Albums You Ought to Know, written and compiled by Sal Maida and Mitchell Cohen, who have recruited for their “society” a gang of esteemed music obsessives: musicians, label executives, and journalists who chose favorite albums from the 1960s and 1970s to rave about and expound upon. The only criterion was that the albums never made the top 100 on Billboard’s LP Top 200 (although in a few cases, they did quite well on the R&B or country chart). The selection ranges from east coast vocal-group harmony to punk and metal, from superstars like The Who and the Beach Boys to virtual unknowns. As Sal and Mitchell write in the book’s introduction, “These are the albums you might not read about, except here. No one needs to tell you why Pet Sounds, Revolver or Blonde On Blonde are essential parts of any decent record collection, or guide you towards classics – or even somewhat lesser efforts – by the Rolling Stones, Chuck Berry or the Jimi Hendrix Experience. Or which Pink Floyd album is indispensable (hint: the debut; you can stop right there). Although we have strong opinions about pantheon artists like Led Zeppelin and Marvin Gaye, and are happy to share those views with anyone in earshot, that isn’t what this book is about. We aren’t here to challenge or endorse rock orthodoxy. Neither is the mission to, once again, assert the brilliance of Skip Spence’s Oar, of such artists as Nick Drake, Big Star, and the Velvet Underground, whose influence, despite the lack of any commercial success in their time, has been thoroughly – one might even say exhaustively – documented elsewhere.” To tell help this story, Sal and Mitchell called on an impressive team of guest essayists: Lenny Kaye, Russ Titelman, Amy Rigby, Brian Koppelman, Dennis Diken, Bebe Buell, Jim Farber, Susan Whitall, Steve Shelley, Phil King, Ira Robbins, Billy Altman, Marshall Crenshaw, Peter Holsapple, Wreckless Eric, Peter Keepnews, Miriam Linna, Joe McEwen, and a cast of dozens.

Tresor: True Stories is the first printed excavation of Tresor’s legendary history. Digging deeply into its rich archives, the venerable institution has unearthed countless treasures from its over three-decade old history. Over 400 never before seen photographs, flyers, faxes and other artefacts illustrate a story that intersects with the most important social and musical trend in the modern history of Berlin.

The story is told with the voices of those that were there - over 40 protagonists share their first-hand reminiscences of the ‘big bang’ that launched techno into the world. Through the story of Tresor, the book charts the heady days of 80s West Berlin through to the explosion of new energy that midwifed in the new social reality of reunified Germany. This is a unique and essential printed monument to the institution that changed electronic music forever, and the city that allowed it to exist.

Daft Punk’s Discovery is a record that looked into the future and liked what it saw; an album that predicted the electronic music explosion, YouTube and the end of privacy, while dragging soft rock back into vogue. Discovery was not only one of the best albums of the 2000s, it was one of the most prophetic, the kind of record that makes you wonder: how did they know?

You can draw lines from Discovery to Glass Swords, Kanye West, EDM, Autotune, iTunes, Beyoncé, Guilty Pleasures, social media and more. Discovery's footprints can be found all over the modern world but it also looked back to Daft Punk’s childhood, to Van Halen records, Japanese cartoons and even Johann Sebas-tian Bach.

Discovery was a record that confounded many fans when it was released in 2001, thanks to its blatant pop hooks and unlikely sonic bricolage. It was a record that was - and still is - widely misunderstood; Discov-ery’s impact has only become clear with the passing of time, as Daft Punk have been proved right time and time again.

This book is a homage to a fascinating, troubled beast of an album that casts a huge shadow over the 21st Century, as Discovery reaches its 20th anniversary.

Soled Out is an epic compilation of nearly 900 vintage print advertisements sourced from the golden age of sneakers. Featuring sporting and cultural icons such as Andre Agassi, Paula Abdul, Bo Jackson, Michael Jordan, MC Hammer, and Shaquille O’Neal, every page is packed with unforgettable imagery, bold graphics, and outrageous trash talk devised by the footwear industry’s biggest players. Sit back and enjoy the spectacular scenery ahead as Soled Out powers through a 720-page marathon celebration of the rubber, leather, and mesh we wear on our feet! - Sneaker Freaker was established in 2002 by Simon ‘Woody’ Wood as the first and only international footwear magazine. With a monthly audience reach of 10 million, it documents every collab, custom design, limited edition, and retro reissue in exacting detail. Based in Melbourne, Woody is recognized worldwide for his encyclopedic knowledge, inimitable writing style, and steadfast role as an authentic ambassador for all things sneakers.

In 1991, a loose-knit collective released a record called Blue Lines under the name Massive Attack, splicing together American hip-hop and soul with the sounds of the British underground. With its marauding bass lines, angular guitars, and psychedelic effects, Blue Lines built on the Caribbean soundsystems and nascent rave scene of the 1980s while also looking ahead to the group's signature blend of epic cinematics and lush downtempo. In the process, Blue Lines invented an entirely new genre called trip hop and launched the career of a rapper named Tricky.

Ultimately, Blue Lines created the sonic playbook for an emerging future: hybrid, digital, cosmopolitan, and rooted in the black and immigrant communities who animated the urban wreckage of the postindustrial city. Massive Attack envisioned an alternate future in sharp counterpoint to the glossy triumphalism of Brit Pop. And while the group would go on to bigger things, this record was both a warning shot and a definitive statement that sounds as otherworldy today as on the day of its release. As Blue Lines's iconic flame logo spun on turntables the world over, Massive Attack and their spaced-out urban blues reimagined music for the 1990s and beyond.

Pete Townshend was once asked how he prepared himself for The Who’s violent live performances. His answer? ‘Pretend you’re in a war.’ For a band as prone to furious infighting as it was notorious for acts of ‘auto-destructive art’ this could have served as a motto.
Between 1964 and 1969 The Who released some of the most dramatic and confrontational music of the decade, including ‘I Can’t Explain’, ‘My Generation’ and ‘I Can See For Miles’. This was a body of work driven by bitter rivalry, black humour and dark childhood secrets, but it also held up a mirror to a society in transition. Now, acclaimed rock biographer Mark Blake goes in search of its inspiration to present a unique perspective on both The Who and the sixties.
From their breakthrough as Mod figureheads to the rise and fall of psychedelia, he reveals how The Who, in their explorations of sex, drugs, spirituality and class, refracted the growing turbulence of the time. He also lays bare the colourful but crucial role played by their managers, Kit Lambert and Chris Stamp. And – in the uneasy alliance between art-school experimentation and working-class ambition – he locates the motor of the Swinging Sixties.
As the decade closed, with The Who performing Tommy in front of 500,000 people at the Woodstock Festival, the ‘rock opera’ was born. In retrospect, it was the crowning achievement of a band who had already embraced pop art and the concept album; who had pioneered the power chord and the guitar smash; and who had embodied – more so than any of their peers – the guiding spirit of the age: war.

Wes Anderson is one of the most influential voices from the past two decades of American cinema. A true auteur, Anderson is known for the visual artistry, inimitable tone, and idiosyncratic characterizations that make each of his films—Bottle Rocket, Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou, The Darjeeling Limited, Fantastic Mr. Fox, and Moonrise Kingdom—instantly recognizable as “Andersonian.” The Wes Anderson Collection is the first in-depth overview of Anderson’s filmography, guiding readers through his life and career. Previously unpublished photos, artwork, and ephemera complement a book-length conversation between Anderson and award-winning critic Matt Zoller Seitz. The interview and images are woven together in a meticulously designed book that captures the spirit of his films: melancholy and playful, wise and childish—and thoroughly original.

10x 12 inches, 336 pages, hardcover.

Extravagantly opaque, willfully vaporous — Aphex Twin’s Selected Ambient Works Volume II, released by the estimable British label Warp Records in 1994, rejuvenated ambient music for the Internet Age that was just dawning. In the United States, it was Richard D. James's first full length on Sire Records (home to Madonna and Depeche Mode) under the moniker Aphex Twin; Sire helped usher him in as a major force in music, electronic or otherwise.

Faithful to Brian Eno’s definition of ambient music, Selected Ambient Works Volume II was intentionally functional: it furnished chill out rooms, the sanctuaries amid intense raves. Choreographers and film directors began to employ it to their own ends, and in the intervening decades this background music came to the fore, adapted by classical composers who reverse-engineered its fragile textures for performance on acoustic instruments. Simultaneously, “ambient” has moved from esoteric sound art to central tenet of online culture. This book contends that despite a reputation for being beatless, the album exudes percussive curiosity, providing a sonic metaphor for our technologically mediated era of countless synchronized nanosecond metronomes.

144 pages.

Every Sneaker Story Worth Telling!

An anthology of cult magazine Sneaker Freaker

Back in 2002, Simon “Woody” Wood was dreaming up schemes to get free sneakers. Two weeks later, he was the proud owner of Sneaker Freaker and his life was never the same.

From its early roots as a punk-style fanzine to today’s super-slick print and online operations, the fiercely independent publication has documented every collab, custom, limited edition, retro reissue, Quickstrike, Hyperstrike, and Tier Zero sneaker released over the last 20 years.

Woody’s original premise that Sneaker Freaker would be “funny and serious, meaningful and pointless at the same time” has certainly been vindicated in The Ultimate Sneaker Book. With more than 500 pages jam-packed with insider knowledge and his own irreverent observations, the insane historical detail and otaku-level minutiae is beyond obsessive.

Traversing 100 years of history, each chapter paints a rollicking picture of the sneaker industry’s evolution. Air Max, Air Force, Adi Dassler, Converse, Dapper Dan, Dee Brown, and Michael Jordan—along with obscure treasures like Troop, Airwalk, and Vision Street Wear—are all exhaustively documented.

This is a definitive source of knowledge. This is… The Ultimate Sneaker Book!

Sneaker Freaker has been at the forefront of the global sneaker scene for over two decades. With over 500 redesigned pages, fresh photography, immense historical detail, and otaku-level minutiae, this anthology combines the magazine's finest and content created exclusively for this book into one big celebration of sneakers.

“The most definitive sneaker culture magazine on the planet!”
MTV

The editor and author
Simon “Woody” Wood established Sneaker Freaker in 2002 as the first and only international magazine dedicated to footwear. Today, Sneaker Freaker documents every colab, custom, limited-edition, and retro reissue in exacting detail across multiple digital channels and print projects. Based in Melbourne, Woody is recognized worldwide for his encyclopedic knowledge, inimitable writing style, and steadfast role as an authentic ambassador. His TASCHEN titles include the best-selling Ultimate Sneaker Book and The World's Greatest Sneaker Collectors.

Hardcover, 15.6 x 21.7 cm, 1.11 kg, 512 pages

Credited as one of the pioneers of ‘harsh noise wall’; influential artist Sam McKinlay (b. 1974, CA) has been operating under the alias The Rita for over 25 years. Having performed extensively and credited with over 200 releases, the project has grown into a laser focused multidisciplinary venture and is celebrated for pushing the boundaries of ‘harsh noise’.

Accompanying The Rita’s singular and often unpredictable sonic output is an inseparable and distinct visual language. By combining McKinlay’s fine arts education, research, experimentation, and collaboration; the project visually and texturally unites the artist’s interests in minimalist design, noise, ballet, sharks, choreography, and film.

‘Correlations’ presents some of the images and documents McKinlay finds most definitive in his practice The monograph is designed to provide a cohesive understanding of the artist’s creative trajectory, as well as illuminate The Rita’s uncanny process that visually, conceptually, and historically ‘connects’ seemingly unrelated subjects.

Published by Amaya Productions; the monograph includes essays by the author and Centre Pompidou art historian Nicolas Ballet (‘Shock Factory: The Visual Culture of Industrial Music’), associate Professor and harsh noise artist Lexi Turner (Cornell University), and author, writer, producer Kier-La Janisse (‘House of Psychotic Women’).

The King Of Covers' is the concluding part of the month long Lemi Ghariokwu exhibition that ran at the Rush Hour store 1-28 november 2023. The thirty sleeves that were at display are now nicely bundled into this full colour 70 page booklet. Each sleeve comes with a story by Saffa Khalil, who analysed the covers, listened to the music and talked to Lemi. Saffa mentions: "As you flip through each page, listen to the album(s) and fully immerse yourselves in the history(ies) and stories narrated visually and sonically. I hope you uncover more about Afrobeat's influence and the richness that African musical history offers us. "

The booklet is preceded by an essay from 2013, first published in Granta entitled 'A Dynasty Of Album Cover Art' which talks about Lemi's friendship with Fela Kuti, the social and political situation of Nigeria at the time the cover art was created and off course.. giving a closer look to some of the landmark covers from the Fela catalogue that come from Lemi's hand.

Book design is by Atelier Estiva. Graphic design by Mauricio Kuhlmann.

70 pages, 20x20 CM - edition of 250

Isbn: 9789090380254

The first book to chronicle the alternative music, art, and club scenes of a particularly amazing time and place: the 1980s in South Florida. Comprehensive in its approach, Punk Under the Sun documents the bands, venues, galleries, and scenesters who started and sustained the groundswell of activity that made Miami and nearby beaches a progressive hotspot, setting the stage for South Florida to become the international cultural destination it is today. Authors Joey Seeman and Chris Potash were there, participating in and documenting the first, second, and subsequent waves of musicians, indie labels, DJs, retail stores, publications, and players who came together to create a unique cultural moment and movement in South Florida history. This essential document of a powerfully expressive decade features never-before-seen photographs by Jill Kahn, Debbie Baylis Sunshine, Laurie Alaimo, and others, plus dozens of fliers, posters, and other souvenirs from that heady time. Punk Under the Sun includes a discography of 1980s albums and singles, along with an 11-page index that’s a valuable Who’s Who of people and places that created South Florida’s alternative culture. First edition of 600 copies. 224 pages.

Jim Ottewill’s exploration of UK club culture and the urban landscapes that have housed it returns in a newly remixed form. This extended version features a new chapter exploring hidden histories and untold stories within Birmingham’s nocturnal scene to provide more insights into the past, present and future of electronic music culture.

“We don’t want more unaffordable flats. We want somewhere to dance…”

Since the dawn of time, humans have had the urge to come together and move to music. It may have started in caves but these days it happens in clubs often found in the shady corners of our towns and cities.

Or at least it did until these places succumbed to the beat of property developers rather than DJs. In London in the five years to 2016, half of the clubs were lost while a further quarter have disappeared in the devastation of Covid. So what now?

At this critical moment, Out of Space plots a course through the different towns and cities club culture has found a home. From Glasgow to Margate via Manchester, Sheffield and unlikely dance music meccas such as Coalville and Todmorden, this book maps where electronic music has thrived, and where it might be headed to next while exploring other shades of club culture too, such as pirate radio, dance music festivals, and sound system culture.

As our lives become increasingly digitised and real estate more valuable, we’ll look at the new clubbing models emerging in the 21st century. Rather than an epitaph, this is a rallying cry and celebration of the club’s resilience based on a lifetime of getting wide-eyed inside them.

Quotes:

“As gentrification, lack of funding, stifling politics and the pandemic continue to pummel nightlife, it feels all the more poignant to chart the past and present of raving, while questioning what’s next. With lively and forensic research, clarity of thought and a passion for keeping clubbing’s resilient spirit alive, Out of Space is less of a commemoration and more of a rallying cry.” – The Face

“Ottewill’s book is tireless in its seeking out of new buzzes in grassroots clubland, LGBT collectives and local scenes, all of them ensuring euphoric highs for future generations of ravers.” – The Wire

“Jim Ottewill lands in Glasgow, South Yorkshire and beyond to write this comprehensive rave chronicle ‘Out of Space’. In an era where nightlife spaces are increasingly endangered, Ottewill posits his record of the past as a pugilistic rallying cry.” – Resident Advisor

“Most importantly, the book goes beyond the four walls of each club to the urban sprawl that surrounds it as we’re taken on a local history tour. The author reminds us that clubs and parties, despite operating on the fringes of society, are an integral part of our culture, and many of us have gone through our own rights of passage, often travelling miles to experience our favourite clubs. Clubs and their supporting infrastructure not only have a heritage worth saving but also one worthy of capturing for posterity in a book – something which Ottewill has done justice to.” – Now Then

“Jim Ottewill’s look into urban rave culture defies expectations.” – The National

he exiting story about how the street wear pioneers Shirt Kings created a style that would define hip hop culture in the 1980s and beyond. Jamaica, Queens, New York in the mid 1980s. Rappers, celebrities and hip hop fans came from all over the city to get their own customized T-shirt by the Shirt Kings. The style traveled all over the world through record covers and music videos, and the Shirt Kings designs soon became synonymous with hip hop and the culture of making something out of nothing. Shirt Kings: Pioneers of Hip Hop Fashion looks at the early days of street wear through the lens of the pioneering group of artistic entrepreneurs known as the Shirt Kings. By adapting the graffiti skills from the trains and spray cans to shirts and airbrush they created a new look for a new generation. Edwin Phade Sacasa is a founding artist of the group and it is through his archives that we are transported to the 1980s in New York City where the fashion was loud, colorful, and filled with cartoon imagery. But not just any cartoon imagery for the cartoons where urbanized. Mickey Mouse with a Fila suit, Casper the Friendly Ghost with gold teeth and Pink Panther with gold chains. People from across the city made their way to Jamaica, Queens to a small shopping mall known as the Coliseum where you could easily bump into the biggest names in hip hop of the day. From DJ Red Alert to LL Cool J to Big Daddy Kane to Mike Tyson – they all had to have their Shirt Kings designs. Shirt Kings: Pioneers of Hip Hop Fashion chronicles the art, the styles, and the people who where loyal supporters of the Shirt Kings, and takes us on a trip down memory lane to when customization and art reigned supreme in New York City. After the hardcover has been sold out for years, just in time for Hip Hop’s 50th anniversary comes another chance to take part of the Shirt Kings’ inspiring history as pioneers of hip hop and street wear in this beautiful soft cover edition. “Shirt Kings brought the hip hop element into the clothes for real and integrated it, and it was the first time I saw hip hop culture completely merged with clothing.” — LL Cool J “The Shirt Kings network was fashion TV of the times, and advertising and promotion way before it became trendy.” — Chuck D, Public Enemy ”Phade and the Shirt Kings are pioneers of hip hop fashion, also it is duly noted that the graffiti element has been elevated and made fashionable thru their airbrushing work.” – RZA ”Phade has been my go to guy since the eighties for all airbrush collabos!” – Dapper Dan Born in East New York, Brooklyn, Edwin Phade Sacasa founded the Shirt Kings in the mid 1980s, where he serviced many of todays Hip Hop stars and pioneers, such as Jay Z and Run DMC. Phade is working with youth in the inner city and have developed a program that teaches urban fashion through art therapy and entrepreneur skills. Alain KET is an artist, photographer, author, artistic consultant, marketing professional and frequent lecturer on the topic of graffiti.

Neue Deutsche Welle (NDW), or “German New Wave,” was made extraordinarily popular in the 1970s and 1980s by the likes of Nena's "99 Luftballons" and Trio's "Da Da Da"-and then left as quickly as it came. Conventional wisdom among artists dictates that it's better to burn out than fade away, but this doesn't tell the full story of NDW-the reason for its rapid rise and fall, the historical context that necessitated the genre, and where the energy of the NDW movement went after its end.

The genre has international influences but still demonstrates a uniquely German desire to build a new, sanitized identity in the aftermath of World War II. Originally quite subversive and underground, NDW became exponentially more mainstream until it could no longer sustain itself creatively. And rather than disappearing, it helped give rise to the post-Cold War rave craze and is still an important touchstone in music history.

Claudia Lonkin is a historian of popular music and culture based in the United States.
Her research focuses on global music trends in the 1970s and 1980s, examining congruences and points of contrast between scenes in Europe and the Americas. She has been published in the Journal of Popular Music Studies and Punk & Post-Punk.

168 pages
197 x 127 mm

In "A Dysfunctional Success" Eric Goulden writes with an acute eye for detail about growing up in the 60s and 70s in suburban South East England, discovering music and girls; life as an art student in the frozen north eastern town of Hull; the formation and dissolution of bands with desperate equipment, a homemade ethos and not much idea; his move to London in 1976 and subsequent recording debut on the newly formed Stiff Record label. This is an honest coming of age story from both sides of instant pop success: bands, squalid flats, menial jobs, making records, the rise to the point of fame and falling off into poverty and alcoholism in Thatcher"s Britain, where Goulden ultimately survived the 1980"s to achieve his own kind of success. Twenty-one years after its original publication, in a time when pop stars telling their own hard stories was a comparative rarity, A Dysfunctional Success rings truer than ever, reminding readers how we all come from somewhere, pay a high price for our dreams, and enjoy modest glories in return for staying the course. "I think I was hoping for insight into the early Stiff Records days, which I didn"t get. What I got was much better, and a great deal more interesting: a shambling, acutely observed, very funny-sad-true-sharp autobiography ..." Neil Gaiman

“Raghunath’s transformation shows how one person’s choice to evolve can change the lives of so many. This book is real, funny, and inspirational.” – Jay Shetty The heartfelt memoir of Ray Raghunath Cappo, a legendary hardcore-punk musician-turned-monk—and pioneer of the straight-edge movement—told with warmth, candor, and humor. Ray Cappo was a hardcore-punk singer and pioneer of the straight-edge movement living on the Lower East Side of New York City in the ’80s, where his band Youth OF Today played to packed clubs and touched thousands of people across the globe. But despite the accolades from fans, the popularity of his records, and the positivity he’d brought to the punk music scene, none of this success gave Ray joy. He felt stagnant, and he yearned for something more. This, along with his father’s untimely death, led him to abruptly quit the band and buy a one-way ticket to India in pursuit of the answers to life’s great mysteries. Living as a monk in the sacred city of Vrindavan and traveling across the country on a series of train trips, Ray embraced the rich, spiritual culture he discovered there. As his unusual adventure unfolded, he encountered extraordinary characters, witnessed deep acts of devotion, and experienced profound moments of divine connection, leading to a radical transformation that was ego-crushing and blissful all at once. Inspired to write music again, Ray returned to the US, where he and other monks founded Shelter, a band dedicated to spreading a message of faith, hope, and love. Told with warmth, candor, and humor, this heartfelt memoir chronicles Ray’s emotional and

This official tie-in book to Marilyn Agrelo’s (Mad Hot Ballroom) documentary Street Gang: How We Got to Sesame Street supplements the film’s exploration of the origins and legacy of Sesame Street with exclusive interviews and unseen photographs from first two seasons of this globally beloved series. Author Trevor Crafts, who was given unprecedented access to archival footage and photography, presents 150 of photographer David Attie’s behind-the-scenes images of Jim Henson, Frank Oz, Matt Robinson, Big Bird, Oscar the Grouch, Bert and Ernie, and dozens of other pioneering puppeteers, animators, actors, and Muppets. Crafts uses Attie’s photos to expand upon the film’s story of how show creator Joan Ganz Cooney, along with Sesame Workshop cofounder Lloyd Morrisett and director Jon Stone, took the values and goals of the civil rights movement and revolutionized children’s television. The Unseen Photos of Street Gang is a tribute to the enduring achievements of a rebellious group of artists, educators, and freethinkers who believed that the values of equality, education, and inclusion should not just be championed but also made available to all—a dream that Sesame Street has carried forward for more than fifty years. Contributors include: Sesame Street creator Joan Ganz Cooney, head writer Norman Stiles, lyricist and composer Christopher Cerf, cast members Roscoe Orman (Gordon), Sonia Manzano (Maria), Emilio Delgado (Luis), Bob McGrath (Bob), Caroll Spinney (Big Bird and Oscar), Brian Henson, and Sesame Street's first female puppeteer Fran Brill

Marty Perez is a Chicago-based photographer who has been documenting the parallels between the worlds of underground rock as well as some of the biggest stars of pop music, from 1976 to the present. This is the first collection of his images from the last five decades of rock’n roll decadence, from the wild, unhinged crowds of unruly and footloose teenagers to the incredible juxtaposition of both house-hold names with the sub-obscure underground bands that didn’t see the bright lights as close, yet still hold that certain magic of the era."—Jim De Rogatis

Jeff Drake has led an extraordinary life... and believe me, that’s a vast understatement. I say this with confidence, because we’ve known each other for four decades. His band the Joneses, co-founded with skateboard champion Steve Olson, was the shining light of the 1980’s Southern California underground rock scene, ages before the term ‘alternative music’ was bandied about by MTV and rock critics. The Joneses were the damn bomb. A louche, sloppy, outlaw amalgam of punk, pop and Don’t Give A Fuck attitude, they played thrashy, trashy rock’n roll that owed as much to The New York Dolls as it did to the Rolling Stones. Jeff’s songwriting was pure, catchy pop, even though the lyrics were riddled with sex and drug references. It was as though he mixed up a potion from the blood and brain cells of Little Richard and The Ramones, came up with a perfect formula, ingested it, and made his own unique creation. The Joneses’ live shows were off the hook, as were their off-stage antics. Though neither of us can remember the exact moment we met, we became fast friends in 1983. We hung out constantly back then and he was a regular at my infamous punk rock crash pad, Disgraceland. Hollywood in the 1980’s was an ungentrified wasteland; the streets were ruled by delinquent twenty-somethings, most of whom were in bands. My own band The Screaming Sirens played numerous times with the Joneses. During the time, the Joneses were being courted by a number of major labels, though the record execs were absolutely clueless and cautious back then. If one of them would’ve taken a gamble, Jeff would’ve become a huge star. Instead, living out his own song ‘Criminals,’ he robbed a bank to feed his heroin habit. On a personal note: in the course of my life I’ve somehow known seven bank robbers, but hands down, Jeff is my favorite.There’s so much more to his story though, as you’ll see in the following pages. It’s a confessional told in a direct, honest, engaging way, in his own words with a touch of dark humor; it’s exactly the way he speaks in real life. You, dear reader, will be extremely happy that Jeff didn’t join the 27 Club, the coterie of rock stars who passed away at that young age. Luckily, he’s still with us to tell his own personal story of sin and redemption. After all, what could possibly be more subversively rock’n roll than living to tell all the salacious details?”—Pleasant Gehman, March, 2022.

In 2021, the „Week-End Fest“ looked back on 10 years of encounters between over 100 international musicians. Since its beginning in 2011, the curators‘ own fanhood has been a central element – thus the idea arose to have the artists tell stories about musicians, places or encounters that have shaped them. In ‚I feel everything you say, I feel everything you hear.‘ (the title is borrowed from the song „I’m so Green“ by Can) they tell of decisive moments and memories that still resonate today and have shaped their own artistic identity. As with the festival program, the book succeeds in highlighting diverse lines and connections among them. Dub producers Adrian Sherwood and Scientist talk about their deep admiration for the two inventors of dub Lee „Scratch“ Perry and King Tubby. Electronic pioneer Suzanne Ciani talks about her first steps as a musician and her encounter with Don Buchla, to whom she owes her first job and her first synthesizer. The British avant-garde guitarist Fred Frith describes his first bizarre encounter with the Sun Ra Arkestra in New York in 1979, of which Marshall Allen is a member. The latter tells how today, at the age of 97, he creatively carries on the musical legacy of his master Sun Ra with pride and reverence. By focusing on the fan perspective of the participating artists, the book connects to the curatorial concept of the festival itself. And through their stories and anecdotes, building blocks of a new or different oral history of recent music history emerge at the best moments.

Between 1978 and 1983, Great Britain spawned a DIY uprising of over 500 heavy metal bands. Many soon became the household names of the 1980s metal invasion…many others did not. For the first time, author Michael Hann captures the whole nose-to-tail story of the New Wave of British Heavy Metal in all its power and glory, exploring the bands, clubs, radio, magazines, festivals, and the majesty and misfires of the Nwobhm in over 100 interviews with members of Venom, Def Leppard, Iron Maiden, Diamond Head, Angel Witch, Samson, UFO, Tygers of Pan Tang, Vardis, Judas Priest, Saxon, Whitesnake, Girlschool, Witchfynde, Demon, Thin Lizzy, Rainbow, Gillan, Led Zeppelin, and more. 432 lavishly illustrated pages plus 16pp glossy color section.

A collection of Guided BY Voices frontman Robert POLLARD’s fantastic collage art in a perfect bound book. 235 pages. The man never stops creating.

Trip-hop described some of the 1990s' best music, and it was one of the decade's most revealing bad ideas.

The music itself was an intoxication of beats, bass, and voice. It emerged amid the social tensions of the late 1980s, and as part of hip-hop's rise to global dominance. It carried the innovations of Jamaican soundsystem culture, the sweet refuge of Lovers Rock, the bliss of club jazz dancefloors and post-rave chill-out rooms. It went mainstream with Massive Attack, Portishead, Tricky, DJ Shadow, Kruder & Dorfmeister, and Björk; and with record labels like Ninja Tune and Mo' Wax. To the artists' despair, the music was tagged with a silly label and packaged as music for the boutique and the lounge; made respectable with awards and acclaim.

But the music at its best still sounds experimental and dramatic; and its influence lingers through artists like FKA twigs, Sevdaliza, James Blake, Billie Eilish, and Lana Del Rey. This short book is a guide to 'trip-hop' in its context of the weird 1990s: nostalgia and consumerism; pre-millenium angst and lo-fi technology; casual exoticism amid accelerating globalization and gentrification. This book presents a survey of the music and its leading artists, packed with recommended listening, essential tracks, great remixes, and under-recognized albums.

Moon Pix was conceived during a hallucinatory waking nightmare in the South Carolina home of Chan Marshall one fateful day in 1997. Spirits violently swam up around her house, looming at the windows, beckoning her to join them. Her and her acoustic guitar warded them off song after song, nearly the entire album rushed forth onto a tape recorder that night. Facts, fictions and visions ripple throughout the accounts of Moon Pix from every angle- memories of screaming at an audience, spirals of drunkenness, swimming with sharks in Australia, intense, resonant lyrics and thunderstorms ringing through speakers. Like all legends, the aura surrounding them is an impression, a sensory feeling of unreliable memories: layers of stories become histories.

Through interviews with key players, audience member accounts, fictional narrative imaginings, a collection of record reviews and other explorations of truth, this book, like Moon Pix itself, is an ode to the myth within the music and the music within the myth.

Come to My Garden (1970) introduced the world to Minnie Riperton, the solo artist. Minnie captivated listeners with her earth-shattering voice's uncanny ability to evoke melancholy and exultance. Born out of Charles Stepney's masterful composition and Richard Rudolph's attentive songwriting, the album fused a plethora of music genres. A blip in the universe of fusion music that would come to dominate the 1970s, Come to My Garden also featured the work of young bandleaders like Ramsey Lewis and Maurice White, thus bridging the divide between jazz and R&B.

Despite fairly positive reviews of the album, even in its many re-releases, it never garnered critical attention. Minnie Riperton's Come to My Garden by Brittnay L. Proctor uses rare archival ephemera, the multiple re-issues of the album, interviews, cultural history, and personal narrative to outline how the revolutionary album came to be and its lasting impact on popular music of the post-soul era (the late 20th to the early 21st century).

Mit den Büchern von Christiane Rösinger, Bernd íBegemann und Carsten Friedrichs starten wir eine Reihe, in der die Texte deutscher Musiker:innen erstmals in Buchform zugänglich gemacht werden. Texte von Musiker:innen, die die hiesige (Sub-)Kultur mit ihren íSongtexten in der Retrospektive ebenso geprägt haben wie die ausschließlich schreibende Zunft. Eine längst íüberfällige Würdigung außergewöhnlicher Songwriter:innen, deren Texte nicht bloße Anhängsel ígroßartiger Musik sind, sondern ebenso auch für sich stehen. Christiane Rösinger, geboren 1961, zog 1985 aus dem íBadischen nach West-Berlin, wo sie mit Almut Klotz und Funny van Dannen die Lassie Singers gründete. Nach deren Auflösung war sie Kopf der Band Britta. Rösinger war zudem eine der Betreiberinnen der legendären Flittchen Bar und betrieb das Label Flittchen Records. Sie veröffentlichte zwei Soloalben, mehrere Bücher und schrieb zahlreiche Theatermusiken. 2019 hatte ihr erstes Musical "Stadt unter Einfluss" Premiere im Hebbel am Ufer. "Was jetzt kommt" ist die Würdigung einer außergewöhnlichen Songwriterin. Ob Lassie Singers, Britta, Solo: das Buch enthält Lyrics aus allen Schaffensphasen, Geschichten und ein exklusives Christiane-Rösinger-Glossar.

I've encountered a lot of people who assume touring is chaotic, or worse, glamorous. Most of the time it's neither. Being on tour means being suspended between two worlds, between different versions of home. Like color, people can see the same tour differently.

—Rachel Demy, from Between, Everywhere



Photographer Rachel Demy knows every detail of what it takes to move instruments, cases and crews across the country and around the world to bring musicians and audiences together for a few precious hours. After a decade on the logistics side of managing tours, she laid down her spreadsheets and 16-channel Motorola radio to spend more time with her camera, capturing the liminal moments she had long been observing.

The photographs comprising Between, Everywhere were made over a five-year period touring with Death Cab for Cutie, a band she met first as a fan, and eventually joined as family. Demy’s wry and poignant photographs take viewers behind the scenes and on a journey full of the quiet, the beauty, the monotony and the exhilaration of a veteran band on tour.

Brand new edition of Soul Jazz Records" massive deluxe 400-page Punk 45s cover art book edited and compiled by Jon Savage (author of the seminal book on punk, England"s Dreaming) and Stuart Baker (founder of Soul Jazz Records). This new edition comes with a new introduction from Bobbie Gillespie, founder of Primal Scream (who has recently also published his memoirs Tenement Kid). Contributors include Peter Saville, Richard Hell, Richard H Kirk, Seymour Stein, Geoff Travis, Martin Moscrop, Glenn Branca, Jamie Reid, Dave Robinson, Roger Armstrong, Martin Mills, Gee Vaucher, Savage Pencil, Dennis Morris and more. This book is a revelatory guide to hundreds and hundreds of original 7" record cover sleeve designs - visual artefacts found at the heart of the most radical and anarchistic musical movement of the 20th century.

Packed with almost 5,000 images, Logo-a-gogo is an inspirational visual history of the iconic brand identities created by design supremo Rian Hughes over the past 20 years. Case studies reveal the making of his famous comic book logos including Batman and Robin, Spider-Man, the X-Men, Captain America, Wolverine and those for his diverse range of other clients, from bands, artists and fashion retailers to international corporations. Preliminary sketches and alternative concepts appear alongside the final design, and Hughes is refreshingly candid about his experience of meeting briefs and finding creative solutions sharing insider stories on the highs and the lows, and giving invaluable tips for getting brand identity right. With an introduction by Grant Morrison, the Eisner award-winning comics writer and longtime Hughes collaborator, this is an amazing resource for designers, typographers, and comic book illustrators to draw on in brand identity and other graphic design projects.

A fascinating oral history of one of American indie rock's most enduring and influential acts. Slow, deliberate and deceptively simple, the music of Boston-based band Galaxie 500 was wonderfully at odds with the prevailing underground sounds of the late 1980s and early 1990s. Formed in 1987, the band split up in 1991 after releasing three acclaimed albums—Today, On Fire and This Is Our Music—as well as a Peel Sessions recording. The primary contributors to this long unavailable history of the band are the three band members—bassist/vocalist Naomi Yang, drummer Damon Krukowski and guitarist/vocalist Dean WAREHAM—but dozens of people were interviewed in all, including fellow musicians, record business folks, music critics and scenesters. Galaxie 500: Temperature’s Rising provides a complex, sometimes contentious account of the band’s rise to indie stardom and their acrimonious breakup. It also includes dozens of rare and never-before-seen photographs, as well as posters and other ephemera from the personal collection of Naomi Yang, who provides a running commentary to the images. This is the definitive book about Galaxie 500, and a crucial chapter in the story of indie rock.

Pünktlich zu seinem 60. Geburtstag erscheint in der Ventil-Verlag-Reihe "Ausgewählte Songtexte" eine Ausgabe mit 100 Songtexten von Bernd Begemann: "Gib mir eine zwölfte Chance". "Ich bin besessen davon, ein Beobachter zu sein" sagte er einmal über sich selbst und so sind seine Texte präzise Beobachtungen des bundesdeutschen Alltags. Begemann schafft es in den wenigen für einen Liedtext zur Verfügung stehenden Zeilen ein ebenso präzises wie mitfühlendes, erklärendes und vor allem unterhaltsames Bild der Gesellschaft zu erschaffen. Seine Songs könnten und sollten Hits und/oder Volkslieder sein, sie sind es aber nicht. "Meine Aufgabe ist es Literatur zu schaffen, nicht meine Kundschaft zu maximieren" so Begemann einmal gegenüber dem Spiegel. Höchste Zeit also für vorliegende Textsammlung und eine eventuelle Maximierung der Kundschaft. Zusätzlich zu den Songtexten enthält das Buch Anmerkungen und Erläuterungen des Autors zu jedem Liedtext und eine Einführung. Bernd Begemann, geboren am 1.11.1962, war der erste Punk in Bad Salzuflen. Er gilt vielen als Erfinder der Hamburger Schule und schrieb deutschsprachige Lieder, als es noch beziehungsweise schon wieder uncool war. Mitte der 80er zog er nach Hamburg und veröffentlichte mit Die Antwort sein erstes Album. Sein späteres Solodebüt nahm er in der Küche seiner Wohnung im Hamburger Arbeiterstadtteil Rothenburgsort auf. Ein urbanes Folk-Album mit Elektronik namens "Rezession, Baby!". Also das, was alle machen, bevor man das machte. Er war nämlich oft als Erster auf dem Minenfeld. Er inspirierte eine Menge Leute, von Tocotronic bis Olli Schulz. Begemann hat über 20 Alben und über 400 Songs veröffentlicht. Er trägt gern smarte Anzüge und spielt, wenn es die Umstände zulassen, Hunderte Konzerte im Jahr.

Family: THE Source Family Scrapbook provides an immersive view into the public and private world of the Southern California occult commune The Brotherhood of the Source. Edited by Isis Aquarian, Charlie Kitchings, and Jodi Wille, this lavishly illustrated book reproduces 200 original scrapbook pages assembled by family historian Isis Aquarian from 1972-1977, documenting the group's dramatic rise and fall, from their time living together in the Hollywood Hills operating their wildly popular Source vegetarian restaurant on the Sunset Strip to their exodus to Hawaii and San Francisco as the group began to unravel. Copious unpublished photographs, newspaper clippings, letters, manifestos, album art and flyers, augmented by descriptive captions, reveal the Source Family's astonishing trajectory, from controversial leader Father Yod's spiritual awakening to the group's wild musical and social experimentations, to the provocations that led to the group's paradise lost. These pages provide a revelatory, firsthand view into the widely misunderstood phenomenon of new religious movements and cults of the 1960s and 70s. This book is a beautiful 200pg full color, cloth bound, and embossed 11"x12" hardcover coffee table book.

Envision the city as an infinite playground. Created in collaboration with Red Bull, Urban Playgrounds explores some of the world’s most thrilling places for urban sports. From Venice, Barcelona, and Los Angeles, to Brasilia, Istanbul, Cairo, Lagos, or Jarkarta, this book reveals an exhilarating marriage between space and sports in global cities. Born from a need to challenge boundaries and reclaim the right to the city, from a desire for self-expression and entertainment, urban sports reimagine the city as a playground. Be it freestyling on a skateboard, riding a BMX, or stretching the human body in parkour, urban athletes demonstrate the possibilities.

Art exists all around us: one just needs to know where to look. Escaping the conventional settings of the museum or gallery, a fascinating variety of art pieces exist everywhere from Ghanaian patios to the Las Vegas desert, from the forest in Scandinavia to the buzzing streets of Mexico City. Unconventional Art Places is a thoughtful journey through these little-known gems that become a destination in themselves, and should be part of every art-lover bucket list. Away from the queues, the crowds, and the constraints of the classic art spaces, these places invite you to discover creativity in a new light.

Graffiti Characters for Beginners presents you with a simple and straightforward introduction to the basics behind graffiti characters. Easy-to-follow instructions of how to draw a classic b-boy or a fly girl, flying eyeballs, angry spray cans, happy Uni-markers and much more. Learn the the basic composition of the characters, and give them emotions, attitude and purpose. Graffiti Characters for Beginners is the fundamental guide for you to learn how to master drawing funky cartoonish figures with style and finesse. Step by step, until you are able to put together complicated sceneries with interacting characters of your own choice. Graffiti Characters for Beginners suits all ages and is as great for kids and creative adults as it is for advertisers, home stylers and school teachers. Learning graffiti has never been easier or more fun! Also available in Dokument Press’ ”beginners” series is the popular Graffiti for Beginners: An