“The ferociously talented Gibson delivers his signature mélange of technopop splendor and post-industrial squalor” (Time) in this New York Times bestseller that features his hero from Idoru... Colin Laney, sensitive to patterns of information like no one else on earth, currently resides in a cardboard box in Tokyo. His body shakes with fever dreams, but his mind roams free as always, and he knows something is about to happen. Not in Tokyo; he will not see this thing himself. Something is about to happen in San Francisco. The mists make it easy to hide, if hiding is what you want, and even at the best of times reality there seems to shift. A gray man moves elegantly through the mists, leaving bodies in his wake, so that a tide of absences alerts Laney to his presence. A boy named Silencio does not speak, but flies through webs of cyber-information in search of the one object that has seized his imagination. And Rei Toi, the Japanese Idoru, continues her study of all things human. She herself is not human, not quite, but she’s working on it. And in the mists of San Francisco, at this rare moment in history, who is to say what is or is not impossible...
Rob Spillman—the award-winning, charismatic cofounding editor of the legendary Tin House magazine—has devoted his life to the rebellious pursuit of artistic authenticity. Born in Germany to two driven musicians, his childhood was spent among the West Berlin cognoscenti, in a city two hundred miles behind the Iron Curtain. There, the Berlin Wall stood as a stark reminder of the split between East and West, between suppressed dreams and freedom of expression. After an unsettled youth moving between divorced parents in disparate cities, Spillman would eventually find his way into the literary world of New York City, only to abandon it to return to Berlin just months after the Wall came down. Twenty-five and newly married, Spillman and his wife, the writer Elissa Schappell, moved to the anarchic streets of East Berlin in search of the bohemian lifestyle of their idols. But Spillman soon discovered he was chasing the one thing that had always eluded him: a place, or person, to call home. In his intimate, entertaining, and heartfelt memoir, Spillman narrates a colorful, music-filled coming-of-age portrait of an artist’s life that is also a cultural exploration of a shifting Berlin.
Billy Name was the principal photographer of Andy Warhol's Factory. Now, "All Tomorrow's Parties" reproduces for the first time Billy Name's recently discovered photos of Warhol, his crowd, and the Factory years, images that give the era another dimensions. These color photos with their experimental use of weird color balances and diptych printing are uncannily contemporary. Together with Dave Hickey's essay and Collier Schorr's interview, Billy Name's photos reveal the Factory in all its intimate grunge and glamour. 135 photos, 122 in color.
After Hours (Song), All Tomorrow's Parties, European Son, Femme Fatale (Song), Here She Comes Now, Heroin
Author: Source Wikipedia
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Commentary (music and lyrics not included). Pages: 26. Chapters: After Hours (song), All Tomorrow's Parties, European Son, Femme Fatale (song), Here She Comes Now, Heroin (song), I'll Be Your Mirror, I'm Sticking with You / After Hours, I'm Waiting for the Man, I Found a Reason, I Heard Her Call My Name, Lady Godiva's Operation, List of songs recorded by The Velvet Underground, New Age (The Velvet Underground song), Pale Blue Eyes, Rock & Roll (The Velvet Underground song), Run Run Run (The Velvet Underground song), Satellite of Love, Sister Ray, Stephanie Says, Sunday Morning (The Velvet Underground song), Sweet Jane, There She Goes Again, The Black Angel's Death Song, The Gift (The Velvet Underground song), Venus in Furs (song), What Goes On (Velvet Underground song), White Light/White Heat (song). Excerpt: The following is a list of all songs by The Velvet Underground. This list details the name of the song and any officially released recordings of the song. In the case of studio recordings, the album title and date of album release have been included. In the case of live recordings, demos or rehearsal recordings, the date of recording and album the track appears on have been included. The songs, in alphabetical order, are as follows: Live recordings: Live recordings: Live recording: Live recordings: Live recordings: Demo/rehearsal recordings: Live recordings: Live recordings: Demo/rehearsal recordings: Demo/rehearsal recording: Live recordings: "Heroin" is a song by The Velvet Underground, released on their 1967 debut album, The Velvet Underground & Nico. Written by Lou Reed in 1964, the song, which overtly depicts heroin use and abuse, is one of the band's most celebrated compositions. Critic Mark Deming writes, "While 'Heroin' hardly endorses drug use, it doesn't clearly condemn it, either, which made it all the more troubling...
A young guitar player from Michigan is summoned to join a band in the seedy L.A. punk scene of the late 1970s, only to learn that his brilliant childhood friend, the lead singer, has disappeared. Before long, he is pulled into a noir-meets-leather world of sketchy characters on both sides of the law. "Mickey Spillane meets High Fidelity in this musical punk noir...for any fan of Dana Spiotta's Eat the Document." - Dana Bonn, power pop/punk rock DJ, This Is Rock 'n Roll Radio "B.D. Love paints a gritty picture of Los Angeles circa 1979 with its music dominated by the punk and power pop camps and sundry characters. He takes readers on a sweeping journey from the Hong Kong Cafe in Chinatown to Doug Weston's Troubador in Hollywood and to the beach where, sadly, his murdered friend died, a crime he reluctantly pursues amidst the beer, whiskey, groupies, gigs, and cocaine. As he seeks the truth behind the murder, we see "the city of tiny lights" as he calls it, and its music scene, objectively from a visitor looking for answers as much or more as he is looking for a way out... just like every bad punk and most of the good ones." -Mat Gleason, Coagula Curatorial, Los Angeles, and Coagula Art Journal
Sex and the Untimely in Nineteenth-Century America
Author: Peter Coviello
Publisher: NYU Press
Category: Social Science
Honorable Mention for the 2014 MLA Alan Bray Memorial Award Finalist for the 2013 LAMBDA LGBT Studies Book Award In nineteenth-century America—before the scandalous trial of Oscar Wilde, before the public emergence of categories like homo- and heterosexuality—what were the parameters of sex? Did people characterize their sexuality as a set of bodily practices, a form of identification, or a mode of relation? Was it even something an individual could be said to possess? What could be counted as sexuality? Tomorrow’s Parties: Sex and the Untimely in Nineteenth-Century America provides a rich new conceptual language to describe the movements of sex in the period before it solidified into the sexuality we know, or think we know. Taking up authors whose places in the American history of sexuality range from the canonical to the improbable—from Whitman, Melville, Thoreau, and James to Dickinson, Sarah Orne Jewett, Harriet Jacobs, Frederick Douglass, and Mormon founder Joseph Smith—Peter Coviello delineates the varied forms sex could take in the lead-up to its captivation by the codings of “modern” sexuality. While telling the story of nineteenth-century American sexuality, he considers what might have been lostin the ascension of these new taxonomies of sex: all the extravagant, untimely ways of imagining the domain of sex that, under the modern regime of sexuality, have sunken into muteness or illegibility. Taking queer theorizations of temporality in challenging new directions, Tomorrow’s Parties assembles an archive of broken-off, uncreated futures—futures that would not come to be. Through them, Coviello fundamentally reorients our readings of erotic being and erotic possibility in the literature of nineteenth-century America.
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