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The Velvet Whip was the Midwest's unique late 1960s answer to west coast psychedelic and experimental rock. The iconoclastic group, proud of its Milwaukee roots, eschewed national tours and albums, mesmerizing its loyal regional audience till its explosive energy inevitably fizzled and the group disbanded. The Legendary Velvet Whip is told best, and entertainingly, by the band's co-founder Dan Ball, with fellow Whipster Henry Steinfort. Included are chapters and memorable recollections from Wisconsin underground cartoonist Denis Kitchen, bass guitarist Tom Ruppenthal, lead guitarist Ken Blochowiak, drummer Chas "Chuck" Reitzner, Whipster The Richard aka Richard Bussian and Richard Ramsay and Discovery World CEO Paul Krajniak. Profusely illustrated with period b&w photos, cartoons, and distinctive Velvet Whip memorabilia. As primary author Ball summarizes, "The Velvet Whip grew out of a desire to fuse classical music instrumentation and contemporary music. It quickly became one of the hottest acts on the counterculture scene, playing at the Avant Garde Coffee House and other sixties sub-culture venues throughout the Midwest in the second half of the 1960s. Henry and I initially had the bright idea to start a rock band. I played violin, so I could obviously play guitar, and Henry could transfer from a cello to electric bass. Little did we know how inadequate those ideas were. We were clueless about the rock band scene and without experience, but driven by burning desire. It seemed like fun and a great way to meet girls. Having no connection to regional rock musicians, we looked for other long haired guys in town to join us. Long hair was a real novelty in Milwaukee in the mid-60s, so there were all of three candidates. Two could play guitar and the other (Richard Bussian aka The Richard) was an experience unto himself. This unlikely band-building strategy proved miraculous: an amazing, hilarious and totally original adventure into rock and roll ensued. Despite the forces that tried to stop us, we left an unmistakable mark, one that seems even more unlikely and miraculous in hindsight. "
Kissimmee Pete, his dog Mud, and his horse Blaze work together to gather a cow herd "as big as the sky."
Ffilled with the actual details that led to the murders and the conviction, the sentencing, the escape. Flowers does an adroit job of showing what can be done by law enforcement agencies and their personnel.
Described as the perfect fusion of poetry and garage band rock and roll (the original concept was "rock and Rimbaud"), Horses belongs as much to the world of literary and cultural criticism as it does to the realm of musicology. While Horses pays homage to the record's origins in the nascent New York punk scene, the book's core lies in a detailed analysis of Patti Smith's lyrics and includes discussions of lyrical preoccupations: love, sex, gender, death, dreams, god, metamorphosis, intoxication, apocalypse and transcendence. Philip shaw demonstrates how Horses transformed the possibilities of both poetry and rock music; and how it achieved nothing less than a complete and systematic derangement of the senses.
Archiving Warhol is a collection of Gerard Malanga's many writings on, and interviews with, Andy Warhol over the years. It is illustrated by revealing pictures from Malanga's extensive archive of Warhol and the factory.
James Wolcott’s career as a critic has been unmatched, from his early Seventies dispatches for The Village Voice to the literary coverage made him equally feared and famous to his must-read reports on the cultural weather for Vanity Fair. Bringing together his best work from across the decades, this collection shows Wolcott as connoisseur, intrepid reporter, memoirist, and necessary naysayer. We begin with “O.K. Corral Revisited,” Wolcott’s career-launching account of the famed Norman Mailer–Gore Vidal dust-off on the original Dick Cavett Show. He goes on to consider (or reconsider) the towering figures of our culture, among them Lena Dunham Patti Smith, Johnny Carson, Woody Allen, and John Cheever. And we witness his legendary takedowns, which have entered into the literary lore of our time. In an age where a great deal of back scratching and softball pitching pass for criticism, Critical Mass offers a bracing taste of the real thing.
Winner of the Connecticut Book Award (2011) Winner of the Connecticut League of History Organizations Award of Merit (2012) Connecticut women have long been noted for their creation of colorful and distinctive needlework, including samplers and family registers, bed rugs and memorial pictures, crewel-embroidered bed hangings and garments, silk-embroidered pictures of classical or religious scenes, quilted petticoats and bedcovers, and whitework dresses and linens. This volume offers the first regional study, encompassing the full range of needle arts produced prior to 1840. Seventy entries showcase more than one hundred fascinating examples—many never before published—from the Connecticut Historical Society's extensive collection of this early American art form. Produced almost exclusively by women and girls, the needle arts provide an illuminating vantage point for exploring early American women's history and education, including family-based traditions predating the establishment of formal academies after the American Revolution. Extensive genealogical research reveals unseen family connections linking various types of needlework, similar to the multi-generational male workshops documented for other artisan trades, such as woodworking or metalsmithing. Photographs of stitches, reverse sides, sketches, design sources, and related works enhance our understanding and appreciation of this fragile art form and the talented women who created it. An exhibition of needlework in this book will be held at the Connecticut Historical Society in late fall, 2010. Funding for this project has been provided by the Coby Foundation, Ltd., and the National Endowment for the Arts.