“Tearing Down the Wall of Sound is a remarkable book about, among other things, fame, obsession, genius, money and madness. It paints the fullest picture yet of a man who, whether creating some of the greatest pop music of all time, or destroying the lives of those closest to him, seems to have existed in a continuous state of mental agitation. The Phil Spector story still awaits its ending. In the meantime, this is the definitive study of the man, and the myth that engulfed him.” —Sean O’Hagan, The Observer (U.K.)With a number-one hit at age eighteen, a millionaire with his own label by twenty-two, and proclaimed by Tom Wolfe “The First Tycoon of Teen,” Phil Spector owned pop culture, his roster as a producer including the Ronettes, the Righteous Brothers, Ike and Tina Turner, the Beatles, then John Lennon and George Harrison, as well as Leonard Cohen and the Ramones. But in the spring of 2007, he stands trial for murder.A spectacularly troubled genius, Spector created with the “Wall of Sound” music never heard before, from “Be My Baby” and “You’ve Lost That Lovin’ Feelin’” to “Imagine” and “My Sweet Lord.” He suffered poorly the quantum shifts in rock and roll—not to mention the loss of his friends Lenny Bruce and John Lennon—growing ever more reclusive and abusive. By the turn of this century, however, he was not only sober but also attracted to new bands who knew his reputation, good and bad, all too well. Then, in February 2003, he leapt back into the headlines when Lana Clarkson, an actress, was found dead by gunshot in his Los Angeles mansion.Only weeks before, Spector had granted Mick Brown the first major interview he’d given in twenty-five years—the seed for this definitive, mesmerizing biography of a man who first became a king, then something else altogether.

“Tearing Down the Wall of Sound is a remarkable book about, among other things, fame, obsession, genius, money and madness. It paints the fullest picture yet of a man who, whether creating some of the greatest pop music of all time, or destroying the lives of those closest to him, seems to have existed in a continuous state of mental agitation. The Phil Spector story still awaits its ending. In the meantime, this is the definitive study of the man, and the myth that engulfed him.” —Sean O’Hagan, The Observer (U.K.)With a number-one hit at age eighteen, a millionaire with his own label by twenty-two, and proclaimed by Tom Wolfe “The First Tycoon of Teen,” Phil Spector owned pop culture, his roster as a producer including the Ronettes, the Righteous Brothers, Ike and Tina Turner, the Beatles, then John Lennon and George Harrison, as well as Leonard Cohen and the Ramones. But in the spring of 2007, he stands trial for murder.A spectacularly troubled genius, Spector created with the “Wall of Sound” music never heard before, from “Be My Baby” and “You’ve Lost That Lovin’ Feelin’” to “Imagine” and “My Sweet Lord.” He suffered poorly the quantum shifts in rock and roll—not to mention the loss of his friends Lenny Bruce and John Lennon—growing ever more reclusive and abusive. By the turn of this century, however, he was not only sober but also attracted to new bands who knew his reputation, good and bad, all too well. Then, in February 2003, he leapt back into the headlines when Lana Clarkson, an actress, was found dead by gunshot in his Los Angeles mansion.Only weeks before, Spector had granted Mick Brown the first major interview he’d given in twenty-five years—the seed for this definitive, mesmerizing biography of a man who first became a king, then something else altogether.

Drawn to the iconic figures and emblematic events of our age, celebrated photographer Phil Stern has documented World War II soldiers in combat in North Africa and Sicily, the luminous jazz legends of Verve Records, and Hollywood stars living the high life. Collected for the first time in this amazing tribute to Stern’s long-standing legacy, Phil Stern: A Life’s Work features never-before-seen photographs of the greatest figures and times of the American twentieth century. Stern, who enlisted in the army on December 7, 1941, joined the ranks of “Darby’s Rangers,” a much-heralded fighting unit, as combat photographer. In North Africa documenting the harsh and brutal battles against General Rommel’s forces, Stern was wounded. Awarded a Purple Heart for bravery, he was then reassigned to cover the invasion of Sicily for Stars and Stripes. Covering the homecoming of Darby’s Rangers for Life, the assignments Stern shot for the magazine brought him into another intrinsically American experience: Hollywood. At the same time, Stern worked intermittently for jazz label legend Norman Granz, photographing album covers for the Verve, Pablo, and Reprise record labels. A golden-era industry insider par excellence, Stern was tapped by Frank Sinatra to be the official photographer for the JFK Inaugural Gala. His friendships with and access to the greatest legends of the time allowed him to create indelible portraits—most seen here for the first time—of James Dean, Marlon Brando, Marilyn Monroe, Bette Davis, Marlene Dietrich, Judy Garland, Joan Crawford, Lauren Bacall, Humphrey Bogart, John Wayne, Sammy Davis, Jr., Frank Sinatra, Dean Martin, Alfred Hitchcock, Orson Welles, Count Basie, Dizzy Gillespie, Billie Holiday, Louis Armstrong, Sarah Vaughan, Ella Fitzgerald, Stan Getz, Art Tatum, Oscar Peterson, and Lester Young, among many others. Stern’s oeuvre is studded with classic figures of entertainment at its best; and in Phil Stern: A Life’s Work they come together to form a brilliant constellation around this truly star photographer.

Drawn to the iconic figures and emblematic events of our age, celebrated photographer Phil Stern has documented World War II soldiers in combat in North Africa and Sicily, the luminous jazz legends of Verve Records, and Hollywood stars living the high life. Collected for the first time in this amazing tribute to Stern’s long-standing legacy, Phil Stern: A Life’s Work features never-before-seen photographs of the greatest figures and times of the American twentieth century. Stern, who enlisted in the army on December 7, 1941, joined the ranks of “Darby’s Rangers,” a much-heralded fighting unit, as combat photographer. In North Africa documenting the harsh and brutal battles against General Rommel’s forces, Stern was wounded. Awarded a Purple Heart for bravery, he was then reassigned to cover the invasion of Sicily for Stars and Stripes. Covering the homecoming of Darby’s Rangers for Life, the assignments Stern shot for the magazine brought him into another intrinsically American experience: Hollywood. At the same time, Stern worked intermittently for jazz label legend Norman Granz, photographing album covers for the Verve, Pablo, and Reprise record labels. A golden-era industry insider par excellence, Stern was tapped by Frank Sinatra to be the official photographer for the JFK Inaugural Gala. His friendships with and access to the greatest legends of the time allowed him to create indelible portraits—most seen here for the first time—of James Dean, Marlon Brando, Marilyn Monroe, Bette Davis, Marlene Dietrich, Judy Garland, Joan Crawford, Lauren Bacall, Humphrey Bogart, John Wayne, Sammy Davis, Jr., Frank Sinatra, Dean Martin, Alfred Hitchcock, Orson Welles, Count Basie, Dizzy Gillespie, Billie Holiday, Louis Armstrong, Sarah Vaughan, Ella Fitzgerald, Stan Getz, Art Tatum, Oscar Peterson, and Lester Young, among many others. Stern’s oeuvre is studded with classic figures of entertainment at its best; and in Phil Stern: A Life’s Work they come together to form a brilliant constellation around this truly star photographer.

"'Come let us build a Third Kingdom, and in this Third Reich, hey, sisters, you will live happily; hey, brothers, you will live happily; hey, kids, you will live happily; hey, you German patriots, you will see Germany sitting enthroned above all the peoples of the world.' How clever Hitler was, brothers and sisters, in depicting these ideals!" Thus the late President Sukarno of Indonesia, an anti-colonial leader, in a public speech while accepting an honorary degree, and viewing Europe and its history through an inverted telescope, as Europeans often regard other parts of the globe. Strange shifts in perspective can take place when Berlin is viewed from Jakarta, or when the complex histories of colonial domination strand what counts as the founding work of a national culture in a language its people can no longer read. The 'Spectre of Comparisons' arises as nations stir into self awareness, matching themselves against others, and becoming whole through the exercise of the imagination. In this series of profound and eloquent essays, Benedict Anderson, best known for his classic book on nationalism, Imagined Communities, explores these effects as they work their way through politics and culture. Spanning broad accounts of the development of nationalism and identity, and detailed studies of Southeast Asia, the book includes pieces on East Timor, where every Indonesian attempt to suppress national feeling has had the opposite effect; on the Philippines, where it is said that some horses eat better than some stable-hands; on Thailand, where so much money can be made in elected posts that candidates regularly kill to get them; on the Filipino nationalist and novelist Jose Rizal for whom 'we mortals are like turtles - we have value and are classified according to our shells'; and a remarkable essay on Mario Vargas Llosa, detailing the fate of indigenous minorities at the hands of the modern state. While The Spectre of Comparisons is an indispensable resource for those interested in Southeast Asia, Anderson also takes up the large issues of the universal grammars of nationalism and ethnicity, the peculiarity of nationalist imagery as replicas without originals, and the mutations of nationalism in an age of mass global migrations and instant electronic communications.

A powerful and unforgettable story of secrets, family, love, and destiny set against the backdrop of the Israeli-Palestinian conflict. Following on the heels of the critically acclaimed Ten Thousand Lovers (finalist for the Governor General's Literary Award) and Look for Me, A Wall of Light tells the story of three generations of a Tel Aviv family. Meet Anna, whose passionate letters to a lover she left behind in Russia describe the experiences of Israel's postwar immigrants; her grandson, Noah, who in his diary documents his uncertain sexual identity and his idealism in the face of the tense political climate; and finally, Anna's daughter, Sonya, who takes us through one momentous day in August, a day on which she "kissed a student, pursued a lover, found her father, and left her brother."

A powerful and unforgettable story of secrets, family, love, and destiny set against the backdrop of the Israeli-Palestinian conflict. Following on the heels of the critically acclaimed Ten Thousand Lovers (finalist for the Governor General's Literary Award) and Look for Me, A Wall of Light tells the story of three generations of a Tel Aviv family. Meet Anna, whose passionate letters to a lover she left behind in Russia describe the experiences of Israel's postwar immigrants; her grandson, Noah, who in his diary documents his uncertain sexual identity and his idealism in the face of the tense political climate; and finally, Anna's daughter, Sonya, who takes us through one momentous day in August, a day on which she "kissed a student, pursued a lover, found her father, and left her brother."

The name Phil Spector is legendary in the music world. Writer and producer of countless chart-topping hits that have now become household names, his innovative genius in the studio revitalised musical production in the 1960s and changed the way we listen to music forever. But his success soon became overshadowed by his reputation for eccentricity and excess, his fractious personality and fascination with handguns eventually proving a lethal combination. Arrested in 2003 for the murder of B movie start Lana Clarkson, this star-studded career nosedived into scandal and rumour. He is now in prison serving a 19 year sentence for murder and will be 88 years old before he is considered eligible for parole. Featuring interviews from those closest to him, including second wife Ronnie Spector, "Wall of Pain" concludes the painful tale of pop's tortured genius.

Part of a whole gang of street artists--from Barry McGee to Swoon--who have broken into the art world in the last decade or so, Phil Frost's signature style is a funky tribalism--Hawaii by way of New York City--infused with a quirky sense of art history and design. In the 1990s, Frost honed his skills by painting walls, found objects and street detritus with his intricate, compulsive and highly evolved form of tagging. Frost's gallery exhibitions are crowded affairs, filled with wildly patterned totemic objects and baseball bats while the walls are stacked with colorful mixed media paintings. He crafts his painstaking paintings by collaging layers of found imagery on grounds of symmetrical black-and-white patterning, which he paints with correction fluid, and that often morph into language-like glyphs or symbols. Frost states, "I believe [my work] is indigenous to myself. I believe that within every person there is an indigenous expression of themselves." Including an essay by New York journalist Carlo McCormick and notorious lowbrow artist Pusshead, this is Frost's first monograph, and an invaluable introduction to the evolution of his style.

Part of a whole gang of street artists--from Barry McGee to Swoon--who have broken into the art world in the last decade or so, Phil Frost's signature style is a funky tribalism--Hawaii by way of New York City--infused with a quirky sense of art history and design. In the 1990s, Frost honed his skills by painting walls, found objects and street detritus with his intricate, compulsive and highly evolved form of tagging. Frost's gallery exhibitions are crowded affairs, filled with wildly patterned totemic objects and baseball bats while the walls are stacked with colorful mixed media paintings. He crafts his painstaking paintings by collaging layers of found imagery on grounds of symmetrical black-and-white patterning, which he paints with correction fluid, and that often morph into language-like glyphs or symbols. Frost states, "I believe [my work] is indigenous to myself. I believe that within every person there is an indigenous expression of themselves." Including an essay by New York journalist Carlo McCormick and notorious lowbrow artist Pusshead, this is Frost's first monograph, and an invaluable introduction to the evolution of his style.

Canadians have always been obsessed with the idea of their own identities. Stories that tell us who we are provide a reassuring sense of identity for the individual and the nation. Hockey. Maple Leaves. Beavers. But collective stories tend to be haunted by a fear that a shared narrative might be nothing more than an elaborate artifice. This fear has long been a source of gothic inspiration for Canadian writers. A haunted Canadian self returns again and again. Polite. Friendly. Not American. With examples of gothic discourse from Canadian fiction, autobiography, film, poetry, and drama, Justin Edwards analyzes the ghost at the heart of the nation. A major contribution to cultural and literary studies, Gothic Canada unearths two centuries of Canadian gothic writings to reveal uncanny traditions of trauma, repression, and monstrosity.

F. PHIL. Nonsense! nonsense!--Why, pr'ythee, Alice, do you think that your Lady's ghost would get up at night only to sing Lullaby for your amusement?--Besides, how should a spirit, which is nothing but air, play upon an instrument of material wood and cat gut?

With the New Negro movement and the Harlem Renaissance, the 1920s was a landmark decade in African American political and cultural history, characterized by an upsurge in racial awareness and artistic creativity. In "Spectres of 1919", Barbara Foley traces the origins of this revolutionary era to the turbulent year 1919, identifying the events and trends in American society that spurred the black community to action and examining the forms that action took as it evolved. Unlike prior studies of the Harlem Renaissance, which see 1919 as significant mostly because of the geographic migrations of blacks to the North, Spectres of 1919 looks at that year as the political crucible in which the radicalism of the 1920s was forged. World War I and the Russian Revolution profoundly reshaped the American social landscape, with progressive reforms first halted and then reversed in the name of anti-Bolshevism. Dissent was stifled as labour activists and minority groups came under intense attack. Foley shows that African Americans had a significant relationship with the organized Left and that the New Negro movement's radical politics of race was also the politics of class. Spectres of 1919 analyzes how the highly politicized New Negro movement gave way to the culturalism of the Harlem Renaissance, focusing on the black community's attempts to navigate between U.S. (or "bad") nationalism and self-determinationist (or "good") nationalism.

With the New Negro movement and the Harlem Renaissance, the 1920s was a landmark decade in African American political and cultural history, characterized by an upsurge in racial awareness and artistic creativity. In "Spectres of 1919", Barbara Foley traces the origins of this revolutionary era to the turbulent year 1919, identifying the events and trends in American society that spurred the black community to action and examining the forms that action took as it evolved. Unlike prior studies of the Harlem Renaissance, which see 1919 as significant mostly because of the geographic migrations of blacks to the North, Spectres of 1919 looks at that year as the political crucible in which the radicalism of the 1920s was forged. World War I and the Russian Revolution profoundly reshaped the American social landscape, with progressive reforms first halted and then reversed in the name of anti-Bolshevism. Dissent was stifled as labour activists and minority groups came under intense attack. Foley shows that African Americans had a significant relationship with the organized Left and that the New Negro movement's radical politics of race was also the politics of class. Spectres of 1919 analyzes how the highly politicized New Negro movement gave way to the culturalism of the Harlem Renaissance, focusing on the black community's attempts to navigate between U.S. (or "bad") nationalism and self-determinationist (or "good") nationalism.

This unflinching autobiography is a cautionary tale. Cattle trader Phil Stadtler makes us understand that by giving in to consumerism and ease, "we've lost more than we've gained," that independence and hard work are the attributes that made our country great." When I started trading cattle, people believed in honesty, hard work and standing by your friends and family. It was the Western way." The bold deals he made, and those that eluded him, deliver a fascinating trip, one he invites his readers to take with him. "It is important that people know how we used to do things and hopefully, it will help them in their future."

It's not the spectacular diving that brings Phil Riley to Isla Tortuga. This sleepy corner of the Caribbean is the perfect refuge for ex-patriots who need a fresh start. With good friends, an ample supply of beer, and a dive shop to run, there's plenty to distract Riley from his troubled past . . . until he discovers the Miss Princess-a beautiful sailboat, mysteriously left adrift off the coast of his new island home. What compels Riley to investigate the Miss Princess? The bewildering lack of concern shown by the police? The disappearance of his friend? or maybe Riley hopes to ease the haunting memories of a terrible accident that drove him to this island hideaway. Fueled by sheer will and unreliable instincts, Riley's clumsy attempt at playing detective could possibly foil a kidnapping scheme and save a family-or cost him his life.

He had a number one hit at eighteen. He was a millionaire with his own record label at twenty-two. He was, according to Tom Wolfe, “the first tycoon of teen.” Phil Spector owned pop music. From the Crystals, the Ronettes (whose lead singer, Ronnie, would become his second wife), and the Righteous Brothers to the Beatles (together and singly) and finally the seventies punk icons The Ramones, Spector produced hit after hit. But then he became pop music's most famous recluse. Until one day in the spring of 2007, when his name hit the tabloids, connected to a horrible crime. In Tearing Down the Wall of Sound, Mick Brown, who was the last journalist to interview Spector before his arrest, tells the full story of the troubled musical genius.