DIVWhile a number of narrative titles have chronicled Neil Young in one manner or another, this is the first illustrated history to span his 43 studio albums, 7 live releases, and 40-plus years as a recording and touring musician./div

What happened to Paul Nelson? In the '60s, he pioneered rock & roll criticism with a first-person style of writing that would later be popularized by the likes of Tom Wolfe and Norman Mailer as “New Journalism.” As co-founding editor of The Little Sandy Review and managing editor of Sing Out!, he’d already established himself, to use his friend Bob Dylan’s words, as “a folk-music scholar”; but when Dylan went electric in 1965, Nelson went with him. During a five-year detour at Mercury Records in the early 1970s, Nelson signed the New York Dolls to their first recording contract, then settled back down to writing criticism at Rolling Stone as the last in a great tradition of record-review editors that included Jon Landau, Dave Marsh, and Greil Marcus. Famously championing the early careers of artists like Bruce Springsteen, Jackson Browne, Rod Stewart, Neil Young, and Warren Zevon, Nelson not only wrote about them but often befriended them. Never one to be pigeonholed, he was also one of punk rock’s first stateside mainstream proponents, embracing the Sex Pistols and the Ramones. But in 1982, he walked away from it all — Rolling Stone, his friends, and rock & roll. By the time he died in his New York City apartment in 2006 at the age of seventy — a week passing before anybody discovered his body — almost everything he’d written had been relegated to back issues of old music magazines. How could a man whose writing had been so highly regarded have fallen so quickly from our collective memory? With Paul Nelson’s posthumous blessing, Kevin Avery spent four years researching and writing Everything Is an Afterthought: The Life and Writing of Paul Nelson. This unique anthology-biography compiles Nelson’s best works (some of it previously unpublished) while also providing a vivid account of his private and public lives. Avery interviewed almost 100 of Paul Nelson’s friends, family, and colleagues, including several of the artists about whom he’d written.

This publication is a major evaluation of the 1970s American cinema, including cult film directors such as Bogdanovich Altman and Peckinpah.

Twenty years as an outsider scouring the underbelly of American culture has made Howard Hampton a uniquely hard-nosed guide to the heart of pop darkness. Bridging the fatalistic, intensely charged space between Apocalypse Now Redux and Nirvana’s “Smells Like Teen Spirit,” his writing breaks down barriers of ignorance and arrogance that have segregated art forms from each other and often from the world at large. In the freewheeling spirit of Pauline Kael, Lester Bangs, and Manny Farber, Hampton calls up the extremist, underground tendencies and archaic forces simmering beneath the surface of popular forms. Ranging from the kinetic poetry of Hong Kong cinema and the neo–New Wave energy of Irma Vep to the punk heroines of Sleater-Kinney and Ghost World, Born in Flames plays odd couples off one another: pitting Natural Born Killers against Forrest Gump, contrasting Jean-Luc Godard with Steven Spielberg, defending David Lynch against aesthetic ideologues, invoking The Curse of the Mekons against Fredric Jameson’s Postmodernism, and introducing D. H. Lawrence to Buffy the Vampire Slayer. “We are born in flames,” sang the incandescent Lora Logic, and here those flames are a source of illumination as well as destruction, warmth as well as consumption. From the scorched-earth works of action-movie provocateurs Seijun Suzuki and Sam Peckinpah to the cargo cult soundscapes of Pere Ubu and the Czech dissidents Plastic People of the Universe, Born in Flames is a headlong plunge into the passions and disruptive power of art.

From the popular legend of Pocahontas to the Civil War soap opera Gone with the Wind to countless sculpted heads of George Washington that adorn homes and museums, whole industries have emerged to feed America’s addiction to imaginary histories that cover up the often violent acts of building a homogeneous nation. In Ersatz America, Rebecca Mark shows how this four-hundred-year-old obsession with false history has wounded democracy by creating language that is severed from material reality. Without the mediating touchstones of body and nature, creative representations of our history have been allowed to spin into dangerous abstraction. Other scholars have addressed the artificial qualities of the collective American memory, but what distinguishes Ersatz America is that it does more than simply deconstruct--it provides a map for regeneration. Mark contends that throughout American history, citizen artists have responded to the deadly memorialization of the past with artistic expressions and visual artifacts that exist outside the realm of official language, creating a counter narrative. These examples of what she calls visceral graphism are embodied in and connected to the human experience of indigenous peoples, enslaved Africans, and silenced women, giving form to the unspeakable. We must learn, Mark suggests, to read the markings of these works against the iconic national myths. In doing so, we can shift from being mesmerized by the monumentalism of this national mirage to embracing the regeneration and recovery of our human history.

Crosby, Stills, Nash & Young have been hailed as "The American Beatles" and "Folk-Rock's Mount Rushmore." They launched a trail-blazing acoustic-electric sound in 1969 and have been captivating listeners with their music ever since. Coming together as refugees from three seminal '60s bands-the Byrds, Buffalo Springfield and the Hollies-the combined talents of David Crosby, Stephen Stills, Graham Nash and Neil Young have influenced several generations of musicians while proving to have enduring appeal to fans of all ages. As rock and roll's first "supergroup," CSNY generated an enormous amount of media scrutiny-from their galvanizing appearance at Woodstock to multi-platinum, chart-topping albums such as Deja Vu, from David Crosby's miraculous recovery from life-threatening addictions to the band's resurgence for enormously successful concert tours. Now, noted CSNY historian Dave Zimmer distills the best of the journalism on these four remarkable artists, ranging from group portraits to individual profiles to in-depth interviews to incisive commentary by such writers as Cameron Crowe, Ben Fong-Torres and David Crosby himself. 4 Way Street: The Crosby, Stills, Nash & Young Reader is an open window into one of the most popular groups of all time, offering a fascinating look at their highly charged musical relationships and how they have changed over the decades, along the way revealing a colorful chronicle of the music of an era that continues to echo into the new millennium.

(Guitar Recorded Versions). We proudly present the matching folio to Neil Young's classic 1979 album. This souvenir folio includes note-for-note transcriptions with tab for all 9 tracks along with great color photos and separate lyric pages. Songs include: Hey Hey, My My (Into the Black) * My My, Hey Hey (Out of the Blue) * Pocahontas * Powderfinger * Ride My Llama * Sail Away * Sedan Delivery * Thrasher * Welfare Mothers.