|Dimensions||129 × 196 × 10 mm|
From Banksy to Blek le Rat, JR to Futura, the street art phenomenon is sweeping the globe. With people turning up in their thousands to view the first street art exhibition at the Tate Modern in 2008, and with celebrity endorsements from the likes of Brad Pitt to Damon Albarn, street art has captured the imaginations of art-lovers everywhere. In this exciting and fresh follow-up to the highly successful Graffiti Planet and Graffiti Planet 2, expert KET brings together another 100 awe-inspiring and extraordinary examples of urban art from around the world. Street Art is a great introduction and the perfect companion for anyone excited by this imaginative and highly prevalent art form.
3 in stock
Combining life-writing with poetic prose, Anthony Joseph gets to the heart of the man behind the music and the myth, reaching behind the sobriquet to present a holistic portrait of the calypso icon Lord Kitchener.
The poet and musician Anthony Joseph met and spoke to Lord Kitchener just once, in 1984, when he found the calypso icon standing alone for a moment in the heat of Port of Spain s Queen’s Park Savannah, one Carnival Monday afternoon. It was a pivotal meeting in which the great calypsonian, outlined his musical vision, an event which forms a moving epilogue to Kitch, Joseph’s unique biography of the Grandmaster.
Lord Kitchener (1922 – 2000) was one of the most iconic and prolific calypso artists of the 20th century. He was one of calypso’s most loved exponents, an always elegantly dressed troubadour with old time male charisma and the ability to tap into the musical and cultural consciousness of the Caribbean experience. Born into colonial Trinidad in 1922, he emerged in the 1950s, at the forefront of multicultural Britain, acting as an intermediary between the growing Caribbean community, the islands they had left behind, and the often hostile conditions of life in post War Britain. In the process Kitch, as he was affectionally called, single handedly popularised the calypso in Britain.
The food of Iran is a riot of tastes and aroma, and is one of the great – but least known – cuisines of the world. With an emphasis on the use of seasonal ingredients, fresh herbs and fragrant spices, Jila Dana-Haeri here presents a unique guide to quintessential Persian cooking. The varieties of beautiful jewelled rice dishes, hearty winter dishes and crisp summer salads, showcase the diversity of Iranian regional cooking, from the sweet and sour flavours of the Northern Caspian Coast to the spicy and aromatic tastes of the South and the Persian Gulf. The complimentary mix of flavours – the fresh tartness of pomegranate seeds and the subtle perfume of saffron, tarragon, dill and fenugreek – create an array of mouth-watering recipes that are now, thanks to Dana-Haeri’s contribution, accessible to cooks of all levels. This lavishly-illustrated cookbook offers an enticing selection of recipes for any occasion. It will be essential for all interested in expanding their cultural and culinary horizons.
The history of the original Wailers — Tosh, Livingstone and Marley — as never before told.
Over one dramatic decade, a trio of Trenchtown R&B crooners, Peter Tosh, Bunny Wailer and Bob Marley, swapped their 1960s Brylcreem hairdos and two-tone suits for 1970s battle fatigues and dreadlocks to become the Wailers — one of the most influential groups in popular music.
One of our best and brightest non-fiction writers examines for the first time the story of the Wailers. It charts their complex relationship, their fluctuating fortunes, musical peak, and the politics and ideologies that provoked their split, illuminating why they were not just extraordinary musicians, but also natural mystics. And, following a trail from Jamaica through Europe, America, Africa and back to the vibrant and volatile world of Trench Town, Colin Grant travels in search of the last surviving Wailer.
‘When I come home and leave behind Dark things I would not call to mind …’ wrote Leslie Coulson, one of the many soldiers who tried to express his wartime experiences in writing: dreaming of an idyllic England in the face of the horror of the Western Front. Coulson was one of the hundreds of thousands who did not come home – but because of his poetry we glimpse something of his thoughts and experiences.
Today we can be grateful that so many of those who endured the First World War did write about it: giving us an unmatched view of an event which would otherwise be completely beyond our ability to imagine. The Writers’ War is a collection of excerpts from outstanding accounts of the First World War. It provides an essential insight to anyone interested in modern history or early twentieth-century literature. Extraordinary extracts bring the human experience of war brilliantly to life – from the terror of bombardment, or the camaraderie of military service, to the home front.
The writing reflects an enormous range of nationalities and personalities. It includes memorable poetry, fiction, and journalism. Some great names of modern English literature appear, such as Arthur Conan Doyle, D. H. Lawrence and Rudyard Kipling. In addition, there are superb accounts by foreign authors such as novelists Edith Wharton and Henri Barbusse, and flying ace Manfred von Richthofen. The Writers’ War gives an unparalleled insight into a world-changing event, and what it meant in human terms both to the writers and millions of others caught up in it.
Unmade Up features much previously unseen artwork and photography of the enigmatic singer David Bowie, by his go-to artist of his heyday, Edward Bell. His commissions included the sleeve for Bowie’s 1980 album ‘Scary Monsters (and Super Creeps)’ which featured the number one single ‘Ashes to Ashes’. Bowie later bought all of Bell’s artwork for his private collection. “David Bowie: He soared, his eagle eye spied everything. His magpie nature urged him to plunder with ruthless perception. The Chameleon absorbed, then radiated, colours eclipsing. A butterfly mind, alighting, random and eclectic. Courageous, enigmatic, outrageous, and contradictory, he was Star Man, Elephant Man, a Diamond Dog, Tin Machine, the mythological peacock of incorruptible flesh.
This account of my relationship with the man is written from the perspective of one who was of Bowie’s generation but preferred to listen to The Rolling Stones: who had been to art school, freelanced as a photographer and illustrator for magazines – Vogue, Tatler, The Sunday Times – a visual person, rather than musical. I greeted the shock of David’s death at first with a faint, sad shrug; the full impact was slow to dawn. If a drowning man is said to see his whole life experience on an instant in total recall, I was to experience a small death that lingered, and as it did so, forgotten incidents gradually returned with an extraordinary clarity. I felt compelled to write them all down, with the desire to share them.”