Turkish Metal journeys deep into the heart of the Turkish heavy metal scene, uncovering the emergence, evolution, and especially the social implications of this controversial musical genre in a Muslim society. The book applies an ethnographic approach in order to study social and cultural change in a Muslim society that is stricken with conflict over the, by turns, religious or secular nature of the state. Turkish Metal explores how Turkish metalheads, against all odds, manage to successfully claim public spaces of their own, thereby transforming the public face of the city. The book raises the question of how and why the young dare to rebel against the prevalent social and moral restrictions in Turkish society; and it examines whether they succeed in asserting their individual freedom in a society that is still well-known for sanctioning any kind of behaviour deviating from the norm. Above all, the book investigates the Turkish metal scene's potential for contesting Islamic concepts of morality, its relevance within the field of female emancipation, and its capacity to foster social relations that cut across national, religious and ethnic boundaries.

The hit television program American Idol provides a stage where the politics of national, regional, ethnic, and religious identity are performed for millions of viewers. Diversity is carefully highlighted and coached into a viable commodity by judges, argues Katherine Meizel, with contestants packaged into familiar portraits of American identities. Consumer choice, as expressed by audience voting, also shapes the course of the show negotiating ideas of democracy and opportunity closely associated with the American Dream. Through interviews with audience members and participants, and careful analyses of television broadcasts, commercial recordings, and print and online media, Meizel demonstrates that commercial music and the music industry are not simply forces to be criticized or resisted, but critical sites for redefining American culture."

Music has been used as a cure for disease since as far back as King David's lyre, but the notion that it might be a serious cause of mental and physical illness was rare until the late eighteenth century. At that time, physicians started to argue that excessive music, or the wrong kind of music, could over-stimulate a vulnerable nervous system, leading to illness, immorality and even death. Since then there have been successive waves of moral panics about supposed epidemics of musical nervousness, caused by everything from Wagner to jazz and rock 'n' roll. It was this medical and critical debate that provided the psychiatric rhetoric of "degenerate music" that was the rationale for the persecution of musicians in Nazi Germany and the Soviet Union. By the 1950s, the focus of medical anxiety about music shifted to the idea that "musical brainwashing" and "subliminal messages" could strain the nerves and lead to mind control, mental illness and suicide. More recently, the prevalence of sonic weapons and the use of music in torture in the so-called War on Terror have both made the subject of music that is bad for the health worryingly topical. This book outlines and explains the development of this idea of pathological music from the Enlightenment until the present day, providing an original contribution to the history of medicine, music and the body.

Since the 1960s, the Grateful Dead have welcomed and participated in academic work on the band, encouraging scrutiny from a wide variety of disciplinary and theoretical perspectives, from anthropology to sociology. Interest in Dead studies is growing across the country and around the world, and UC Santa Cruz s Grateful Dead Archive continues to attract a high level of attention. In Reading the Grateful Dead: A Critical Survey, Nicholas G. Meriwether has assembled essays that examine the development of Grateful Dead studies. This volume features work from three generations of scholars, including a wide variety of perspectives on the band and its cultural significance. From insiders like lyricist John Perry Barlow and longtime band publicist and historian Dennis McNally to well-known Deadhead scholars such as Barry Barnes and Rebecca Adams, the contributors to this volume offer valuable insights into the Grateful Dead phenomenon. No other Dead book focuses on the growth and development of the discourse, contains such a range of critical approaches, nor features work by luminaries Stan Krippner and Barnes, among others. The four sections of the book describe aspects and approaches to Dead studies, along with overviews of how the discipline evolved and what it comprises today. This collection will appeal to scholars, students, and teachers interested in Dead studies and fans of the band.

Pink Floyd's sound and light shows in the 1960s defined psychedelia, but their later recordings combined rock, orchestral music, literature, and philosophy. "Dark Side of the Moon" and "The Wall" ignored pop music's usual strictures to focus on themes of madness, despair, brutality, and alienation. Here, 16 scholars set delve into the heart of Pink Floyd by examining ideas, concepts, and problems usually encountered not in a rock band's lyrics but in the pages of Heidegger, Foucault, and Sartre. These include the meaning of existence, the individual's place in society, the contradictions of art and commerce, and the blurry line between genius and madness. The band's dynamic history allows the writers to explore controversies about intellectual property, the nature of authorship, and whether wholes, especially in the case of rock bands, are more than the sum of their parts.

Peter Guralnick's writings on music an musicians are unique in the literature of American popular culture. His first three books, Feel Like Going Home, Lost Highway, and Sweet Soul Music-which together form a sort of trilogy that has achieved classic status-trace twentieth-century American popular music to its roots by bringing to life the people, the songs, and the performances that forever changed not only the American music scene but America itself.

This stirring tribute to American roots music-country, rockabilly, and the blues-spotlights artists both celebrated and obscure, including Hank Snow, Bobby "Blue" Bland, Scotty Moore, Elvis Presley, Mickey Gilley, and Merle Haggard. Guralnick conveys the passion that drove these men to music-making and that kept them, determinedly and sometimes despairingly, on the road.

Susan Burney (1755-1800) was the third daughter of the music historian Charles Burney and the younger sister of the novelist Frances (Fanny) Burney. She grew up in London, where she was able to observe at close quarters the musical life of the capital and to meet the many musicians, men of letters, and artists who visited the family home. After her marriage in 1782 to Molesworth Phillips, a Royal Marines officer who served with Captain Cook on his last voyage, she lived in Surrey and later in rural Ireland. Burney was a knowledgeable enthusiast for music, and particularly for opera, with discriminating tastes and the ability to capture vividly musical life and the personalities involved in it. Her extensive journals and letters, a selection from which is presented here, provide a striking portrait of social, domestic and cultural life in London, the Home Counties and in Ireland in the late eighteenth century. They are of the greatest importance and interest to music and theatre historians, and also contain much that will be of significance and interest for Burney scholars, social historians of England and Ireland, women's historians and historians of the family.

An electrifying collection of the finest, most entertaining, and illuminating writing on and from the rock and roll scene--from its earliest days to the present, from the brightest moments of the biggest stars to obscure but compellingly significant treasures. The crazy, exhilarating, endlessly creative world of rock and roll has fascinated us--and some of our best writers--since the earliest days of the genre. William McKeen has assembled in this book the writing of those who played the music and pushed it to new limits, as well as those who were on the scene to witness and celebrate its magic. The story of rock and roll music and the rock and roll life lifts from these pages with marvelous immediacy, in selections ranging from Bruce Springsteen on his experience of backing up Chuck Berry, to Joan Didion sitting in on a Doors recording session, to Henry Rollins on Madonna, to Roddy Doyle's The Commitments. Tom Wolfe, Patti Smith, Don DeLillo, John Lennon, Frank Zappa, Nick Hornby, and many others contribute to this portrait of the music and its culture from its ancestors in the blues to its latest variants beyond grunge and rap. The book is organized into sections that create provocative and eye-opening juxtapositions, from "Superstardom" to "Weirdness," from "Present at the Creation" to "Soul." A section on rock critics shows how these writers matched the music with their own sharp rhythm, while "Tributes" rounds off the volume by remembering in their glory some of the greats who are making noise in the hereafter.

Studies of opera, film, television, and literature have demonstrated how constructions of madness may be referenced in order to stigmatise but also liberate protagonists in ways that reinforce or challenge contemporaneous notions of normality. But to date very little research has been conducted on how madness is represented in popular music. In an effort to redress this imbalance, Nicola Spelman identifies links between the anti-psychiatry movement and representations of madness in popular music of the 1960s and 1970s, analysing the various ways in which ideas critical of institutional psychiatry are embodied both verbally and musically in specific songs by David Bowie, Lou Reed, Pink Floyd, Alice Cooper, The Beatles, and Elton John. She concentrates on meanings that may be made at the point of reception as a consequence of ideas about madness that were circulating at the time. These ideas are then linked to contemporary conventions of musical expression in order to illustrate certain interpretative possibilities. Supporting evidence comes from popular musicological analysis - incorporating discourse analysis and social semiotics - and investigation of socio-historical context. The uniqueness of the period in question is demonstrated by means of a more generalised overview of songs drawn from a variety of styles and eras that engage with the topic of madness in diverse and often conflicting ways. The conclusions drawn reveal the extent to which anti-psychiatric ideas filtered through into popular culture, offering insights into popular music's ability to question general suppositions about madness alongside its potential to bring issues of men's madness into the public arena as an often neglected topic for discussion.

Elisabeth Lutyens (1906-1983), Elizabeth Maconchy (1907-1994) and Grace Williams (1906-1977) were contemporaries at the Royal College of Music. The three composers' careers were launched with performances in the Macnaghten-Lemare Concerts in the 1930s - a time when, in Britain, as Williams noted, a woman composer was considered 'very odd indeed'. Even so, by the early 1940s all three had made remarkable advances in their work: Lutyens had become the first British composer to use 12-note technique, in her Chamber Concerto No. 1 (1939-40); Maconchy had composed four string quartets of outstanding quality and was busy rethinking the genre; and Williams had won recognition as a composer with great flair for orchestral writing with her Fantasia on Welsh Nursery Tunes (1940) and Sea Sketches (1944). In the following years, Lutyens, Maconchy and Williams went on to compose music of striking quality and to attain prominent positions within the British music scene. Their respective achievements broke through the 'sound ceiling', challenging many of the traditional assumptions which accompanied music by female composers. Rhiannon Mathias traces the development of these three important composers through analysis of selected works. The book draws upon previously unexplored material as well as radio and television interviews with the composers themselves and with their contemporaries. The musical analysis and contextual material lead to a re-evaluation of the composers' positions in the context of twentieth-century British music history.

Throughout the world, the number of festivals has grown exponentially in the last two decades, as people celebrate local and regional cultures, but perhaps more importantly as local councils and other groups seek to use festivals both to promote tourism and to stimulate rural development. However, most studies of festivals have tended to focus almost exclusively on the cultural and symbolic aspects, or on narrow modelling of economic multiplier impacts, rather than examining their long-term implications for rural change. This book therefore has an original focus. It is structured in two parts: the first discusses broad issues affecting music festivals globally, especially in the context of rural revitalisation. The second part looks in more detail at a range of types of festivals commonly found throughout North America, Europe and Australasia, such as country music, jazz, opera and alternative music festivals. The authors draw on in-depth research undertaken over the past five years in a range of Australian places, which traces the overall growth of festivals of various kinds, examines four of the more important and distinctive music festivals, and makes clear conclusions on their significance for rural and regional change.

This collection of original essays is in tribute to the work of Derek Scott on the occasion of his sixtieth birthday. As one of the leading lights in Critical Musicology, Scott has helped shape the epistemological direction for music research since the late 1980s. There is no doubt that the path taken by the critical musicologist has been a tricky one, leading to new conceptions, interactions, and heated debates during the past two decades. Changes in musicology during the closing decades of the twentieth century prompted the establishment of new sets of theoretical methods that probed at the social and cultural relevance of music, as much as its self-referentiality. All the scholars contributing to this book have played a role in the general paradigmatic shift that ensued in the wake of Kerman's call for change in the 1980s. Setting out to address a range of approaches to theorizing music and promulgating modes of analysis across a wide range of repertories, the essays in this collection can be read as a coming of age of critical musicology through its active dialogue with other disciplines such as sociology, feminism, ethnomusicology, history, anthropology, philosophy, cultural studies, aesthetics, media studies, film music studies, and gender studies. The volume provides music researchers and graduate students with an up-to-date authoritative reference to all matters dealing with the state of critical musicology today.

'A stand-out triumph' - The Sunday Times The Number One bestselling novel by the author of CLOUD ATLAS, 'one of the most brilliantly inventive writers of this, or any country' (Independent). Utopia Avenue might be the most curious British band you've never heard of. Emerging from London's psychedelic scene in 1967, folksinger Elf Holloway, blues bassist Dean Moss, guitar virtuoso Jasper de Zoet and jazz drummer Griff Griffin together created a unique sound, with lyrics that captured their turbulent times. The band produced only two albums in two years, yet their musical legacy lives on. This is the story of Utopia Avenue's brief, blazing journey from Soho clubs and draughty ballrooms to the promised land of America, just when the Summer of Love was receding into something much darker - a multi-faceted tale of dreams, drugs, love, sexuality, madness and grief; of stardom's wobbly ladder and fame's Faustian pact; and of the collision between youthful idealism and jaded reality as the Sixties drew to a close. Above all, this bewitching novel celebrates the power of music to connect across divides, define an era and thrill the soul. 'The great rock and roll novel - an epic love letter to the greatest music ever made and the book the music has always deserved' Tony Parsons

(FAQ). Neil Young has had one of the most remarkable careers in the history of music. He hasn't just outlived many of his contemporaries some of whom were great inspirations for him ("From Hank to Hendrix," as one of his own songs says); his artistry lives on through those he has inspired (Pearl Jam, Radiohead), and he remains relevant and vital well into his fifth decade of making music. Young also continues to crank out records at a rate that would kill most artists half his age. Between his solo and live albums, and his work with Buffalo Springfield and Crosby, Stills, Nash and Young, his remarkable career has spanned well over 50 albums. Although he has experimented in genres from syntho-pop to rockabilly, Neil Young is best known for the fully cranked, feedback-laden noise he makes with Crazy Horse ( Rust Never Sleeps and Ragged Glory ) and the more introspective folk-pop ( Harvest ). The glue that binds his work together is the songwriting. Because when it comes to writing great, timeless songs, Neil Young has few equals. Neil Young FAQ is the first definitive guide to the music of this mercurial and methodical, enduring, and infuriating icon. From the Archives to Zuma and from the Ditch Trilogy to the Geffen years, this book covers every song and album in painstaking detail-including bootlegs and such lost recordings as Homegrown, Chrome Dreams, Toast, and Meadow Dusk . Obscure facts and anecdotes from the studio to the road, along with dozens of rare images, make this book a must-have for Young fans.

Limited to only 150 copies, this is the deluxe edition of Telling Stories: Photographs of The Fall - the ultimate visual history of iconic band from renowned photographer Kevin Cummins, with a foreword by Poet Laureate Simon Armitage. 'No one has captured the look of alternative UK music over the past half a century more tellingly than Kevin Cummins.' - Simon Armitage 'Kevin Cummins is a true master in being able to capture the essence of music, the soul of the band. Whatever he does however he does it is a mystery to me but it's pure genius.' - Rankin 'Few photographers had such a close connection to The Fall as Manchester-based Kevin Cummins, and his new book, Telling Stories, is a rich visual history of one of the city's most beloved and enduring bands.' - Record Collector Magazine 'Kevin has the uncanny ability of capturing the inner mood of musicians. Be it the dynamics within a pensive Joy Division, or the sense surrounding the fledgeling Fall that something special was around the corner for us all. Kevin's book is nothing less than a remarkable document of a bewildering and defiant anti-fashion movement born in Prestwich, north Manchester in the grimy mid-70s.' - Marc Riley 'Capturing forty years of the band's career via his archive, the legendary photographer (whose recent book, Juvenes, documented the story of Joy Division) gives his take on the phenomenon of The Fall and the late, great Mark E. Smith.' - Vive le Rock Contains never-before-seen images. Foreword by Simon Armitage, Poet Laureate. From chaotic early gigs to their final years, NME photographer Kevin Cummins provides a definitive, unique perspective on cult favourites The Fall. In this stunning visual history spanning four decades, discover how and why they emerged as one of the most innovative, boundary-breaking bands in modern music. With a foreword by Poet Laureate and Fall fan Simon Armitage and an interview with Eleni Poulou, as well as never-before-seen images from Cummins' archive, this is the ultimate visual companion to The Fall.

International Who's Who in Popular Music 2012 gives biographical information and contact details for some of the most talented and influential artists and individuals from the world of popular music. Now in its fourteenth edition, there are over 7,000 biographies charting the careers and achievements of artists in pop, rock, folk, jazz, dance, world, country music and much more. Key Features: each entry includes full biographical information: principal career details, recordings and compositions, honours and contact information where available each entrant is given the opportunity to update his or her information spans the full range of the popular music industry, from rock to jazz and dance to country provides information on established names as well as up-and-coming artists a directory section provides details of music festivals, awards, organizations within the industry, and digital music sources for ease of reference, the book includes an index of music group members. In one accessible volume the International Who's Who in Popular Music 2012 offers users a vast collection of information on the most famous and influential people in the popular music industry.

(Book). Hearts of Darkness is the story of a generation's coming of age through the experiences of its three most atypical pop stars. James Taylor, Jackson Browne, and Cat Stevens could never have been considered your typical late-sixties songwriters self-absorbed and self-composed, all three eschewed the traditional means of delivering their songs, instead turning its process inward. The result was a body of work that stands among the most profoundly personal art ever to translate into an international language, and a sequence of songs from "Sweet Baby James" and "Carolina in My Mind," to "Jamaica Say You Will" and "These Days," to "Peace Train" and "Wild World" that remain archetypes not only of what the critics called the singer-songwriter movement, but of the human condition itself. Author Dave Thompson, himself a legend among rock biographers, takes on his subjects with his usual brio and candor, leaving no stone unturned in his quest to shine a light on the dark side of this profoundly earnest era in popular music. Penetrating, pointed, and laced with vivid insight and detail, Hearts of Darkness is the story of rock when it no longer felt the need to roll.

From its roots in the black and white "under classes" through its clash with the broader culture to its multifaceted incarnation today, rock and roll has fostered and reflected a genuine cultural revolution which has gone on to influence the world. This critical text investigates rock music from a philosophical perspective, an approach rarely seen in the literature. Topics covered include a definition of rock music and a suggested typology; an examination of rock on radio and in television and film; and a depiction of what is to come. Of particular interest is how rock's shifting mores have mirrored the complex changes experienced by American society as it has undergone almost continuous turbulence.

On January 1, 1967, a new contract between 'Colonel' Tom Parker and his sole client, Elvis Presley, gave Parker a 50 per cent cut of royalties and profits that Presely generated. It was an unashamed grab for a bigger piece of a pie that had actually been shrinking for some time. Parker's plan to re-establish Presley as a star after he left the army in 1960 had been successful at first, with the success of films like "G.I. Blues" and "Blue Hawaii" and their soundtracks. But as the decade progressed the films became formulaic, the music bland, and sales declined. By 1967 Presley's singles struggled to break the top 20, and he hadn't had a number one for six years. Yet by the end of 1968 he was artistically revitalized, re-emerging in a TV comeback special of December that year slimmed down for the now iconic black leather suit, playing country-soul influenced rock like he meant it and loved it. It was the pivotal moment of the second great period of Presley's career, which lasted through to the end of 1970, during which he recorded some of his most enduring records, including "Suspicious Minds" and "In The Ghetto". In "Return Of The King" author Gillian Gaar shows how Presley reclaimed his crown, making an extraordinary transition from fading MoR balladeer to engaged, vital artist.

Grunge has been perceived as the music that defined 'Generation X'. Twenty years after the height of the movement there is still considerable interest in its rise and fall, and its main figures such as Kurt Cobain and Courtney Love. As a form of 'retro' music it is even experiencing a resurgence, and Cobain remains an icon to many young music fans today. But what was grunge, and what has it become? This book explores how grunge has been remembered by the fans that grew up with it, and asks how memory is both formed by and forms popular culture. It looks at the relationship between media, memory and music fans and demonstrates how different groups can use and shape memory as part of an ongoing struggle for power in society. Grunge was the site of such a struggle, as popular music so often is, with the young people of the time asking questions about their place in the world and the way society is organized. This book examines what these questions were, and what has happened to them over time. It shows that although grunge challenged many social structures, the way it, and youth itself, are remembered often work to reinforce the status quo.

She's So Fine explores the music, reception and cultural significance of 1960s girl singers and girl groups in the US and the UK. Using approaches from the fields of musicology, women's studies, film and media studies, and cultural studies, this volume is the first interdisciplinary work to link close musical readings with rigorous cultural analysis in the treatment of artists such as Martha and the Vandellas, The Crystals, The Blossoms, Brenda Lee, Dusty Springfield, Lulu, Tina Turner, and Marianne Faithfull. Currently available studies of 1960s girl groups/girl singers fall into one of three categories: industry-generated accounts of the music's production and sales, sociological commentaries, or omnibus chronologies/discographies. She's So Fine, by contrast, focuses on clearly defined themes via case studies of selected artists. Within this analytical rather than historically comprehensive framework, this book presents new research and original observations on the 60s girl group/girl singer phenomenon.

(FAQ). It has been 40 years since the untimely death of L.A.'s mystic and rock's Dionysus, Jim Morrison, yet the Doors have consistently inspired new generations of fans worldwide ever since. Highlighting one of the most influential, original, and outrageous American bands of the 1960s, The Doors FAQ is a dynamic, unorthodox exploration of this remarkable band and its enigmatic lead singer. Drawing upon unique sources, Rich Weidman digs deep and serves up fresh perspective on the music, from the garage to the hits to the outtakes; and on the band's members, from their roots, influences, and key industry partners to their rare talents, personal foibles, love affairs, and arrests. This volume also details every studio album and live recording, all the highs and lows of the Doors in concert (including the notorious 1969 Miami concert), Morrison's 40-day trial, and the death of the "Lizard King" in Paris in 1971, as well as post-Morrison milestones. Unlike the straightforward narratives of other Doors biographies, this inventive, ceremonious biographical collage leaves no stone unturned, covering the band both with Morrison and post-Morrison, including the 2010 When You're Strange documentary and the recent pardon of Morrison by the State of Florida for the Miami concert. Countless rare images from album art to ticket stubs to posters accompany the text, in this dazzling edition of solid rock scholarship.

What does it mean to think of Western Art music - and the Austro-German contribution to that repertory - as a tradition? How are men and masculinities implicated in the shaping of that tradition? And how is the writing of the history (or histories) of that tradition shaped by men and masculinities? This book seeks to answer these and other questions by drawing both on a wide range of German-language writings on music, sound and listening from the so-called long nineteenth century (circa 1800-1918), and a range of critical-theoretical texts from the post-war continental philosophical and psychoanalytic traditions, including Lacan, Zizek, Serres, Derrida and Kittler. The book is focussed in particular on bringing the object of historical writing itself into scrutiny by engaging in what Zizek has called a 'historicity' or a way of writing about the past that not merely acknowledges the ahistorical kernel of historical writing, but brings that kernel into the light of day, takes account of it and puts it into play. The book is thus committed to a kind of historical writing that is open-ended - though not ideologically naA-ve - and that does not fix or stabilize the nature of the relationship between so-called 'primary' and 'secondary' texts. The book consists of an introduction, which places the study of classical music and the Austro-German tradition within broader debates about the value of that tradition, and four extensive case studies: an analysis of the cultural-historical category of listening around 1800; a close reading of A. B. Marx's Beethoven monograph of 1859; a consideration of Heinrich Schenker's attitudes to the mob and the vernacular more broadly and an examination, through Franz Kafka, of the figure of Mahler's body.

This book examines the diverse facets of popular music in Malta, paying special attention to ghana (Malta's folk song), the wind band tradition, and modern popular music. Ciantar provides intriguing discussions and examples of how popular music on this small Mediterranean island country interacts with other aspects of the island's life and culture such as language, religion, history, customs, and politics. Through a series of ethnographic vignettes, the book explores the music as it takes place in bars, at festivals, and during village celebrations, and considers how it is talked about in the local press, at group gatherings, and on social media. The ethnography adopted here is that of a native musician and ethnomusicologist and therefore marries the author's memories with ongoing observations and their evaluation.

(FAQ). A half-century after their first single release, "Surfin'," the Beach Boys continue to define California popular culture and the sunshine-infused sound that will forever be its living soundtrack. But beyond innocent harmonies touting the delights of catching waves and cruising to the drive-in, the Beach Boys are responsible for some of the most sophisticated pop/rock music ever made. Brian Wilson's acclaimed production, the 1966 LP Pet Sounds, was both a creative triumph that inspired The Beatles' best work, and a commercial disappointment that was widely misunderstood by the band's U.S. fans. The Beach Boys followed that with perhaps the greatest three-minute rock single ever, "Good Vibrations," which wowed the critics, was a worldwide number one hit, and ushered Brian Wilson down the path of substance abuse and mental illness. Brian then leapt into the abstract madness of Smile, his epic psychedelic masterpiece that was ultimately scrapped in a 1967 sea of paranoia that nearly drowned the Beach Boys as an act. As the 1970s dawned, the endless summer of nostalgia designated the Beach Boys as its favorite sons. They recorded a critically lauded string of albums even while coping with the knowledge that their creative leader, Brian Wilson, had become a semipermanent recluse and a casualty of his own excess. Still, the Beach Boys continued through controversy, conflict, and death, rising again and again to find more popularity and more commercial peaks into the 1980s and beyond. As the new millennium unfolds, the Beach Boys are still here and continue to be a popular concert attraction and one of rock's most compelling and important stories. In The Beach Boys FAQ, Jon Stebbins explains how the band impacted music and pop culture. This entertaining, fast-moving tome is accompanied by dozens of rare images, making this volume a must-have for fans.