A music-obsessed retrospective, beginning with his childhood epiphany of rock 'n' roll in the early 1960s into an infatuation with the subversive world of 1970s punk and no wave blasting forth from New York City - where he eventually runs off to join a band in 1978. By 1981 Moore would form the legendary and notorious experimental rock group Sonic Youth, who proceeded to record and tour relentlessly for almost 30 years, always progressing, always exploring. Along the way we meet a constellation of artists and musicians who colluded and collided with Sonic Youth including Velvet Underground, Stooges, Patti Smith, Television, Sex Pistols, Clash, Nirvana, Hole, Beastie Boys, Neil Young and a cavalcade of other musical visionaries, as well as figures from the art world - Jean Michel Basquiat, Keith Haring and Gerhard Richter. Simply put, Thurston Moore and Sonic Youth changed the sound of modern alternative rock music and opened the minds of a generation of artists to new possibilities within the form. This is essential reading.

A music-obsessed retrospective, beginning with his childhood epiphany of rock 'n' roll in the early 1960s into an infatuation with the subversive world of 1970s punk and no wave blasting forth from New York City - where he eventually runs off to join a band in 1978. By 1981 Moore would form the legendary and notorious experimental rock group Sonic Youth, who proceeded to record and tour relentlessly for almost 30 years, always progressing, always exploring. Along the way we meet a constellation of artists and musicians who colluded and collided with Sonic Youth including Velvet Underground, Stooges, Patti Smith, Television, Sex Pistols, Clash, Nirvana, Hole, Beastie Boys, Neil Young and a cavalcade of other musical visionaries, as well as figures from the art world - Jean Michel Basquiat, Keith Haring and Gerhard Richter. Simply put, Thurston Moore and Sonic Youth changed the sound of modern alternative rock music and opened the minds of a generation of artists to new possibilities within the form. This is essential reading.

Throughout the heady years of New York's 1960s and 70s music scenes, James Hamilton was on hand to observe and photograph some of the most significant bands, musicians and performances of the twentieth century. Serving as staff photographer for the "Village Voice" and "Crawdaddy ," Hamilton photographed such musicians as James Brown, Captain Beefheart, Ornette Coleman, Creedence Clearwater Revival, Crosby, Stills, Nash and Young, the Grateful Dead, John Fahey, Mick Jagger, Jethro Tull, Elvin Jones, the Kinks, Madonna, Charlie Mingus, Joni Mitchell, the Ramones, Gil Scott-Heron, Patti Smith, Sun Ra, Tom Verlaine and Stevie Wonder. In "You Should Have Heard Just What I Seen," Hamilton opens up his archives for the first time, revealing across 300 pages a trove of previously unpublished black-and-white photographs--portraits, snapshots, sketches, contact sheets--of some of the most recognizable faces in music. Influential for several generations of budding photographers raised on his photographs, the work of James Hamilton is at last collected in this revelatory volume.
As a young man in the late 1960s, James Hamilton met the legendary photographers Diane Arbus and Eugene Smith, and was inspired by them to document the changing skyline of New York City. As staff photographer for "Harper's Bazaar" and the "Village Voice," Hamilton recorded the fashion shows, events, protests and riots, happenings, concerts, poetry readings and art openings of that era, and throughout the 1970s, his photographs of musicians and celebrities began to appear in the pages of "Crawdaddy "magazine. Later Hamilton joined "The New York Observer" and began working with filmmakers George Romero, Francis Ford Coppola, Wes Anderson, Bill Paxton and Noah Baumbach as on-set photographer.

The Weave is the second book collaboration between Thurston Moore and John Kinsella - dubbed a 'work in progress' by the two poets, the book guides readers through a world in decay, crafting an invigorating language of spontaneity and survival out of the destruction. Moore and Kinsella aren't just observing - they implicate us all in the harms of global capitalism and environmental disaster, charting a back and forth between the individual and the crowd. ROSIE LONG DECTER These poems start in Dolphy's key + end with a quarryman's dream. In between secrets are stored. See how many you can find. CLARK COOLIDGE