Little Joe Superstar Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of Little Joe Superstar book. This book definitely worth reading, it is an incredibly well-written.
Andy Warhol made him famous. The underground films,made him a sexual icon. Hos body made him a,legend. The enigmatic and sexy superstar of the,60's and 70's underground film movement at last,talks - in detail- about his life and career.,Named as one of the most photogenic men in world,by Francesco Scavullo, Joe Dallesandro has,developed a legion of fans worldwide, including a,substantial gay following that are eager to,purchase the first book written about this film,legend.
The story of Warhol’s greatest superstar The renowned photographer Francesco Scavullo has called Joe Dallesandro “one of the ten most photogenic men in the world.” Springing to fame at the beginning of the sexual revolution in films such as Flesh, Trash, and Heat, Dallesandro, with the help of his mentor, Paul Morrissey, and pop artist Andy Warhol, became a male sex symbol in the film world unlike any before him. His casual nakedness and characteristic cool in the Warhol Factory’s irreverent, now-classic films earned attention that crossed gender lines and liberated the male nude as an object of beauty in the cinema. In this biofilmography, an update and revision of Little Joe, Superstar, Michael Ferguson explores not only Dallesandro’s Warhol years, but his troubled childhood on the streets of New York, in juvenile detention, as physique model, and on the run. Ferguson examines all of Dallesandro’s films: the eight made with Warhol and Morrissey, including the X-rated Frankenstein and Dracula, the post-Factory career in both art-world and low-budget films abroad, and his works as character actor upon his return to America. Including new interviews with Dallesandro, photographs from the actor’s personal collection, and an extensive biographical section, Joe Dallesandro is the ultimate guide to an underground film icon who, according to Andy Warhol, “everyone was in love with.”
Superstar in a Masquerade tells the story about Leon Russell, an award-winning Rock and Roll Hall of Fame inductee, who was born with cerebral palsy, and learned to master the piano. He became an in-demand session man in Hollywood, contributing to thousands of songs by hundreds of artists, during his seven-decade career. He was called the "Rainbow Minister & Ringleader" for the Hippie Generation, and although most people can say they never heard of him, few can say they've never heard him. After reading this book, you can play "Three Degrees of Leon," just like the game "Six Degrees of Kevin Bacon," linking him to anyone, from B.B. King to ZZ Top. As an emigre from Oklahoma to California, he invited David Gates and J. J. Cale to join him in the music mecca known as Tinseltown, where the Tulsa Trio made untold contributions to America's popular music. Read about over five hundred artists, and their songs that Leon, David, and J. J. helped create, as well as... When seventeen-year-old Leon replaced Jerry Lee Lewis on stage in 1959. How Frank Sinatra caused Leon to let his hair grow. How J. J. Cale played a role in the formation of the band Bread. How Leon saved Joe Cocker's career and created Willie Nelson's famous image. When Elton John was Leon's opening act on tour. Why DC Comics sued Leon's record label for $2 million. When David Gates's band backed Chuck Berry on stage in 1961. When Leon brazenly threw the "F-bomb" at Phil Spector. When Leon called organized Christianity the single most harmful force in history. What Broadway song Leon borrowed from for "This Masquerade."
Superstar in a Housedress by Craig B. Highberger Pdf
A vivacious, rollicking tribute to one-of-a-kind Warhol superstar Jackie Curtis Based on author Craig Highberger’s documentary of the same name, Superstar in a Housedress is a striking oral biography of avant-garde, cross-dressing performer Jackie Curtis. Even among Andy Warhol’s orbit of dramatic personas and colorful characters in the sixties and seventies, Curtis stood out. Whether done up in drag or portraying James Dean—to whom he bore an uncanny resemblance—he dazzled in films, plays, and cabarets. Friends fondly recall how he brought his onstage eccentricities to everyday life, holding court in the backroom of the iconic nightclub Max’s Kansas City wearing tattered thirties housedresses, torn stockings, fabulous wigs, and glittering makeup. Curtis died of a drug overdose in 1985, but not before leaving an indelible mark on New York City’s underground art scene. More than just a performer, Curtis translated his fixation on fame and its trappings into his own poetry and outrageous plays, such as Glamour, Glory and Gold and Vain Victory. With snippets of his work alongside colorful recollections from his friends and acquaintances—including Lily Tomlin, Michael Musto, Holly Woodlawn, Harvey Fierstein, and Paul Morrissey—this is a fitting and touching tribute that evokes the spirited, creative energy that radiated from Jackie Curtis.
Factory Made: Warhol and the Sixties is a fascinating look at the avant-garde group that came together—from 1964 to 1968—as Andy Warhol’s Silver Factory, a cast that included Lou Reed, Nico, Edie Sedgwick, Gerard Malanga, Paul Morrissey, Joe Dallesandro, Billy Name, Candy Darling, Baby Jane Holzer, Brigid Berlin, Ultra Violet, and Viva. Steven Watson follows their diverse lives from childhood through their Factory years. He shows how this ever-changing mix of artists and poets, musicians and filmmakers, drag queens, society figures, and fashion models, all interacted at the Factory to create more than 500 films, the Velvet Underground, paintings and sculpture, and thousands of photographs. Between 1961 and 1964 Warhol produced his most iconic art: the Flower paintings, the Marilyns, the Campbell’s Soup Can paintings, and the Brillo Boxes. But it was his films—Sleep, Kiss, Empire, The Chelsea Girls, and Vinyl—that constituted his most prolific output in the mid-1960s, and with this book Watson points up the important and little-known interaction of the Factory with the New York avant-garde film world. Watson sets his story in the context of the revolutionary milieu of 1960s New York: the opening of Paul Young’s Paraphernalia, Truman Capote’s Black and White Ball, Max’s Kansas City, and the Beautiful People Party at the Factory, among many other events. Interspersed throughout are Watson’s trademark sociogram, more than 130 black-and-white photographs—some never before seen—and many sidebars of quotes and slang that help define the Warholian world. With Factory Made, Watson has focused on a moment that transformed the art and style of a generation.
Just in time for graduation, a smart and edgy collection of advice for young people from dozens of the most creative and visionary people on the planet. Contributors include: Camille Paglia • Wayne Koestenbaum • Jonathan Ames • Jennifer Belle • Howard Zinn • Joe Dallesandro • Bruce LaBruce • Dr. Laura Schlessinger • Tom Robbins • Judith Butler • Martha Nussbaum Horst • William S. Burroughs • Larry Niven • Veruschka • Lydia Lunch • Spalding Gray • Eileen Myles • Roger Scruton • Ken Kesey Mary Gaitskill • Richard Powers • Mark Dery • Florence King • Mark Simpson • Bob Shacochis • Joanna Scott • Quentin Crisp • Carolyn Chute • Michael Thomas Ford • Alexander Theroux • George Saunders • Charles Baxter • Ian Shoales • Fay Weldon • Bruce Benderson • Scott Russell Sanders • John Shirley • Dr. John Money • Cindy Sherman • Richard Meltzer • Gene Wolfe • Abbie Hoffman • Diane Wakowski • Richard Taylor • Bette Davis • Arthur Nersesian • Jim Harrison • Martha Gellhorn • Lucius Shepard • Dan Jenkins • Steve Stern • Murray Bookchin • John Zerzan • Maurice Vellekoop • Joel-Peter Witkin • Stewart Home • Maxx Ardman • Katharine Hepburn • Bret Lott • Lynda Barry • Alain de Botton • Mary McCarthy • Hakim Bey • Anita O'Day • Chris Kraus • R. U. Sirius • C. D. Payne W. V. Quine • Rita Dove • Robert Creeley • Valerie Martin • Paul Krassner • Alphonso Lingis • Mark Helprin • John Rechy • Ram Dass • William T. Vollmann • Bettie Page
Idol Worship by Michael Ferguson,Michael S. Ferguson Pdf
Illustrated with over 120 beautiful photos, this is the year's best guide to the leading men whose looks have made them the objects of intense fantasy and desire. Included is a text that will flesh out the pin-ups, featuring career highlights, brief bios and queer takes on more than 90 pretty boy actors from the silent era to today, plus a definitive list of more than 750 actors along with a representative film title of where to catch them at their hottest.
“This series will be a significant, valuable contribution to the history and literature of gay cinema. Each of these works will be valuable additions for academic and popular students of film and gay culture.”—Library Journal Trash, one of three inaugural titles in Arsenal Pulp Press' new film book series Queer Film Classics, delves into the legendary 1970 film that was arguably the greatest collaboration between director Paul Morrissey and producer Andy Warhol. The film Trash is a down-and-out domestic melodrama about a decidedly eccentric couple: Joe, an impotent junkie (played by Warhol film regular Joe Dallesandro), and Holly, Joe's feisty and sexually frustrated girlfriend (played by trans Warhol superstar Holly Woodlawn). Joe is the hunky yet passive center around whom proud Holly orbits; while Morrissey intended to show that "there's no difference between a person using drugs and a piece of refuse," Woodlawn's incredible turn reverses his logic: she makes trash as precious as human beings. The book examines the film in the context of Morrissey and Warhol's legendary partnership, with a special focus on Woodlawn's acclaimed performance: a glorious embodiment of "trash" and glamour that was so stunning, director George Cukor led a campaign (albeit unsuccessful) to win her an Oscar nomination.
“One acclaimed filmmaker takes the measure of another! Murphy’s candid and richly personal account of Andy Warhol’s filmmaking is a brilliant contribution to our understanding of one of cinema’s most original and prolific masters, exploring the artist's multiple forms of psychodrama with a filmmaker’s insight and attention to detail. As more and more of the restored Warhol films become available, this book will remain an indispensable handbook for film historians and general moviegoers alike—especially because it is such a genuine pleasure to read."—David E. James, author of The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles. “Those of us who care about independent cinema have always struggled with Andy Warhol’s massive oeuvre. At long last J.J. Murphy, who has spent a lifetime making contributions to independent cinema, has undertaken the Herculean task of helping us understand Warhol’s development as a filmmaker. Murphy’s precision, stamina, and passion are evident in this examination of an immense body of work—as is his ability to report what he has discovered in a readable and informative manner. The Black Hole of the Camera helps us to re-conceptualize Warhol’s films not simply as mythic pranks, but as the diverse creations of a prolific and inventive film artist.”—Scott MacDonald, author of A Critical Cinema: Interviews with Independent Filmmakers (5 vols.). "In his careful firsthand study of Andy Warhol’s films, J. J. Murphy contributes to the ongoing revision of the enduring but misplaced perceptions of Warhol as a passive, remote, and one-dimensional artist. Murphy's discussions of authorship, the relation of content to form, the role of "dramatic conflict,” and the complexity of Warhol’s camera work show these perceptions to be stubborn myths. The Black Hole of the Camera offers a clear sense of the nuances of Warhol’s fascinating, prolific, and influential activities in filmmaking."—Reva Wolf, author of Andy Warhol, Poetry, and Gossip in the 1960s.
"A biography of avant-garde painter, printmaker, and filmmaker Andy Warhol, discussing his early struggles, rise to fame as a controversial pop artist, personal hardships, and legacy"--Provided by publisher.
A social history of the ‘video nasty’. In the early 1980s, video technology forever changed the face of home entertainment. The videocassette – a handy-sized cartridge of magnetic tape inside a plastic shell – domesticated cinema as families across Britain began to consume films in an entirely new way. Demand was high and the result was a video gold rush, with video rental outlets appearing on every high street almost overnight. Without moderation their shelves filled with all manner of films depicting unbridled sex and violence. A backlash was inevitable. Video was soon perceived as a threat to society, a view neatly summed up in the term ‘video nasties’. CANNIBAL ERROR chronicles the phenomenal rise of video culture through a tumultuous decade, its impact and its aftermath. Based on extensive research and interviews, the authors provide a first-hand account of Britain in the 1980s, when video became a scapegoat for a variety of social ills. It examines the confusion spawned by the Video Recordings Act 1984, the subsequent witch hunt that culminated in police raids and arrests, and offers insightful commentary on many contentious and ‘banned’ films that were cited by the media as influential factors in several murder cases. It also investigates the cottage industry in illicit films that developed as a direct result of the ‘video nasty’ clampdown. CANNIBAL ERROR, a revised and reworked edition of SEE NO EVIL (2000), is an exhaustive and startling overview of Britain’s ‘video nasty’ panic, the ramifications of which are still felt today.
An intimate depiction of the visionary who revolutionized the art world A man who created portraits of the rich and powerful, Andy Warhol was one of the most incendiary figures in American culture, a celebrity whose star shone as brightly as those of the Marilyns and Jackies whose likenesses brought him renown. Images of his silvery wig and glasses are as famous as his renderings of soup cans and Brillo boxes—controversial works that elevated commerce to high art. Warhol was an enigma: a partygoer who lived with his mother, an inarticulate man who was a great aphorist, an artist whose body of work sizzles with sexuality but who considered his own body to be a source of shame. In critic and poet Wayne Koestenbaum’s dazzling look at Warhol’s life, the author inspects the roots of Warhol’s aesthetic vision, including the pain that informs his greatness, and reveals the hidden sublimity of Warhol’s provocative films. By looking at many facets of the artist’s oeuvre—films, paintings, books, “Happenings”—Koestenbaum delivers a thought-provoking picture of pop art’s greatest icon.
Pickers and Poets by Craig E. Clifford,Craig Hillis Pdf
Many books and essays have addressed the broad sweep of Texas music—its multicultural aspects, its wide array and blending of musical genres, its historical transformations, and its love/hate relationship with Nashville and other established music business centers. This book, however, focuses on an essential thread in this tapestry: the Texas singer-songwriters to whom the contributors refer as “ruthlessly poetic.” All songs require good lyrics, but for these songwriters, the poetic quality and substance of the lyrics are front and center. Obvious candidates for this category would include Townes Van Zandt, Michael Martin Murphey, Guy Clark, Steve Fromholz, Terry Allen, Kris Kristofferson, Vince Bell, and David Rodriguez. In a sense, what these songwriters were doing in small, intimate live-music venues like the Jester Lounge in Houston, the Chequered Flag in Austin, and the Rubaiyat in Dallas was similar to what Bob Dylan was doing in Greenwich Village. In the language of the times, these were “folksingers.” Unlike Dylan, however, these were folksingers writing songs about their own people and their own origins and singing in their own vernacular. This music, like most great poetry, is profoundly rooted. That rootedness, in fact, is reflected in the book’s emphasis on place and the powerful ways it shaped and continues to shape the poetry and music of Texas singer-songwriters. From the coffeehouses and folk clubs where many of the “founders” got their start to the Texas-flavored festivals and concerts that nurtured both their fame and the rise of a new generation, the indelible stamp of origins is inseparable from the work of these troubadour-poets. Contents Introduction, by Craig Clifford and Craig D. Hillis | 1 Part One. The First Generation: Folksingers, Texas Style Too Weird for Kerrville: The Darker Side of Texas Music | 17 Craig Clifford Townes Van Zandt: The Anxiety, Artifice, and Audacity of Influence | 27 Robert Earl Hardy Vignette—The Ballad of Willis Alan Ramsey | 36 Bob Livingston Guy Clark: Old School Poet of the World | 39 Tamara Saviano Kris Kristofferson: The Silver-Tongued Rhodes Scholar | 49 Peter Cooper Vignette—Don Henley: Literature, Land, and Legacy | 59 Kathryn Jones Steven Fromholz, Michael Martin Murphey, and Jerry Jeff Walker: Poetic in Lyric, Message, and Musical Method | 61 Craig D. Hillis Vignette—Kinky Friedman: The Mel Brooks of Texas Music | 83 Craig Clifford Billy Joe Shaver: Sin and Salvation Poet | 85 Joe Holley One Man’s Music: Vince Bell | 92 Joe Nick Patoski Vignette—Ray Wylie Hubbard: Grifter, Ruffian, Messenger | 101 Jenni Finlay The Great Progressive Country Scare of the 1970s | 103 Craig D. Hillis (interview with Gary P. Nunn) Plenty Else to Do: Lyrical Lubbock | 109 Andy Wilkinson Roots of Steel: The Poetic Grace of Women Texas Singer-Songwriters | 115 Kathryn Jones From Debauched Yin to Mellow Yang: A Circular Trip through the Texas Music Festival Scene | 136 Jeff Prince Vignette—Bobby Bridger: “Heal in the Wisdom,” Creating a Classic | 145 Craig D. Hillis (interview with Bobby Bridger) Interlude: What Do We Do with Willie? | 148 —I. Willie (An Early Encounter) | 148 Craig D. Hillis —II. Willie (On Everything) | 151 Craig Clifford and Craig D. Hillis Part Two. The Second Generation: Garage Bands, Large Bands, and Other Permutations “Gettin’ Tough”: Steve Earle’s America | 161 Jason Mellard Lyle Lovett and Robert Earl Keen: Cosmic Aggies | 166 Jan Reid Vignette—Walt Wilkins: Spirituality and Generosity | 174 Craig Clifford (interview with Tim Jones) Lucinda Williams: Poet of Places in the Heart | 176 Kathryn Jones Rodney Crowell: Looking Inward, Looking Outward | 185 John T. Davis Vignette—Sam Baker: Short Stories in Song | 192 Robert Earl Hardy James McMurtry: Too Long in the Wasteland | 193 Diana Finlay Hendricks Part Three. Epilogue: Passing of the Torch? Drunken Poet’s Dream: Hayes Carll | 203 —I. Good Enough for Old Guys | 203 Craig Clifford —II. Good Enough for Young Guys | 207 Brian T. Atkinson Roll On: Terri Hendrix | 209 Brian T. Atkinson From Riding Bulls to Dead Horses: Ryan Bingham | 212 Craig Clifford (interview with Shaina Post) Bad Girl Poet: Miranda Lambert | 218 Craig Clifford Challenge to Bro Country: Kacey Musgraves | 221 Grady Smith Beyond the Rivers | 224 Craig Clifford Notes | 231 Selected Sources | 233 Contributors | 243 Index | 251
Don Perry was an “eye-witness” to the birth of Rock and Roll. When Elvis Presley arrived, Rock and Roll exploded and Don knew he wanted to be a part of it. In 1963, he sold his car and armed with enough money to last six months, headed to Hollywood to become a Rock star. Surely that would be enough time. That six months stretched to nearly thirty years and as Rock evolved and changed, so did Don’s career. “Don Perry Produced The Music” traces his journey as a singer/songwriter, recording engineer, record producer, manager, concert promoter and finally, music supervisor for film and TV. It also traces the golden years of Rock and Roll and how they shaped every step of the way.