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A few still manage to get out alive, paid-up and walking, and those that don’t have a life of their own anyway in our repository hearts (as we all could admit now), and for years to come for everyone to read and see again in the pages of the inspired rock and roll book of love and mortality. Above: Jimi Hendrix. Backstage, Hendrix as leaning up against a fire hydrant between sets and listening to something infinitely far away, when a reporter approached him in a toupee and a plastic raincoat. “I’m from the New York Times,” said the reporter and Hendrix, halfopening his eyes, smiled the very faintest and weariest of wry smiles.
Gazes and the implied over-subject of the book. This was a rock Left page: Roots. Rock, in the beginning, sprang from everywhere— and roll history that we were forced to take personally. No wonRhythm ’n’ Blues and Country, romantic white balladeering and der, looking through it even today, that you can’t say whether Hollywood musicals, novelties, electronic gimmickry, barbershop quartets and just plain dance music. Previously each had formed a separate what you’re seeing is glorious or sordid, celebratory or morbid.
900 DALÍ. ), 780 pp. 900 IMPRESSIONISM Peter H. Feist / Ed. Ingo F. ), 712 pp. 900 MASTERPIECES OF WESTERN ART Ed. Ingo F. ), 768 pp. 900 PICASSO Carsten-Peter Warncke / Ed. Ingo F. ), 740 pp. 900 VAN GOGH – THE COMPLETE PAINTINGS Rainer Metzger / Ed. Ingo F. ), 740 pp. 900 WOMEN ARTISTS Ed. ), 576 pp. 900 “Le guide incontournable de l’art contemporain.... ” —Joyce, Paris, on Art Now MONET OR THE TRIUMPH OF IMPRESSIONISM Daniel Wildenstein / Ed. ), 480 pp.