As they embark upon the fourth decade of the career, Metallica's legacy is as unique as it is remarkable: having sold over 100 million albums their status as the biggest Metal band of all time is indisputable. Following the acclaimed first volume, which chronicled the band's rise to international stardom, the authors now explore the challenges and tensions that ensued for the band. From the phenomenal, breakthrough, success of 1991's 'Black' album to the band's reinvention with the 'Load/Reload' albums; bassist Jason Newsted's shock exit in 2001 and the group's subsequent meltdown, as laid bare in the unvarnished fly-on-the-wall documentary Some Kind Of Monster, to the divisive 'St. Anger' and 'Lulu' sets (recorded with Rick Rubin and in collaboration with Lou Reed respectively), they brilliantly capture this unique bands epic, louder than life saga.
From one of the greatest rock guitarists of our era comes a memoir that redefines sex, drugs, and rock 'n' roll He was born in England but reared in L.A., surrounded by the leading artists of the day amidst the vibrant hotbed of music and culture that was the early seventies. Slash spent his adolescence on the streets of Hollywood, discovering drugs, drinking, rock music, and girls, all while achieving notable status as a BMX rider. But everything changed in his world the day he first held the beat-up one-string guitar his grandmother had discarded in a closet. The instrument became his voice and it triggered a lifelong passion that made everything else irrelevant. As soon as he could string chords and a solo together, Slash wanted to be in a band and sought out friends with similar interests. His closest friend, Steven Adler, proved to be a conspirator for the long haul. As hairmetal bands exploded onto the L.A. scene and topped the charts, Slash sought his niche and a band that suited his raw and gritty sensibility. He found salvation in the form of four young men of equal mind: Axl Rose, Izzy Stradlin, Steven Adler, and Duff McKagan. Together they became Guns N' Roses, one of the greatest rock 'n' roll bands of all time. Dirty, volatile, and as authentic as the streets that weaned them, they fought their way to the top with groundbreaking albums such as the iconic Appetite for Destruction and Use Your Illusion I and II. Here, for the first time ever, Slash tells the tale that has yet to be told from the inside: how the band came together, how they wrote the music that defined an era, how they survived insane, never-ending tours, how they survived themselves, and, ultimately, how it all fell apart. This is a window onto the world of the notoriously private guitarist and a seat on the roller-coaster ride that was one of history's greatest rock 'n' roll machines, always on the edge of self-destruction, even at the pinnacle of its success. This is a candid recollection and reflection of Slash's friendships past and present, from easygoing Izzy to ever-steady Duff to wild-child Steven and complicated Axl. It is also an intensely personal account of struggle and triumph: as Guns N' Roses journeyed to the top, Slash battled his demons, escaping the overwhelming reality with women, heroin, coke, crack, vodka, and whatever else came along. He survived it all: lawsuits, rehab, riots, notoriety, debauchery, and destruction, and ultimately found his creative evolution. From Slash's Snakepit to his current band, the massively successful Velvet Revolver,Slash found an even keel by sticking to his guns. Slash is everything the man, the myth, the legend, inspires: it's funny, honest, inspiring, jaw-dropping . . . and, in a word, excessive.
Bertie Ahern, three times Irish Taoiseach, is often described as an enigma. The Old IRA man's son who delivered peace in Northern Ireland. A working class boy responsible for the Celtic Tiger. The man of faith who ushered in progressive, cosmopolitan secular Ireland. An ardent nationalist admired by European leaders. 'I know 25 per cent of Bertie Ahern', said his finance minister, Charlie McCreevy, 'and that's 24 per cent more than anyone else.' Now in this frank and revealing autobiography, Ahern gives his own account of a remarkable political life and the personal story that accompanies it. He shows the cost to his family of a life played out in the public eye and, for the first time, discloses what really happened in his final weeks in power. Here for the first time is the truth behind the man who is Bertie. Ahern has been at the cutting edge of Irish politics for over three decades. He was first elected to Dáil Éireann in the Fianna Fáil landslide victory in 1977 that saw Jack Lynch returned as Taoiseach. In 1982, Charles Haughey appointed him Government Chief Whip. In volatile political times, he strongly supported Haughey during three challenges to his leadership of Fianna Fáil. In 1987, Bertie Ahern received his first cabinet portfolio as Minister for Labour. It was a time when the Irish economy was in crisis. Ireland had a higher debt per head than Ethiopia or Sudan. Unemployment stood at 16%. Ahern negotiated Ireland's first social partnership agreement, which underpinned economic recovery and put in place the foundations for a period of sustained growth. In 1991, he was appointed Minister for Finance. International commentators first began to refer to 'Ireland's Tiger economy' in this period. When Bertie Ahern left the Department of Finance in late 1994, for the first time in almost 30 years, Ireland had a budget surplus. Bertie Ahern succeeded Albert Reynolds as leader of Fianna Fáil in November 1994. Following the General Election in 1997, he became Ireland's youngest ever Taoiseach. The Ahern Era was a time of unprecedented progress in Irish society. Over the course of his tenure in office, Ireland's economy out-performed that of every other European country. For the first time ever, the number of people in employment in the State reached 2 million. Working closely with Bill Clinton and Tony Blair, Ahern won widespread acclaim for his perseverance and skill in negotiating the Good Friday Agreement, which has provided the political framework for a lasting peace in Northern Ireland. On the international stage, he was a respected figure who enjoyed an acclaimed Presidency of the European Council in 2004. He presided over the completion of the largest ever expansion of the EU and concluded negotiations on a European constitution. He is one of only five visiting statesmen to have addressed both the United States Congress and the Houses of Parliament in Westminster. At home, Ahern enjoyed phenomenal electoral support. He was the first Taoiseach since 1944 to win three successive General Elections. Bertie Ahern resigned on 6th May, 2008. He had served for ten years, ten months and ten days as Taoiseach.
Language Arts & Disciplines by Carola Katharina Bauer
Despite the fact that there actually exists a large number of pornographic and romantic texts about male homosexuality consumed and produced by American women since the 1970s, the "abnormality" of those female cross-voyeurs is constantly underlined in U.S. popular and academic culture. As the astonished, public reactions in the face of a largely female (heterosexual) audience of "Brokeback Mountain" (2005) and "Queer as Folk" (2000-2005) have shown, a woman's erotic/romantic interest in male homosexuality is definitely not as accepted as its male counterpart (men consuming lesbian porn). In the academic publications on female cross-voyeurs, the application of double standards with regard to male/female cross-voyeurism is even more obvious. As Karen Hellekson and Kristina Busse note in their "Introduction" to "Fan Fiction and Fan Communities in the Internet" (2006), slash fiction - fan fiction about male homosexual relationships mainly produced and consumed by women - has stood in the center of fan fiction studies so far, despite being merely a subgenre of it. The reason for this seems to be an urge to explain the underlying motivations for the fascination of women with m/m romance or pornography within the academic discourse - a trend which differs completely from the extremely under-theorized complex of men interested in "lesbians." It is this obvious influence of conventional gender stereotypes on the perception of these phenomena that provokes me to examine the way in which the works of female cross-voyeurism and their consumers/producers are conceptualized in the U.S. scholarly accounts. In many ways, this thesis explores unknown territories and respectively tries to take a closer look at academic problems that have not been adequately addressed yet.
From reality television to film, performance, and video art, autobiography is everywhere in today’s image-obsessed age. With contributions by both artists and scholars, Embodied Politics in Visual Autobiography is a unique examination of visual autobiography’s involvement in the global cultural politics of health, disability, and the body. This provocative collection looks at images of selfhood and embodiment in a variety of media and with a particular focus on bodily identities and practices that challenge the norm: a pregnant man in cyberspace, a fat activist performance troupe, indigenous artists intervening in museums, transnational selves who connect disability to war, and many more. The chapters in Embodied Politics in Visual Autobiography reflect several different theoretical approaches but share a common concern with the ways in which visual culture can generate resistance, critique, and creative interventions. With contributions that investigate digital media, installation art, graphic memoir, performance, film, reality television, photography, and video art, the collection offers a wide-ranging critical account of what is clearly becoming one of the most important issues in contemporary culture.
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 43. Chapters: Slash, Axl Rose, Buckethead, Duff McKagan, Steven Adler, Tracii Guns, Izzy Stradlin, Tommy Stinson, Josh Freese, Robin Finck, DJ Ashba, Matt Sorum, Gilby Clarke, Dizzy Reed, Ron "Bumblefoot" Thal, Bryan Mantia, Ole Beich, Chris Pitman, Rob Gardner, Paul Tobias, Frank Ferrer, Richard Fortus. Excerpt: Saul Hudson (born July 23, 1965), known by his stage name Slash, is a British-American musician and songwriter. He is best known as the former lead guitarist of the American hard rock band Guns N' Roses, with whom he achieved worldwide success in the late 1980s and early 1990s. During his later years with Guns N' Roses, Slash formed the side project Slash's Snakepit. He then co-founded the supergroup Velvet Revolver, which re-established him as a mainstream performer in the mid to late 2000s. In 2010, Slash released his eponymous debut solo album, featuring an all-star roster of guest musicians. Slash has received critical acclaim as a guitarist. Time named him runner-up on their list of "The 10 Best Electric Guitar Players" in 2009, while Guitar World ranked his solo in "November Rain" No. 6 on their list of "The 100 Greatest Guitar Solos" in 2008, and Total Guitar placed his riff in "Sweet Child o' Mine" at No. 1 on their list of "The 100 Greatest Riffs" in 2004. Slash was born Saul Hudson in Hampstead, an affluent area of London. His mother, Ola Hudson (n e Oliver; 1946-2009), was an African American costume designer whose clients included David Bowie, and his father, Anthony Hudson, is an English artist who created album covers for musicians such as Neil Young and Joni Mitchell. Contrary to popular belief, Slash's mother was not Nigerian, nor is his father Jewish. Of his mixed background, Slash later remarked, "As a musician, I've always been amused that I'm both British and black; particularly because so many Americ...