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Metallica: The Club Dayz is a collection of photographs of the now legendary rock band Metallica, between 1982 and 1984.
This book contains rare and exclusive photographs from six of the band’s earliest performances including their first shows in San Francisco at The Stone and The Old Waldorf which featured the original lineup with Dave Mustaine (guitar) and Ron McGovney (bass), Cliff Burton’s introductory gig with the band at The Stone, the last Metallica show with Dave Mustaine, and Kirk Hammett’s Metallica debut.
As chief photographer of Metal Rendezvous International, a groundbreaking heavy rock magazine that was published throughout the ’80s, Bill Hale was given unlimited access to hang out with and photograph this then-fledgling metal band. His job at the time was to capture the band onstage and offstage and provide the magazine with unique photographs of Metallica, from the band showcasing their brazen live energy in concert, to unveiling some of their crazy and unpredictable backstage antics.
Bill Hale was right there from the very beginning, capturing the band before, during and after their performances. He was at every one of their early Bay Area shows, without the safety of a photo pit, crushed among the savage crowd as they head-banged fearlessly to the music of their local heroes. Here, for the first time Bill Hale opens up his photo vault. Witness one of the greatest rock bands of all time during their embryonic stage.
Influenced musically by the new breed of British metal yet epitomizing the punk rock attitude, Metallica’s loud, snotty and don’t five a fuck attitude is very evident in these photographs. Most of the photos in this book have never been published and many of the images have never before been revealed to the public. Metallica: The Club Dayz is a long lost chapter of this band’s visual history.
Jarrett Heckbert’s Metamorphadox is a wordless novel in which wood engravings tell a story of the perils of technological mediation to the ever-evolving human existence.
Metamorphosis collects a selection of esteemed Canadian writer-artist P. K. Page’s poetry, prose and plays written for and about children.
T.S. Eliot and Tennessee Ernie Ford, Buddha and Jesus, Jung and Heidegger. Love, solitude, obliteration, the ocean and a sad neighbor who feeds pigeons. Metanoia is an aphoristically narrative poem that engages all of these, a book-length meditation on transformation, enlightenment, on opening one’s eyes. McCartney’s work evinces that journey, the junket into the self.
Metaphysical Licks, a hybrid prose-poem/novella riffing on the lives and works of Austrian poet Georg Trakl and his sister, Grete, is the restless new work by writer and translator Gregoire Pam Dick [a.k.a. Mina Pam Dick, Jake Pam Dick et al., author of Delinquent (Futurepoem, 2009)]. With a mix of high and low, tragic and comic, abstract and concrete, artifice and confession, Dick’s playful writing takes risks. It transposes Georg’s Grete (musician, fellow addict and suicide) to current-day Greta, gives her Wittgenstein and Kafka as other brothers, and betroths her (unhappily) to Nietzsche. Crossing New York City with Vienna and Berlin, it composes dissonance from urban moments, narrative fragments, and philosophical remarks. The inventive, androgynous, sexually loose (and intermittently incestuous) persona of Greta expresses itself through the surreal and haunted imagery of Trakl’s poems. Readers will be drawn to Dick’s combination of girl/punk/genderqueer rebelliousness and intensely questioning thought, in a text where creativity alone offers escape and exultation, and subjectivity keeps changing its sounds.
Delve into darkness with Metastasis and other plays, a new collection of Gordon Pengilly’s award-winning dramas that highlight the core of human tragedy, paranoia, and violence. With a mix of dark humour and palpable desperation, Pengilly creates striking characters who, while essentially good, are unable to cope with their circumstances and commit reckless acts as a result. True to the tendency of human nature, these characters attempt to redeem themselves–but often discover it’s too late.
Meteor Storm is populated with men–fathers, brothers, uncles–who struggle with the missteps in their pasts and endure, sometimes with resignation, sometimes with a puzzled and angry dissatisfaction, their present lives.Set in the 1960s and 70s, many of the stories in Meteor Storm revolve around Red Rock, Ontario, a mining town where it is never easy come and easy go. The narrators of these 14 tales are in transition to adulthood, where the questions of what masculinity is, or needs to be, in the modern world are at are presented, in stark and often violent ways.In “Sunrise” the calm of an early morning is disturbed by distraught young man bringing news of two horrible deaths. “Walleyes” recounts how a lazy vacation afternoon among friends can devolve to the cusp of violence. And in “Red Rock and After” (winner of a Canadian Magazine Fiction Prize and a Journey Prize finalist) a family suffers through a string of bankruptcies, but retains their optimism about the future.Tefs’s writing style is spare, direct, and reflective and he offers a unique view of where hard-edged men crash into the limits of their power.
Metropantheon imagines the mythological origins, the ecstatic rites, and the divine interventions that comprise the essential nature of cities — the mythic hotels, the gods of coffee, street noise, and commuting, prayers to the lord of parking spaces and corporate ambition, hymns to the muses of sex, death, and roller derby, and recurring tales of the legendary graffitichild, who ties together the advent and apocalypse of all cities.
Metropolis is a visionary work that dreams the elegiac landscape of cities like Toronto, where genteel Victorian culture leans hard against Sri Lankan ghettos; where prostitutes and cocaine dealers ply their trade next to green streets immaculate with rose gardens. In Metropolis, urban portraits of violence, grief, mourning, and joy are underscored by philosophical, historical, and theological concerns. Rishma Dunlop has a gift for looking at cities in all their contradictory beauty and reading the scars of history as the graffiti of everyday life.
Robert Fitterman’s poetry, like the man himself, is urban, sophisticated and eclectic. This second volume of poems from Fitterman’s award-winning Metropolis project ranges far and wide over the cultural geography, from Milton to Black Mountain to conceptual art to Objectivism to the Steve Miller Band to the Kootenay School of Writing and back again. In addition to Fitterman’s solo explorations of poetic possibility, this volume of Metropolis also contains a section of Cedars Estates, a visual poetic collaboration with designer/artist Dirk Rowntree.
Fitterman uses poetic form like a pro golfer uses clubs, carefully selecting his tools to address particular aesthetic challenges, propelling his sentences over obstacles in great singing arcs of words. This is a truly urbane poetry, fully cognizant of the aesthetic and political conversations that carry on around it, ready to engage with any serious argument. Generous, polyglot and full of possibilities, Book 2 of Metropolis is essential reading.
Love him or hate him, the world over cannot ignore Michael Moore. Left and right can both agree that this son of a Flint autoworker has single-handedly revitalized liberal politics, and turned his unique style of political filmmaking into an expectation-defying brand. But long before he shocked the nation on the Academy Awards stage, he was picking fights with everyone from big business to friends and compatriots. Without an agenda to prove Moore right or wrong, Michael Moore by Emily Schultz is the first book to tell Moore’s life story—from the shy Eagle Scout to the most vocal critic of the Bush Presidency.
Moore’s detractors on both sides of the fence claim that he flubs facts, personally and professionally. Schultz sorts truth from lies with in-depth research and interviews, and presents a man honestly passionate and professionally conflicted. In his cap and windbreaker—always aware of the power of media—Moore has spent a life refining his image as the everyday rebel. He is a man who, at age 18, ran for the local school board so he could fire his principal, and who spent three years suing a magazine where he worked for two issues. With information never before revealed, Schultz looks into Moore’s mysterious and disastrous jump from local muckraker to editor of Mother Jones, the runaway success of his first film Roger & Me, and the scandal it caused that lost him an Oscar. Regardless of scandal, Roger & Me became his ticket from his economically devastated hometown of Flint to Hollywood. Was he a hero or villain for his portrayal of the death of small town America? The people of Flint were as divided as the rest of the world would soon be.
As the ’90s saw Moore becoming a powerhouse television producer of the cult hit TV Nation, and a best-selling author, the contradictions between success and his roots became ever more apparent. Is the ball cap and jeans uniform incongruous with his Upper West Side Manhattan life? With Fahrenheit 9/11 catapulting Moore to the front of pop cultural recognition, many from his past say that the line between the man and the myth has vanished. Moore has spent his life walking that line, and Schultz has written an incisive account that lets readers see beyond the myths surrounding one of the most important public figures of our age.
Michael Ondaatje’s life is as intense — and at times as dramatic — as his poetry and fiction. His writing is usually inspired by a single persistent image or vision — and no wonder, for as Ed Jewinski’s biography reveals, much of Ondaatje’s life has been a series of intense moments followed by ruptures and dislocations. This illustrated biography links Ondaatje’s relationships with his family to the later mature works, such as Running in the Family, and The English Patient (for which he won the Booker Prize).
In this probing character study, Rideout fashions a hypothetical 1969 meeting in a bar in St. Petersburg, Florida, between Quebec playwright Michel Tremblay and an individual whom he believes to be a truly great writer – beat generation author Jack Kerouac, whose Francophone mother affectionately called him Ti-Jean. At the time of their meeting, Kerouac is forty-seven years old and only months away from death, destroyed by drink in an attempt to live up to the wild image of the “beatnik” stereotype he coined in his novel On the Road. Michel Tremblay is twenty-seven and his first widely produced play, Les Belles Soeurs, has premiered a year before.
As he encounters his writing idol, the younger man must break through the older man’s emotional barriers to establish common ground. Ultimately, Kerouac’s Québécois background helps Tremblay understand his work, recognize the role religion takes, and the place women play in his psyche, as stated metaphorically in the various female characters who populate Les Belles Soeurs.
Cast of 2 men.