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  100 Greatest Cover Versions -...

  Robert Webb

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  Which Blondie Top Five was originally a flop for a West Coast power pop band? Who wrote Alice Cooper's 1973 hit 'Hello Hurray', and which folk singer first recorded it? Who launched their career with a tear and a cover of a little known Prince song? Where was Joe Cocker sitting when he came up with the idea of covering 'With a Little Help from my Friends?'. Everybody likes a good song and a good story. The 100 Greatest Cover Versions traces the histories of some of the great songs you may know only as second-hand recordings and explores some unusual and creative takes on a few of pop's well-known tracks. Based on the Independent's popular long-running Story of the Song column, this collection features previously unpublished pieces alongside fully expanded, updated stories. Robert Webb details the background to each song how it was written, who first recorded it and how it came to be covered and explains how, in some cases, the cover version has become more popular than the original. Artists range from Patti Smith to the Happy Mondays, David Bowie to Florence + the Machine, and Stevie Wonder to Robert Wyatt. The book also includes additional further listening suggestions and a bonus track. Whether you download, rip from CD or stream your music, the Ultimate Playlist series provides the perfect accompaniment to your personal compilation. The series aims to guide listeners through large and often bewildering back catalogues of the major artists as well as key genres and styles in popular music. If you love music and you enjoy knowing more about the history behind some of pop's greatest songs, then you will love this book.

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  Reel Asian - Asian Canada on Screen

  Elaine Chang

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  Founded in 1997 by producer Anita Lee and journalist Andrew Sun, the Toronto Reel Asian International Film Festival is a unique showcase of contemporary Asian cinema and work from the Asian diaspora. The festival fosters the exchange of cultural and artistic ideals between East and West, provides a public forum for homegrown Asian media artists and their work and fuels the growing appreciation for Asian cinema in Canada.
   
  In Reel Asian: Asian Canada on Screen, contributors, many of them filmmakers, examine East and Southeast Asian Canadian contributions to independent film and video. From artist-run centres, theories of hyphenation, distribution networks and gay and lesbian cinema to F-words, new media technologies and sweet n' sour controversies, Reel Asian: Asian Canada on Screen presents a multi-faceted picture of independent Asian film in Canada. The collection highlights the screen as a site forthe reflection, projection and reimagination of identities and communities, and explores the idea that ‘Asian Canada’ is less a demographic category than it is a term of art.
   
  Reel Asian brings together creators of award-winning features and acclaimed experimental shorts; critics, curators, artists and activists; enemy aliens, impersonators, ex-pats and 'Food Jammers' to explore how history and culture have played out onscreen. Whether calling geopolitical and generic categories into question or finding new ways of unleashing the magic of the cinematic image, the anthology showcases the ways in which Asian Canadians are making their distinctive mark on screens from the multiplex to the iPod, across Canada and beyond.
   
  Co-published with the Toronto Reel Asian International Film Festival, this is the first anthology of its kind, and includes a substantial selection of images and stills, as well as a resources section providing detailed artist and distribution information.
   
  Contributors include Nobu Adilman, Jason Anderson, Leon Aureus, Cameron Bailey, Romeo Candido, Lily Cho, Nicole Chung, David Eng, Ann Marie Fleming, Richard Fung, Monika Kin Gagnon, Colin Geddes, Kwoi Gin, Mike Hoolboom, Alice Ming Wai Jim, Cheuk Kwan, Julia Kwan, Anita Lee, Helen Lee, Karin Lee, Keith Lock, Pamila Matharu, Christine Miguel, Tan Hoang Nguyen, Midi Onodera, Mieko Ouchi, Alice Shih, Mina Shum, Mary Stephen, Ho Tam, Loretta Todd, Khanhthuan Tran, Phil Tsui, Paul Wong, Su-Anne Yeo, Iris Yudai and Wayne Yung.
   
  ‘[The Reel Asian Festival] strikes the best balance between cutting edge and community. Strong programming and deep roots attract a super-hyphenated tribe.’
   
  – NOW Magazine

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  History of Art

  IntroBooks Team

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  What we know of Art History today actually has its roots back to the 19th century, but what the study is about, dates back to the ancient world. The art historians depend on the semiotics, formal analysis, iconography and psychoanalysis for understanding the history of a piece of art. After the World War II when photographic imitation and printing techniques improved, reproduction of artworks became easier. Technologies as such have tremendously helped the study of Art History to progress in profound ways, as they have facilitated easy evaluation of objects. Thus, the study of visual arts can be described as a practice that involves understanding social significance, context and form of art. 
  The chronological pillar of the study is the commemorative history of beautiful creations commissioned by public or religious bodies or prosperous individuals in Western Europe. A renowned example is “canon” which remains prominent to this day, and even has its mention on the history textbooks. However, there has been an effort made since the 20th century, to define the study to be more comprehensive of non-western art. 
  In the modern years, Art History has come up as a study that focusses in educating people how to assess and construe works of art established on their own perception. Often, Art history has been criticized for its biased nature, because every individual has their own point of view of seeing and defining things. The study of Art History teaches you to appraise what you see based on the art forms that you know already. This eventually develops your aesthetic understanding of a piece of art. 
  Those interested in the study of Art History are taught how to evaluate artefacts by numerous methods. It is difficult to understand the subject without knowing about the methods. 

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  This Is a Book About the Kids in...

  John Semley

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  The first book to explore their history, legacy, and influence
   
  This is a book about the Kids in the Hall — the legendary Canadian sketch comedy troupe formed in Toronto in 1984 and best known for the innovative, hilarious, zeitgeist-capturing sketch show The Kids in the Hall — told by the people who were there, namely the Kids themselves. John Semley’s thoroughly researched book is rich with interviews with Dave Foley, Mark McKinney, Bruce McCulloch, Kevin McDonald, and Scott Thompson, as well as Lorne Michaels and comedians speaking to the Kids’ legacy: Janeane Garofalo, Tim Heidecker, Nathan Fielder, and others. It also turns a critic’s eye on that legacy, making a strong case for the massive influence the Kids have exerted, both on alternative comedy and on pop culture more broadly.
   
  The Kids in the Hall were like a band: a group of weirdoes brought together, united by a common sensibility. And, much like a band, they’re always better when they’re together. This is a book about friendship, collaboration, and comedy — and about clashing egos, lost opportunities, and one-upmanship. This is a book about the head-crushing, cross-dressing, inimitable Kids in the Hall.

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  Staging Cultural Encounters -...

  Jane E. Goodman

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  An anthropologist recounts an Algerian theater troupe’s 2016 US tour, detailing the highs and lows of the cross-cultural exchange. 
   
  Staging Cultural Encounters tells stories about performances of cultural encounter and cultural exchange during the US tour of the Algerian theater troupe Istijmam Culturelle in 2016. Jane E. Goodman follows the Algerian theater troupe as they prepare for and then tour the United States under the auspices of the Center Stage program, sponsored by the US State Department to promote cross-cultural dialogue and understanding. 
   
  The title of the play Istijmam produced was translated as “Apples,” written by Abdelkader Alloula, a renowned Algerian playwright, director, and actor who was assassinated in 1994. Goodman take readers on tour with the actors as they move from the Kennedy Center in Washington, D.C. to the large state universities of New Hampshire and Indiana, and from a tiny community theater in small-town New England to the stage of the avant-garde La MaMa Theater in New York City. 
   
  Staging Cultural Encounters takes up conundrums of cross-cultural encounter, challenges in translation, and audience reception, offering a frank account of the encounters with American audiences and the successes and disappointments of the experience of exchange. 
   
  “This is a ground-breaking and beautifully written work in the anthropology of performance as well as an intervention in experimental anthropology, wherein theater play is both ethnographic subject and method. The book is accompanied by a detailed website of audio-visual examples, making this a hyper-text, a multi-modal way of knowing. It is a tour de force.” —Deborah Kapchan, author of Theorizing Sound Writing 
   
  “In this engrossing ethnography [Goodman] brings to life the excitements, hopes and disappointments of their staged cultural encounter. We are shown in fascinating detail what lies behind and before the tour: the actors’ intense disciplined dedication to avant garde theatre practices, the political and economic constraints of contemporary Algeria, the labour of translation, the performance traditions of the Algerian market place. . . . Subtle, searching and empathetic, with touches of wry humor, Goodman’s study will become an instant classic in anthropology, theatre and performance studies.” —Karin Barber, London School of Economics, author of A History of African Popular Culture

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  Philo Vance Detective: Money...

  Jackson Beck

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  A gang of conmen is selling machines that they say can manufacture genuine $1 bills. It's a neat scam, but it leads to murder! How did the traveling monogram illusion work? Frank Kent, an inmate of the state hospital has been broken out. The hospital is actually a mental institution. Frank was there because his mind is permanently in another world. But, the reason somebody wants him, is because he is a mathematical genius, he can add, subtract, multiply or divide any figure, in only a matter of seconds. And the kidnapper wants to use him as a money making freak show.

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