This is gonna be a long arse post

Hey guys, remember the time I told you about how I’m really bad at writing regularly?

Well this would be an example of that.  It’s been a little over a week since I last posted (whoops) and I even left you with a cliff hanger! My bad guys… I’ll try to get up to date with everything here so prepare yourselves for a monster blog post. (Rawr motherfucker)

And now, to violate several copyright laws.

I have way too much time on my hands and a deep, uncompromising love for ms paint

One Thursday ago, two peoples’ fantasy became a reality in a form never seen before: Shitchen Stadium, a shitty kitchen in a house shared by uni students. The motivation for spending, like, $20 on ingredients (even though we went to Aldi) was to encounter new original cuisines which could be called true artistic bacon creations (and also to rub it in the loser’s face). They named themselves possible Iron Chefs: the invincible baconeers of culinary skills. Shitchen Stadium is the arena where challengers await to do battle each other with unlimited time (because we’re lazy and slow) to tackle the theme ingredient of the day; Bacon (because we bacon erryday). Using all their senses, skill, creativity, they are to prepare dishes never tasted before. Whichever challenger wins will gain the people’s ovation and fame forever. Every battle, reputations are on the line in Shitchen Stadium. What inspiration do today’s challengers bring? And how will they fight back? The heat will be on!

And on it most certainly was, so much so that one of the hot plates started to smoke but this just added an extra element of danger/awesome smoke effects (da da daaaa!! EXTREME BACON).  The intensity of this historic event was only heightened by the hunger of our judges (well, at least honourable judge Cardak, Mr. Snicklefritz had maccas before) and the competition between Streeter and I was fierce, punctuated by only the dirtiest smack talk.  However, in the end there could be only one (imagine dramatic music playing here because I can’t be bothered to embed some. Imagined it? Good. Stirring, isn’t it?)

First of all, the menus:

Streeter actually came up with some pretty creative and somewhat intimidating dishes.

For an entrée he served up Reverse Bacon Dogs (because what can’t be improved by being put in reverse?). This consisted of a stick of tasty cheese being wrapped in ham, skewered with cabanossi and then wrapped in bacon (of course) and slightly melted and served to our judges.

To counter this, I served Bunless Bacon Dogs (sticking with the classics).  If you aren’t aware of what Bacon Dogs are then you’re a monster and I hate you and you should really probably try them.

Oh my god, so good

I took some hot dogs and boiled those puppies up. Then I fired up some bacon, then more bacon, and more bacon. I cut open my hot dogs and stuffed them full of delicious bacon then sprinkled on that melted cheese. Hungry yet? (I am and I’m the one writing this, D: now I want bacon again)

Both judges agreed that in Streeter’s dish, while the bacon was cooked to perfection, the tasty cheese stick was too overwhelming, ultimately killing the dish.  However, they also said that my Bunless Bacon Dogs, while delicious, weren’t cheesy enough.  Mr. Snicklefritz gave us equal scores for our equal work.  However, Cardak, as someone who hates the strong taste of tasty cheese, awarded me the winner and so going into the main round I was on top.

We never actually made it to desert as our judges were already really full from our entrées (whoops), but had they have been made I was making a maple syrup bacon sunday and Streeter was making bacon pancakes; both worthy and delicious dishes you should try some time.  This meant, however, that everything was left down to the mains.

Streeter was making his signature cheese stuffed chicken wrapped in bacon and oven cooked.  This meant I had to really step up my game.  That’s why I made bolognaise, bacon and sausage pie. I know, sounds awesome, right?

It was a tough cook off with many set back (Streeter’s chicken not cooking properly and my puff pastry both under and over cooking) but we did reach a result.  So, who takes it? Whose cuisine reigns supreme?

Streeter’s.

Unfortunately, (on top of my crappily cooked pasty) I had made the rookie mistake of including carrot in my pie and these judges just don’t do vegetables. Ever. Also, it turns out Mr. Snicklefritz hates mince; a fact Streeter had failed to mention to me. So he basically knew I was doomed from the get go. However, all the food we made was delicious and we both washed up the next day (because screw doing it immediately after).  One day though, now that I know my audience a little better, I shall challenge Iron Chef Bacon again and he will know my greasy wrath. One day Streeter. >.>

So, I would of written this all up much sooner expect that Friday night I had my friend’s (who I’ll call Cankerous Whore) 20th birthday party in the most indie bar in Newtown. Happy birthday, you filthy hipster! With me was Cardak, Jatz, Sny Sny, Smithers, Jack the douche, Clare (great nickname, rite?) and some of Cankerous Whore’s other friends.  These were some of my good friends from high school and it really had been too long since I saw them so shenanigans and fun times were had. I had pear cider on tap (as one does in such establishments) and all in all had a gay old time catching up with old friends.

When Saturday rolled around so did the first 21^st I’ve ever attended (Yay! Cool people parties!), 19 year old me was pretty excited. However, first I had to stop off home to get changed for the evening ahead and Cardak accompanied me (you know, because I was actually his plus one, but I’m more awesome so whatev).

Now, while I got ready who should arrive home but my dear old dad? I’m not sure who was more horrified at his unexpected appearance, me or Cardak.  However, after I had left them to talk they got along like two peas in a pod; excitedly bonding over their favourite football team, the Sydney Roosters.  So all went well and we managed to get the whole “meet my dad” thing out of the way and then went to the party.

It was an awesome night filled with baby photos of someone I had met only briefly once before, too many secrets shared in never have I ever and the super exciting and unexpected appearance of one of my best friends from high school, BFG (she was someone’s plus one too).  I had a really good night and an awesomely fun sing along on the train ride home with Cardak.

The rest of my week up until now has just been work, work, work, the boring details of which I shall not tire you with although one day I may write up a rant about the vein of all my unhappiness: group projects.

So there you go, 1200 words later and all caught up. Now that my workload at uni has increased I probably won’t be blogging as regularly but I’m gonna try and keep at this because I am a committed and driven individual! (lol yea right, but I will anyway)

Here is whats happening.

• The Puffle Party 2013 will start.
• Puffle Handler will start to visit the island until the party is over.
• A new newspaper.
• A new EPF message.
• Puffle Hotel construction will be completed.
• New Pin.

That’s it penguins!

See you VERY soon at the Puffle Party 2013!

UNTIL THEN…WADDLE ON!

BOSS OF THE BLOG,

COOLLEGOGUY4.

The varying style of David Bowie has changed a lot over the later decades of the 20^th century, specifically undertaking a more drastic change over the course of the 1970s, a time considered to be his “golden period.” Although this glitzy style comes across as unique and new for this time, it could be argued that the star was merely influenced by musical icons of the previous decade, such as 1960 – 70s British rock bands Cream and Pink Floyd, both of which presented themselves in a colourful, psychedelic style. This was not so different to the colourfully vibrant patterned fabric on shirts combined with a neck tie and the long legged, flared trousers worn by David Bowie in the following years. The current affairs and changes during this period may and have been said to have influenced him in his approach to music and fashion.  The legendary moon-landing of July 1969 which had been built up considerably in the media, ironically coincided with Bowies 1969 release of “Space Oddity” and 1972 “Starman”;both of which were early hits that reached the top five in the UK Singles Chart. It was at this time during the early 1970’s that Bowie’s alter ego and extraordinary fashion icon Ziggy Stardust was born. As well as the lyrical meaning within the songs, his style of that time began to interpret the theme of science fiction and futuristic knowledge, such as space travel, aliens and different universes. This was portrayed through his eccentric red hair and excessive, colourful make up, including the strange, alien-like large gold circle worn on his forehead throughout most of the stars persona for his 1972 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars, and the bright blue and red lightning bolt representing a split personality for his 1973 album Aladdin Sane, an unusual identity that followed on after Ziggy Stardust.

Throughout these personas, Bowie presented himself in a number of creatively odd outfits over the course of the 1970s introduction to glam rock. Various garments include brightly coloured jumpsuits such as this Starman outfit made up of high waisted, long legged trousers below largely constructed shoulders pointing out and knee length platform boots resembling that of moon boots to compliment a space disco and somewhat futuristic style that was becoming more and more fashionable. This ultramodern, sci-fi flair and genre is evident in the bizarrely designed striped bodysuit created by Kansai Yamamoto, a leader in Japanese contemporary fashion of the 1970s and 1980s, for Bowie’s 1973 Aladdin Sane tour. It is made up of robotic-like colours and shapes with carefully constructed and oversized leg pieces bulging out like that of an alien, emphasizing the glam rock fashion and its inspiration from the ideas of outer space and science-fiction. This “Rites of Spring” costume has a tear-away red side panel with more platform boots, with enhanced, angular padding to stretch out the legs of the piece and create a strange scientific illusion with the addition of a shiny, repetitive and symmetrical like pattern. From my view, I would describe the appearance of it similar to that of a finger print pattern, with an almost comical idea of oversized legs and odd body shape that doesn’t look human, which I would expect to appear provocative in that era. Bowie has been pictured in many more jumpsuits all of similar styles which include the heightened shoulders crafting a robotic spaceman look with different representations through the use of colour and materials. Many of these are made up of bright, glittery and baggier material and other padded, quilt-like fabricated pieces with additional zips up the leg and belts surrounding the high waist on the long, slender figure of the singer.

Furthermore, this glitzy glam rock appearance is extended further to project the space-age theme in stage outfits through much smaller, tighter jumpsuits and cat suits; for example, the asymmetrical one shouldered and one legged suits such as the costumes designed once again by Japanese designer Kansai Yamamoto in 1973. This outfit consisted of a brightly loud combination of colours and sparkling embellishments over a pattern of aztec, geometrical shapes and diagonal lines, with large, puffy, circular bands attached to the wrist resembling bangles which I feel give off a conspicuous image of an alien like creature from another world, especially when combined with the traditionally extreme makeup, hair styles and poses. There was also the occasional addition of a feather boa coming down from the shoulder towards the crotch, more so reflecting the image of a cross dresser with his asexual clothing, similar to other artists of the same era such as Marc Bolan and Mick Jagger However, it could also be suggested that these open chest, feminine-like outfits were merely encouraged by the style of earlier iconic rock bands of the 1960s such as Led Zeppelin. This flamboyant representation of Bowies can also be identified in the cover art of his 1970 album “The Man Who Sold The World” which displays the star posing as a lady-boy in what appears to be a fine satin gown revealing a lot of chest. Following that was evidently the ostentatious personas of Ziggy Stardust and Aladdin Zane with their feminine outfits of spandex and body paint, coinciding with the bisexual revolution and Gay Liberation movement of the late 1960s and early mid-1970s, which urged people to reveal their homosexuality. This included David Bowie who went on to become the first major pop or rock star to openly discuss his bisexuality in 1972, whilst it became visible in his glittery, camp garments of open chests, extravagant makeup, extremely revealed legs and jewellery; although, it could be debated that this was just the gaudy style of the 1970s glam rock.

Going back to the idols space funk look, Kansai Yamamoto designed another extreme costume for his Aladdin Zane tours of the early 1970s, fittingly named the “Samurai-Spaceman”, consisting of shiny red, black and blue material that had been quilted and stuffed similar to the layout of astronaut costumes, space suits and space shuttle or station interior, echoing the current affairs from earlier that decade. It has a small turtleneck whilst the legs flare widely at the bottom, creating a futuristic fantasy combined with the shiny material and puffy design. This visionary portrayal of outer space is continued through the advanced representation of Bowie’s jumpsuits, such as this piece consisting of a chequered, quilted suit with a high waist, tube-like white lining around the enhanced, winged shoulders of metallic colours above long legs finished with zips at the ankles and more red platform-sole boots. This look sustained in more flashy stage outfits such as the skin-tight, revealing onesies and leotards emphasizing his thin stature as well as the growingly popular glam-rock genre of this time. This was accentuated through particular garments such as designer Kansai Yamamoto’s heavily tasselled, shiny silver costume lined with black whilst revealing a triangular outline of bare chest and full legs, and designer/tailor Freddi Burretti’s one piece part leotard costume of an asymmetrical design of orange, gold, yellow and red flame appliquéd on blue and silver threaded nylon material, with the addition of gold satin strips attached to the single sleeve and more puffy circular bands around the ankles and wrists. As well as the odd presentation of hair and makeup, these slim fitted leotards and jumpsuits seemed to make the peculiarly slender, skinny figure of David Bowie emphasize the eccentric Ziggy Stardust character, which I think comes across as strangely feminine. It also evidently forms the image of an alien or creature from another world, especially those revealing a lot of bare skin on one leg and one arm, whilst increasing his feminine, camp appearance. On top of fashion, the style of stage sets on his tours and album artwork demonstrated the idea of other planets, aliens and outer-space. “The Rise and Fall of Ziggy Stardust and the Spiders from Mars”, a 1972 concept album, illustrates the science-fiction tale of a band from outer-space through the representation of outlandish sets and a futuristic album cover, similar to that of the art for 1974 concept album “Diamond Dogs.” This artwork displays a controversial image of David Bowie as half man, half dog amongst devil and alien-like creatures, placed in a dark and morbid yet innovative visualization, accordingly inspired by the idea of dystopian science-fiction in George Orwell’s 1949 novel “1984.” This expanding belief of space and the ability of the human race went on to widen and grow as Bowie therefore began to portray these new ideas and fascination with outer space through his eccentric fashions and music.

Decades ahead, the unique and iconic style of David Bowie and his flamboyant choice  of clothing and personalities such as Ziggy Stardust have become sources of inspiration for famous and contemporary designers and musical icons, particularly over the course of the 20^th and 21^st century. Many different musicians and artists have become influenced by his sense of style which they have gone on to interpret by using it in their own work, whether it be his music, fashion or charismatic image. “Kiss” were a hard rock band also popular during the 1970s, more so from 1973 onwards, recognized for their  extreme black and white face paint and explicit stage costumes made up of enhanced shoulders, open chests and platform shoes, very alike to Bowies influential taste in clothing during the earlier 1970s. This singer has even influenced stars of the 21^st century such as American singer Lady Gaga, who rose to fame in 2008 with “Just Dance”, a music video of which consisted of the singer presented with a blue lightenning bolt painted on her face, which was admittedly a tribute to her idol: David Bowie. This was from her debut album “The Fame”, similarly named to Bowies 1975 hit song “Fame.” Lady Gaga is also known for her crazily elaborate and diverse input to the music industry of modern day society through her intense fashion, style and her unpredictable performances and publicity stunts concerning her appearance. For example, her eccentric fashion sense includes heavily structured pieces of all sorts of different materials with enchanced fabrics and extremely high platforms, as well as futuristic, science-fiction themes and alien-like references in her outfits. This demonstrates a clear influence from Bowies style of his Ziggy Stardust and Aladdin Sane characters of the early 1970s who also displayed interpretations of the future and outer-space.

The present work of contemporary fashion designers and modern catwalk collections has also been encouraged by the stars distinctive garments. Current issues of various fashion magazines presenting the latest trends for example show the key looks of autumn and winter, including outfits patterned with vintage-style geometric prints and the ever popular aztec prints, both of which are imitate vibrant styles of David Bowie and his Ziggy Stardust outfits. These consist of Japanese designer Kansai Yamamoto’s aztec patterned cat suit with open shoulders and upper thighs amongst a lively combination of colours and the asymmetrical cat suit of a similar pattern with a repetitive geometric print and puffy wrist and ankle bangles. This Yamamoto creation is evidently popular today through its duplicates worn by modern artists such as Rihanna, who wore a similarly asymmetrical, one legged and one shouldered cat suit made up of a black and white contrast with the puffy wrist bangles, on stage during a performance at the Pepsi Super Bowl Fan Jam in Florida, February 2010.  “Vogue” of May 2003 also includes a feature of Kate Moss posing in the asymmetrical cat suit with the circular, puffy wrist and ankle bands. The original and iconic black and white striped jacket by tailor Freddi Burretti worn by Bowie offstage a lot during the early 1970s has also been repeated to the advantage of the 21^st century fashion industry. For instance, French clothing brand Givenchy has unmistakably been motivated by this design in order to create an uncanny resemblance of the graphically striped black and white vintage jacket for their own collection, thus offering ideas to other brands such as H&M and Zara who have sold similar designs. Despite this, I feel that this style of jacket or blazer and the combination of black and white is so common amongst fashion trends today that its origin may have disappeared completely.

David Bowie’s unforgettable image has been impersonated by modern icons of the fashion industry such as collector Daphne Guinness who posed in German Vogue in January 2012 as his early 70s Ziggy Stardust personality with the gold circle on his forehead and red hair, and the late 70s Thin White Duke character, which consisted of a 1930s German theatre and cabaret look whilst referring to his heavy cocaine intake. Other female fashion icons such as Kate Moss have conveyed his dramatic posture and feminine features; for instance, she appeared as a made up Ziggy Stardust double with spiky red hair on the January 2012 cover of Vogue Paris, after an earlier May 2003 issue of British Vogue, in which she featured to portray the vibrant image of Aladdin Sane. An early edition of American Vogue in 2001 displays model Hannelore Knuts posing as Bowie alongside Diana Meszaros posing as his wife Angela. Knuts wears a graphically coloured piece of a shirt and wide tie underneath a showy fur lined jacket with high waisted trousers turned up at the platform boots clutching a black trilby hat, combining his Ziggy Stardust and Thin White Duke eras. Many more representatives of fashion go on to depict Bowie through French Vogue, including model Raquel Zimmerman’s interpretation of his early  Ziggy Stardust jumpsuits with open chests and glitter in “Queen of Noise” styled by the magazines editor in chief Emmanuelle Alt. This was before model Iselin Steiro’s portrayal of Thin White Duke in another Vogue Paris shoot of October 2010, which consisted of baggy, high waisted trousers, braces, thick ties, and black and white tones with black waist coats and trilby hats. These collections highlight the difference between the styles of which Bowie has encountered, such as their alteration of colour, brightness and meaning. The stars dramatic era of the Thin White Duke continues even through fashion of the future. British designer Jonathan Saunders has been inspired by this 1970s formal style of David Bowies to produce his 2013 Spring collection of menswear, with the extra addition of colour in some areas. Saunders seems to have united the singers appreciation for opitical patterns of bright colours during his Ziggy Stardust period with the formality of suits that replaced this image in the later 1970s. Most of the designs are made up of slim suits of streamlined cuts, emphasizing a slender figure, similar to that of Bowies tailoring, as well as Saville Rows accuracy couture and dress-making.The collection includes elements of trenches, double breasted jackets and waistcoats,lively thick ties, skinny trousers, and blouson jackets, reflecting the dated look of Bowie that he still wears today, whilst also including the addition of knitwear and knee length trousers or shorts in keeping with the current trends of the 21^st century. However, the majority of this collection is perceptibly and widely popular in 21^st century fashion too, exposing the sophistication in menswear that will live on in developments of trends.

On the whole, past history informs us that the constantly evolving David Bowie altered and transformed his image a lot, particularly throughout the length of the 1970s, during which he introduced to the world his Ziggy Stardust persona followed by Aladdin Sane and Thin White Duke, among others. Coming into his own unique style in his “golden period” of the early 1970s as the inimitable Ziggy Stardust, his music and other music of this period became a more refined genre of “glam-rock”, thus causing his approach to fashion to represent him glamorously yet eccentrically along with other pop and glam-rock stars of the late 20^th century. Meanwhile, current affairs of this era offered him influences of world news such as the moon landing, which became apparent in his fashion as well as music, combined with the stars own fascination with space and futurism, and the femininity of his manner reflecting the bisexual revolution. Despite this evidentiary support of David Bowie’s style being influenced by those before him, it is clear to see through the strong links between his fashion and modern trends that his idolised self-representations have become massive sources of inspiration for fashion industries such as Vogue and contemporary designers of the 21^st century. Bowie set trends and offered new approaches to fashion that will continue to be explored even in decades to come, as he glamorised garments created by designers such as Kansai Yamamoto and Freddi Burretti through the use of his stardom and fame to capture the public’s attention to what new ideas fashion had to offer.

The night will be featuring high fashion versions of many of Disney’s iconic characters outfits.  ’Designers of Dreams’ will be held on March 23rd, a night full of colours and music. Creations will be made by international designers such as Russia’s Alexander Terekhov, Spain’s Custo Barcelona and Lanvin for the host country France.  London’s designer label, Sister by Sibling are creating Cinderella’s outfit, inspired by her ballroom gown. The outfit design for Cinderella has been released and looks really quirky.

French label Lanvin’s artistic director, spoke out about the Minnie Mouse outfit – “When I showed Minnie two dresses, she knew exactly which one she wanted. She likes to show her heels, and loves earrings, jewellery, colours and everything that sparkles!”

Later this week, It will be announced which designers will be responsible for creating an outfit for which iconic Disney character. I am really excited to see what other designers create for the Disney characters. I believe this is a great and unique way to celebrate Disneyland’s Anniversary.

Check out below for a behind the scenes picture of Sister by Sibling creating their outfit…

Sutton Publishing, 1998, Hardback in dust wrapper.

Jacket illustration: Panavia Tornado F3s of 25 and 11 Squadrons from RAF Leeming, North Yorkshire. Illustrated by way of: Black & White Photographs; Colour Photographs; Colour Drawings; Illustrated endpapers and blanks;

From the cover: In the first eighty years of its existence as an independent air arm the Royal Air Force has carved for itself a reputation second to none. Its achievements in both war and peace are legendary and read like a roll-call of the aviation milestones of the twentieth century. To mark the eightieth anniversary of its formation, aviation author Roy Conyers Nesbit has written and compiled this beautifully illustrated popular history of Britains junior Service.

Covering all the main campaigns and historical events, the concise narrative relates the history of the RAF from its formation on 1 April 1918, through the testing years of the interwar period, the desperate struggle of the Second World War, and the precarious peace of the nuclear age, and concludes with todays high-tech RAF poised on the edge of the millennium.

From the stick and string biplanes of 1918 up to the complex supersonic jets of the late 1990s, the stirring history of the RAF is brought vividly to life through a fascinating selection of more than 450 photographs and paintings, many of which are reproduced here for the first time. Each illustration is accompanied by a fully researched caption that complements the main text.

RAF: An Illustrated History from 1918 is a fine tribute to all those men and women who have served their country in peace and war over eighty momentous years, many of whom gave their lives. It will appeal to all with an interest in aviation and in the role that the RAF continues to play in defending our nation.

Introduction by: Richard Johns

Very Good in Very Good Dust Wrapper. Dust wrapper lightly pulled at the head of the upper panel. Leans slightly. Text complete, clean and tight.

Blue boards with Gilt titling to the Spine. 274 pages. Index. Bibliography. 12″ x 8½”.

This book will be eventually reach my delightful website…(added to my To Be Confirmed category.) but get 60% off buying from this very blog blog… Buy it now for just £2.60 + P&P! Of course, if you don’t like this one there are plenty more available here!

Stanley Paul, 1986, Hardback in dust wrapper.

Illustrated by way of: Black & White Photographs; Tables; Illustrated endpapers and blanks;

From the cover: In the summer of 1967 England, under Brian Close, won five out of six Test matches against the touring teams from India and Pakistan: John Murray came to the end of his international career and gave way to the promising young Kent wicket-keeper, Alan Knott; Yorkshire retained the County Championship and Kent, under Col in Cowdrey, won the Gillette Cup.

In the years since, international cricket has been disrupted by Kerry Packer and the polities of South Africa. It has been enlivened by the batting of Give Lloyd, Viv Richards, Greg Chappell and Graham Gooch; pounded by the aggression of Li 1 lee. Thomson. Holding, Marshall, Roberts and Garner and, more recently, dominated by the all-round skills of lan Botham, I in ran Khan, Kapil Dev and Richard Hadlee.

County Championship cricket has struggled on as a game for the purists, striving to maintain its identity in a sea of one-day matches. Yorkshire have failed to win the Championship since 1968, by far the leanest and bleakest period in their history, while Kent, Essex, Somerset and Middlesex have effectively used overseas talent to be both crowd-pulling and successful.

SEASONS PAST remembers through the edited diaries of John Arlott, Alan Gibson, Tony Lewis, Mike Brearley and Peter Roebuck the years since 1967. Summer memories of success and failure, humour and sadness, vividly portrayed by five of the most articulate observers of the game. Christopher Martin-Jenkins has added his own editorial comments throughout the book to illustrate instances where history has either confirmed or confounded the opinions of the diarists. Cases where countries, counties and individuals flattered to deceive and some even more surprising successes.

Very Good in Good+ Dust Wrapper. A little rubbing to the edges of the dust wrapper with very light creasing. Thin water mark to the upper board with offset to the dust wrapper. Text complete, clean and tight.

Black boards with Gilt titling to the Spine. 224 pages. Index. 10″ x 10″.

This book will be eventually reach my delightful website…(added to my Sport Cricket category.) but get 60% off buying from this very blog blog… Buy it now for just £2.60 + P&P! Of course, if you don’t like this one there are plenty more available here!

Thames & Hudson, 1996, Paperback.

First in this, paperback, edition. Illustrated by way of: Colour Photographs [166];

From the cover: What is minimalism? Minimalism is more than a style. It is a philosophy that can be applied to almost anything in life. In architecture and design, minimalism is about space and light, function and refinement, clarity and precision. In a world of complexity it offers visual tranquillity; it creates calm amidst the chaos of city living.

Perhaps surprisingly, interior minimalism is at its zenith in London, a city normally associated with clutter and chintz. From the elegant restraint of Georgian architecture, furniture and silverware to the pared-down, sophisticated interiors of contemporary designers, London has always displayed a preference for directness and uniformity. It is this tradition -making use of materials of the highest quality in the simplest and most dramatic ways that provides such a seductive edge to Londons minimal design.

London Minimum features the work of some of Londons most celebrated and creative individuals. Outstanding photographs of apartments and houses, department stores and museums, furniture, textiles and hardware reveal and highlight the harmony of minimal design the true London style.

Very Good. Gently rubbed at the edges of the spine and wrappers. Text complete, clean and tight.

157 pages. Bibliography. 11¾” x 9″.

This book will be eventually reach my delightful website…(added to my Architecture category.) but get 60% off buying from this very blog blog… Buy it now for just £2.60 + P&P! Of course, if you don’t like this one there are plenty more available here!

Heinemann, 1966, Hardback in dust wrapper.

Illustrated by way of: Black & White Photographs; Genealogical Tables [2 Fold-Out];

From the cover: In this definitive biography of his father, Mr. Randolph Churchill has the exclusive use of Sir Winstons letters and papers. The form in which the work, consisting of five volumes, is cast is summed up in the phrase that Randolph Churchill quotes from Lockhart: He shall be his own biographer.

The author presents Churchill, as far as possible, through his own words. At no time does Randolph Churchill make a statement which has not been thoroughly and satisfactorily authenticated. The result is a taut and vivid account of which the life blood is immediacy. Randolph Churchills method produces a biography which is the very opposite of those flabby portraits embedded in verbose speculation and irrelevant detail.

The first volume covers the years from Churchills birth to his return to England from an American lecture tour on the day of Queen Victorias funeral in order to embark on his political career. In the opening pages, the account of his birth is presented through letters of his family. Winston comes on the scene with his own words in a letter to his mother, written when he was seven. His later letters, as a child, as a boy at Harrow, as a cadet at Sandhurst, and above all as a subaltern in India, show the development of his mind and character, his ambition and awakening interests, which were to merge into a genius of our age. Mr. Churchill presents facts relevant to the subject and personalities discussed and fills in the historical background of the last twenty-six years of the nineteenth century. Here is all the excitement of the beginning of an extraordinary career and the forging of a remarkable personality.

It should not be thought that Churchills early life was unclouded, nor that his rise to fame was free from setbacks. His father, Lord Randolph, had been elected to Parliament in 1874 and his political duties and his beautiful American wifes energetic social life, left them little time to devote to their son.

There are many touching letters from the boy begging, but with great dignity, for his parents to take more interest in him. Lord Randolphs rise was rapid but so was his decline and before Winston was twenty-one he had died. At school Winstons progress was anything but meteoric. But the letters, and Randolph Churchills commentary on that period belie the legend that Winston was a lazy boy. He was not. He saw, at a very early age, through much of the arid uselessness of conventional schooling and he stubbornly confined his interests to the subjects which attracted him and which he considered useful. He failed twice to gain admission to Sandhurst and his father plainly showed him his bitter disappointment at his sons failures.

Churchill in the South African War as a soldier, a journalist making his spectacular escape from a Boer prison, reveals all the energy and tenacity which accompanied his natural but often unconventional dash. By the end of this first volume he knew what he intended to do and there is an air of expectancy and inevitability about his first entry into political life when the Queen died and both the nineteenth century and his own adventurous youth were to give way to a career of continuing audacity.

Very Good in Good+ Dust Wrapper. A little rubbing to the edges of the dust wrapper. Single reading crease to the spine. Tape offset to the blanks. Text complete, clean and tight otherwise.

Red boards with Gilt titling to the Spine. [XXXVI] 608 pages. Index. 9½” x 6¼”.

This book will be eventually reach my delightful website…(added to my Biography category.) but get 60% off buying from this very blog blog… Buy it now for just £2.60 + P&P! Of course, if you don’t like this one there are plenty more available here!