Adele Bertei - Böcker

A New York Times Book of 2026'Essential reading for anyone with even a passing interest in alternative music' Guardian'[An] electrifying account of downtown demi-monde days' Irish Times'Exhilarating' Mojo 4****In 1975 a young queer singer from Cleveland meets photographer Nan Goldin - an encounter that will lead them to New York's bombed-out downtown, where something unprecedented is brewing. At Max's Kansas City and CBGBs, in derelict lofts and underground clubs, a generation of visionary women artists is rewriting the rules of creativity, sexuality, and power.Adele Bertei didn't just witness the No Wave explosion-she ignited it. As acetone organist for the Contortions and Brian Eno's assistant, she was at the epicenter when punk collided with post-punk, birthing a counterculture that fused music, art, cinema, fashion and outlaw literature into an uncompromising explosion of creativity. While mainstream culture wallowed in sexism and homophobia, these artists and more created something fluid, fierce, and transgressive.Raw, gripping, and illustrated with rare photographs from personal collections, No New York is the definitive insider's account of the women who obliterated every barrier in their path, taking you deep into the artistic and sexual experimentation of an era when true expression mattered more than money or fame.

Finalist, 2022 Lesbian Memoir/Biography, Lambda Literary Award for Arts and Culture Crafting a legacy all their own, the reinvented Labelle subverted the “girl group” aesthetic to invoke the act’s Afrofuturist spirit and make manifest their vision of Black womanhood.Performing as the Bluebelles in the 1960s, Patti LaBelle, Nona Hendryx, and Sarah Dash wore bouffant wigs and chiffon dresses, and they harmonized vocals like many other girl groups of the era. After a decade on the Chitlin Circuit, however, they were ready to write their own material, change their name, and deliver-as Labelle-an electrifyingly celestial sound and styling that reached a crescendo with a legendary performance at the Metropolitan Opera House to celebrate the release of Nightbirds and its most well-known track, “Lady Marmalade.” In Why Labelle Matters, Adele Bertei tells the story of the group that sang the opening aria of Afrofuturism and proclaimed a new theology of musical liberation for women, people of color, and LGBTQ people across the globe. With sumptuous and galactic costumes, genre-bending lyrics, and stratospheric vocals, Labelle’s out-of-this-world performances changed the course of pop music and made them the first Black group to grace the cover of Rolling Stone. Why Labelle Matters, informed by interviews with members of the group as well as Bertei’s own experience as a groundbreaking musician, is the first cultural assessment of this transformative act.

"One of the most original, amazing stories I've ever read" (Mary Gaitskill), iconic rock-and-roll musician Adele Bertei's memoir Twist is her harrowing and electric story of transforming trauma through art, pluck, and imagination, as told through the inimitable voice of her young alter ego, Maddie Twist.

With Universal Mother, Sinead O’Connor explores childhood trauma and her experiences as a woman, mother, target of scorn, and ultimate phoenix. Released in the winter of 1994, Universal Mother was the first recorded work from O’Connor since her duo of protests in 1992 (Saturday Night Live, Madison Square Garden). The sadistic blowback she faced for publicly outing the child abuse of the Catholic Church and its cover-up would have destroyed most. Where Sinead might go next, or if she’d ever record again, was the question. It’s a testament to her integrity and extraordinary courage that she was able to resurrect with this extraordinary album. The album takes us on a deeply personal, yet universal journey of womanhood, from the archetypal bad mother to the good and the kind. A feminist statement from Germaine Greer sets the tone, followed by O’Connor letting loose a storm of rage against her abusive mother in “Fire on Bablyon”—a salvo so explosive, it need not be repeated. Other than a song called “Red Football” and a call-out of the truth behind the Irish potato famine, O’Connor is not interested in rage or revenge. With Universal Mother, she offers us a tender, evocative collection of grief and empathy in song. Her miraculous voice is the vessel—the broken, sacred voice of Mother Ireland.