Very highly recommended -- a great read. Boys' Regular Fit Jeans. Albertine's narrative is nothing less than a fierce correspondence from a life on the fringes of culture. The knickerbocker suit was also popular. It was very easy to recognise them.
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Eschewing the standard form of chronicling events in long, wistful chapters of excess, Albertine goes for short entries of brilliance. The woman knows how to write, crafting observant and blunt bits of streetwise prose to describe the many mini-moments that make up this great book.
After the days of punk ,The Slits, and notoriety had faded, Albertine tackled the next stage of her life, one in which she tried to have something approaching normalcy, only to find herself beset by a host of physical maladies which left her an empty and depressed shell of the renegade she once was.
Throughout her tale, the author is relentlessly, brutally, and heartbreakingly honest. I can best compare it to a long conversation with someone wherein the drinks or drugs flow, the talk rambles, and nobody is bored. The book is an easy read, told in two parts, mirroring the two very different eras of her life.
Beneath the stunningly beautiful woman is an intelligent, thoughtful, courageous, and utterly absorbing person who I wish I had the privilege of truly calling my friend. This book will have to suffice. Kindle Edition Verified Purchase. Can't say what possessed me to purchase this book??? I had never heard of Viv Albertine or The Slits.
I didn't listen to punk rock. However, I found this book captivating. The honesty of it all. I'm a fairly avid reader and would recommend this book to most anyone who can keep an open mind. The book created some type of cathartic experience for me.
A Memoir--a great title for a wonderful memoir! The title is based a comment by Viv Albertine's mother when Viv was a teenager, saying all Viv was interested in was clothes, music, and boys. Although I suspect that is true for many teenage girls, Viv stands out by how she throws herself into punk fashion, music, and the boys in the bands.
I know only a little about the s musical era in this memoir, but that didn't impact my enjoyment of the book. Viv's drive to learn, to play, to experience music and life is timeless. For the first part of the book, Viv is young, reckless, and free, surrounded by music and boys. In the second half of the story, a more mature Viv has sought out stability, created a family, and struggled with her health.
But underneath her carefully constructed life, there is still a flicker of desire to be more, do more, and learn more. Clothes, Music, Boys is a well-written and engaging memoir. One doesn't need to be a fan of s music, early punk fashion, or girl bands to appreciate the coming of age story of a creative, sometimes lost, woman.
If you read autobiographies for the shock of occasional recognition, to relate and be inspired by another's falterings and courage, to laugh along with how silly, horrible and cool we all can be in turns -- this is a fabulous read. One of the very few books I've rushed home to read in ages.
I started listening to punk while they were together as a band but had never heard The Slits, my loss. Listening now to them, and to Viv's Vermillion Border, I'm in love with her zingy, moody guitar style as well. Looking forward to more of her music. And here's a spoiler that won't ruin it for you, at the end she still believes in love.
Maybe because her ability to love and respect others, even the really trying ones, is an Amy Poehler-like thread that weaves through the story holding it and her?
Thanks for getting your voice back Viv, its an important one. One of the best memoirs I've read in some time. She goes into such great detail, and is clearly so smart -- and she also lets the reader see into her developing mind, her growing self-insight, not only what she learns but HOW she learns it, to a degree that I find rare.
Very highly recommended -- a great read. If you've EVER wanted to really know what it was like to be a punk rock band -- this is your book.
OR if you care about women and how they negotiate through a world that is still, after all these years, slanted against them -- you'll love this. She writes beautifully -- a good and rare surprise in today's memoir market. It was an interesting read to start with but then it just turned into a sad account of a woman who had several hard knocks in life but she had married well so she had the money to keep up appearances.
The first half of the book was interesting about her days with The Slits but the book quickly moves away from that and into an autobiography of a soccer mom. One person found this helpful. See all reviews. Most recent customer reviews. Published 12 days ago. Published 2 months ago. Still thinking about it. Published 3 months ago. Published 4 months ago. Published 8 months ago. Published 9 months ago. Published 1 year ago. Amazon Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and attract new followers and customers.
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Get fast, free shipping with Amazon Prime. Get to Know Us. English Choose a language for shopping. Amazon Music Stream millions of songs. Amazon Drive Cloud storage from Amazon. Alexa Actionable Analytics for the Web. From the midth century  until the late 19th or early 20th century, young boys in the Western world were unbreeched and wore gowns or dresses until an age that varied between two and eight.
Breeching was an important rite of passage in the life of a boy, looked forward to with much excitement, and often celebrated with a small party. It often marked the point at which the father became more involved with the raising of a boy. The main reason for keeping boys in dresses was toilet training , or the lack thereof. Before roughly various styles of long robes were in any case commonly worn by adult males of various sorts, so boys wearing them could probably not be said to form a distinct phenomenon.
Dresses were also easier to make with room for future growth, in an age when clothes were much more expensive than now for all classes. The " age of reason " was generally considered to be about seven, and breeching corresponded roughly with that age for much of the period. The many portraits of Balthasar Charles, Prince of Asturias — , son of Philip IV of Spain , show him wearing breeches from about the age of six.
For working-class children, about whom we know even less than their better-off contemporaries, it may well have marked the start of a working life. The debate between his parents over the breeching of the hero of Tristram Shandy suggests that the timing of the event could be rather arbitrary; in this case it is his father who suggests the time has arrived. In the 19th century, photographs were often taken of the boy in his new trousers, typically with his father.
He might also collect small gifts of money by going round the neighbourhood showing off his new clothes. Friends, of the mother as much as the boy, might gather to see his first appearance. A letter of from Lady Anne North to her widowed and absent son gives a lengthy account of the breeching of her grandson: Never had any bride that was to be dressed upon her wedding-night more hands about her, some the legs and some the armes, the taylor buttn'ing and other putting on the sword, and so many lookers on that had I not a ffinger [ sic ] amongst them I could not have seen him.
When he was quit drest he acted his part as well as any of them The dresses he wore before she calls "coats". The first progression, for both boys and girls, was when they were shortcoated or taken out of the long dresses that came well below the feet that were worn by babies—and which have survived as the modern Christening robe.
It was not possible to walk in these, which no doubt dictated the timing of the change. Toddlers' gowns often featured leading strings , which were narrow straps of fabric or ribbon attached at the shoulder and held by an adult while the child was learning to walk.
After this stage, in the Early Modern period it is usually not too difficult to distinguish between small boys and girls in commissioned portraits of the wealthy, even where the precise identities are no longer known. The smaller figures of small children in genre painting have less detail, and painters often did not trouble to include distinguishing props as they did in portraits. Working-class children presumably were more likely than the rich to wear handed down clothes that were used by both sexes.
In portraits the colours of clothes often keep the rough gender distinctions we see in adults—girls wear white or pale colours, and boys darker ones, including red. This may not entirely reflect reality, but the differences in hairstyles, and in the style of clothing at the chest, throat and neck, waist, and often the cuffs, presumably do.
In the 19th century, perhaps as childhood became sentimentalised, it becomes harder to tell the clothing apart between the sexes; the hair remains the best guide, but some mothers were evidently unable to resist keeping this long too. By this time the age of breeching was falling closer to two or three, where it would remain. Boys in most periods had shorter hair, often cut in a straight fringe, whilst girls' hair was longer, and in earlier periods sometimes worn "up" in adult styles, at least for special occasions like portraits.
In the 19th century, wearing hair up itself became a significant rite of passage for girls at puberty , as part of their "coming out" into society. Younger girls' hair was always long, or plaited. Sometimes a quiff or large curl emerges from under a boy's cap. Boys are most likely to have side partings, and girls centre partings. Girls' bodices usually reflected adult styles, in their best clothes at least, and low bodices and necklaces are common.
They frequently wear belts, and in periods when female dresses had a V at the waist, this is often seen on little girls, but not on boys.
Linen and lace at the neck and cuffs tend to follow adult styles for each gender, although again the clothes worn in portraits no doubt do not reflect everyday wear, and may not reflect even best clothes accurately.
Unbreeched boys of the nobility are sometimes seen wearing swords or daggers on a belt. A speech by King Leontes from Shakespeare 's The Winter's Tale implies that, as common sense would suggest, these could not be drawn, and were purely for show:. Looking on the lines Of my boy's face, methought I did recoil Twenty-three years, and saw myself unbreech'd In my green velvet coat, my dagger muzzled, Lest it should bite its master, and so prove As ornament oft does too dangerous.
Usually jewellery is not worn by boys, but when worn it is likely to be dark in colour, like the coral beads worn by the Flemish boy above.
Coral was considered by medical authorities the best material to use for teething aids, and a combined rattle and whistle in silver and teething stick in coral can be seen in many portraits. In portraits even very young girls may wear necklaces , often of pearls.
In the Van Dyck portrait of the children of Charles I , only the absence of a necklace and the colour of his dress distinguish the unbreeched James aged four from his next youngest sister Elizabeth , whilst their elder brother and sister , at seven and six, have moved on to adult styles. In cases of possible doubt, painters tend to give boys masculine toys to hold like drums, whips for toy horses, or bows.
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