Origo Magazine 2 - Spring 2026

CONTENTS

Art, books & music

AUTHOR INTERVIEWS

In Conversation 08

SHANNON LEE

Interview 10

YOKO ONO

Soundtrack to Your Life 50

BRUCE JOHNSTON

Collector Spotlight 54

BERNIE HOWITT

Letter from the Publisher 06

NICK ROYLANCE

Introducing the theme of peace for our spring issue

Excerpts & Essays: Striving for Peace 14

Excerpts from ARTIST PASS

Behind the Picture 18

ARTIST PASS

Photos taken at Friar Park by Genesis founder, Brian Roylance

Behind the Scenes 20

The editorial process behind WILDFLOWERS by Tom Petty and ARTIST PASS

The Art of a Genesis Book 30

The making of two recent Genesis editions: ROCK VISIONS by Rob Roth and BON JOVI: FOREVER by Jon Bon Jovi

Photography Spotlight 40 FROM STATION TO STATION

A new interview with Bowie’s friend and photographer, Geoff MacCormack

From the Archives 46

Unique commemorative items from the vaults, highlighting the tickets from Woodstock Round-Up 62

Subscriber comments, photographs, the quarterly staff pick, Genesis Quiz, member offer and a preview of the next issue

Cover art features Yoko Ono at the launch of her book, Infinite Universe at Dawn

With thanks to our authors & contributors

ADRIA PETTY

BERNIE HOWITT

BRUCE JOHNSTON

GEOFF MACCORMACK

ROSALIA D’APRANO

SHANNON LEE

YOKO ONO

Discover More genesis-publications.com

Next Issue

Summer 2026

Comments origo@genesis-publications.com

Follow

Publishers: Catherine Roylance, Nick Roylance

Editor: Katy Baker

Design: Catherine Roylance

Digital: Jimmy Sherwood

Copyright © 2026 Genesis Publications Ltd

ISBN:978-1-917734-09-7 fb.com/genesis.publications @genesis_publications @genesiseditions

Genesis Publications

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers.

Enquiries: info@genesis-publications.com

Comments: origo@genesis-publications.com

UK & International: +44 (0) 1483 540 970 USA Toll Free: 1 866 939 6913 genesis-publications.com

Welcome to the latest issue of Origo. This spring, several of the stories gathered here touch, in different ways, on ideas of peace – not as an abstract concept, but as something expressed through creativity, collaboration and shared experience. It is perhaps most clearly reflected in a previously unpublished interview with Yoko Ono – presented here in print for the first time – whose life and work have long explored themes of peace and change. Alongside this, we include an excerpt from Artist Pass considering how music has carried similar ideas across generations, while our ‘From the Archives’ feature revisits the Woodstock Music & Art Fair, a moment that has come to symbolise unity on an extraordinary scale.

We open the issue with Shannon Lee’s contribution to our ongoing In Conversation series, in which contributors respond to a shared set of questions devised by the Genesis editorial team. Her reflections on memory, art and personal growth provide a thoughtful and introspective starting point for this spring issue.

Elsewhere, we go behind the scenes of two recent publications: Wildflowers by Tom Petty and Bon Jovi: Forever by Jon Bon Jovi. I am very pleased to share that the latter has been recognised by the British Book Design & Production Awards as the winner of the Best Book Finishing category. We include photographs of the book during its early stages at the printers in Italy, offering insight into the level of care and craftsmanship involved in producing such an ambitious limited edition. For Wildflowers, we share an interview with Adria Petty, who reflects on the origins of this deeply personal publication.

Music and photography remain central to the magazine. Bruce Johnston of The Beach Boys reflects on three recordings that have influenced his musical life, while Geoff MacCormack looks back on photographing David Bowie during an important period of travel and creative development. We also share photographs taken by Genesis founder Brian Roylance at Friar Park during the making of George

Harrison’s I Me Mine and Derek Taylor’s Fifty Years Adrift, drawn from the Genesis archive and capturing moments within a longstanding creative friendship.

And finally, we come back to the readers for whom Origo is created. A recent message from longstanding subscriber Bernie Howitt led to this issue’s Collector Spotlight, in which he reflects on how Genesis books have informed his work bringing rock’n’roll into Australia’s national curriculum. Stories such as Bernie’s remind us that these books continue to live many lives beyond the page. If you have a story you would like to share, we would be very glad to hear from you. We hope Origo can provide a space for dialogue and help foster a sense of community, so please do keep in touch.

This issue returns us to the heart of what Genesis Publications has sought to do for over fifty years: to tell stories with care, craftsmanship and a deep respect for the artists behind them.

It is a pleasure to share these pages with you, and we hope you enjoy the issue.

In Conversation with SHANNON LEE

The Genesis team has devised a set of 20 questions that invite our authors, photographers and other contributors to select the ones they would like to address. In this issue, we ask actor and daughter of Bruce Lee, Shannon Lee, to share her thoughts and ideas on the questions that stood out to her.

What is your first memory?

Memories are such odd things. How they surface and sink in the mind. How you can remember them out of sequence. How they get bound up with thoughts and feelings and become lost, sometimes forever. There are so many different types of memory that it can be hard to say which came first. I have very visceral energetic memories from childhood, meaning I remember the way things felt like somatic imprints on my soul. But my first visual memories are from Hong Kong. I remember our German shepherd and two mini doberman pinschers, running around the yard. But I also have a brief memory of standing on my father’s lap while he held me and playing with him and laughing. Which one happened first, I can’t tell you. But I remembered the dogs before I could allow myself to remember my father, which surfaced much later. But more powerful than all of them is the feelings of that time, and in particular the way my father felt – bright, safe, warm. This I’ve always remembered since before I knew what memory was.

What is art to you?

I think art is a reflection of the soul made conscious. I think there are different levels and forms of art because there are different levels and forms of consciousness. And so the artist achieves their greatest work when they achieve their greatest understanding of themselves, which automatically extends to a greater understanding of their surroundings and therefore a greater depth of expression. When there is no soul and no presence, there is little to no art. Another definition might be that art is the attempt to answer a question fully and completely.

Do you have any rituals?

I have rituals that are ever evolving. I actually think rituals should evolve as you evolve. I feel like if you practice something as a matter of habit, without fully connecting to it and pulling it in, then it can become

empty and perfunctory. So yes, I have things I practice, and they change. I think the thing I attempt to practice more than anything is the discipline of the moment –showing up fully in the moment for what the moment offers, which is vast and terrifyingly unencumbered. It looks something like, attempting to stay present yet spontaneous, curious yet not dogged, relaxed yet not sluggish, aware yet not fixated. And if you’d rather I answer more simply, I have a ritual of meditation, prayer and micromovement that I engage with daily. And that too is ever changing…

What work are you most proud of?

It may seem too easy but by far and away my greatest work is the raising of my daughter, and the relationship I try to cultivate with her every day. I don’t take credit for h-er amazingness because that would be hubris. I take credit for attempting to adapt, guide, learn, and cultivate myself alongside her attempt to do the same. To guide without interfering is perhaps the most impossible task a person can undertake. To watch someone you love suffer and not attempt to “fix” it or them while being a ballast is excruciating and important self-work. She helps grow my trust in self and life. She’s made me a better person in every way and revealed several flaws to myself for healing. I’m proud to have had a hand in attempting to be a mother to her.

What’s something that you’re still curious about or exploring in life?

Life itself. Existence. It’s an infinite path of discovery and expansion. There are so many paths to explore, theories to test, skills to cultivate, wisdoms to embody –it’s endless. And it all results, I sense, in pure emptiness, pure nothingness, pure stillness. Terrifying and blissful. The resistance to the understanding is potentially insurmountable and the acceptance of the bliss, exceptionally intolerable. And yet we try. What heroes and villains we become along the way.

What would you say to your younger self?

I’d say to my younger self, ‘Shannon, if you can allow yourself to trust these words and if you can remember to hold them close in times of doubt and fear, then please take them – everything turns out ok. Even when it doesn’t, it becomes ok. Even though there will be hard things, and you will feel inadequate a lot of the time, you will discover your inner strength and figure out how to be ok. Life leads you to learn how to grow and protect your peace and your joy if you allow it. And you do. You are actually kind of a bad ass internally (which is where it counts) and little by little you will learn to turn down the noise and exist in your beingness and this is everything you will ever need. The road leads to new view points and new horizons over and over again. Keep going. One foot in front of the other. Everything will be ok.’

Interview with YOKO ONO

Preserved in the Genesis Archives until now, this rare interview with Yoko Ono, conducted by author and journalist Jonathan Cott, introduces her limited edition book INFINITE UNIVERSE AT DAWN and explores her life and work as an artist dedicated to inspiring change.

In opening the book, you see your foreword which is very succinct:

‘Seeds of ideas, like pebbles, were raining through my life. Genesis Publications has captured those seeds and presented them to you here, for your observation, selection and experimentation, to make their destination entirely yours.’

There’s that great John Lennon song, ‘Mind Games’, where he sings, ‘We’re playing those mind games together’. I think he’s talking about you and him but probably also the whole world. ‘Pushing the barrier, planting the seed… / Projecting our images in space and in time’. I feel like that’s your MO: planting the seeds and projecting your images in space and in time. Do you think you feel close to that idea?

The only thing I can do is try to plant the seed. Sometimes a seed doesn’t grow, or a seed dies but enough seeds will grow and that’s good.

I wanted to ask you about the title of the book, Infinite Universe at Dawn. How did you come up with that title?

I’m into numerology and in creating a title for the book I realised that I did an album called Approximately Infinite Universe which I thought was good but maybe I could add or delete from it and so I added ‘at Dawn’ because I realised when I said, ‘Approximately Infinite Universe’ it was about a moment. That moment, my life at the time. And now I think we are facing the dawn together. In a way, the title shows that we are looking at the future and moving towards the future. Not static.

I think you wake up a lot of people with your work. It’s like a lot of your work is a wake-up call. Everything that I do is a wake-up call – for myself as well.

I read that someone calculated that Picasso would have produced on average a painting or a work of art every 72 hours of his life, since he was a teenager. If that’s true that’s pretty incredible. I have a feeling that you would be creating a work of art every 24 hours of your

life because you work on films, songs, video installations, sculptures, paintings, poems, photographs, records, books, performance and conceptual pieces, concert performances, drawings, the list goes on. You don’t seem to ever get blocked. No, I’m not a blocked person. It’s all in your mind. If you think there’s a block there will be, but if you don’t think there’s a block you won’t have it. In my life, what I create keeps me flying but at the same time it keeps me firmly on Earth which is important for me.

Your head is in the clouds, but your feet are on the ground. You wrote to me in an email once, ‘I write to keep myself from jumping off the sky and I do it at the speed of an electric typewriter. Writing is my security blanket as is music and painting.’ Do you feel that all your work is healing and is a security blanket for yourself?

It’s like breathing. You must breathe and this is the way I breathe – by assuring that I am alive by doing those things.

Each copy of the book comes with a piece of a jigsaw puzzle, a patch of blue sky. The idea is that if all the people that have this book and their jigsaw piece were ever going to come together, they could put together the sky. Do you think that could happen in the future? The idea is that we could put together the sky which would be beautiful. Whenever I look up and see the sky I think, ‘Ok, so we’re still here.’ Things would be different if the sky was another colour but it’s always blue. Sometimes grey, but it’s a degree of blue. It’s a colour that they say is good for your sanity. I don’t know if we’re sane enough yet but the point is, the sky is keeping us sane.

Not to get too metaphysical, but the idea of putting the sky together symbolically is like repairing the brokenness of the infinite universe. But, if one person didn’t turn up to the reunion, a piece of the sky would be missing which would be sad.

When I gave out these pieces of sky, the idea was that we’d meet in ten years time. I did that sort of thing so many times and I realised that nobody comes back in

ten years because things move quickly and change. So ten years is probably too long. Ten years can feel like a century. But it shows that they’re taking it as a seed and they’re growing into something totally different.

It reminds me of this Japanese aesthetic idea that anything beautiful must have one piece missing or is incomplete. The idea that something is only beautiful if it is incomplete. Do you think there’s some validity to that?

Yes. And a small piece can be a universe.

I think it’s a beautiful idea. The other thing is that this jigsaw reunion is a good example of art being a participatory act. Something that we can all do together.

I think most artists, and I used to be one of them, like to create something and then don’t want anybody to ever touch it. They’ve created it and it is complete. And one day I thought what if I ask other people to participate? So, then I started to ask people to participate. One of the most well-known early examples is Unfinished Music No.1. I think that’s why there’s a certain mobility about it and I like that.

Do you think people should finish it in their mind or in a more literal sense?

It’s the same thing. I have a story which I think shows what an artist can do. John and I went to a church. They’d invited me to be part of a group show so I also invited John. They didn’t know I was going to bring somebody and when we arrived they said we couldn’t be part of the show because we weren’t married. They didn’t allow me to show my work which I thought was crazy. Finally, they allowed us to show our work in a dusty corner outside. So I planted an acorn and then John immediately put his acorn right next to mine. My idea was that I would put my acorn on the east side and he would put his on the west side. It’s an old idea this idea of east and west not meeting. But by putting his acorn right next to mine he made a comment about the idea of east and west being together which I thought was beautiful. He did it out of love. There was no distance between east and west. That was done very quietly but I think it made a little difference in the world. That’s the kind of thing an artist can do – to make a difference by changing it. But not in a drastic way, with bombs or bullets or by killing each other.

Didn’t you also send acorns to a lot of world leaders? Yes, we were so elated by what we had done. We had this kind of constant mutual admiration society between us which helped because I didn’t have many people that admired me and he had some enemies too, so between us admiring each other was very important. We had this idea to send two acorns, one from the east and one from the west in a little box to all the heads of state in the world and we asked them to plant it for peace. Some leaders actually did. It was very exciting.

We have a few questions from subscribers. Firstly, your song, ‘Walking on Thin Ice’ became a big hit. What inspired the song?

In Chicago they have this huge lake and when I visited someone told me Lake Michigan was as big as an ocean. I’d forgotten that until years later when I was working on the song. The engineers were working on it whilst we were in the next room and I thought I wanted to add this view that I had in my mind about a woman walking on the thin ice of a lake, without knowing the lake was as large as an ocean. I thought it was reflective of me, walking without knowing how big the water is. John told me, ‘This is going to be your first hit Yoko.’ It didn’t become a hit until much later but he was right. I think that was the only one maybe!

You’ve promoted peace on the world stage for decades with John and by yourself. Are we closer to peace than we were?

We did all these things to try and get world peace. But we didn’t get world peace. But imagine if we didn’t do any of those things? Not just us, but the activists of the world. If we didn’t act, we would have died a long time ago.

What has been the happiest moment in your life?

I’m still waiting!

The question is: yes or no?

It’s yes and no! Yes is no and no is yes. It’s all up to you.

I thought this artwork, if it’s really good artwork, has to have everything in it to change the world – YOKO ONO

You have a great sense of humour. I read a story that you posted on your website where you talk about at the end of the day you get home and you put your feet up. And in your mind, you say to your feet, ‘Thank you for taking me around for so many years to so many places with such happy steps. You’re the greatest.’ To conclude I’m sure I speak for everyone in saying we’d also all like to thank your feet. Thanks for your feet.

ARTIST PASS

Behind the Picture ARTIST PASS

Previously only available to ARTIST PASS subscribers, photographs by Genesis founder Brian Roylance are shared here. With unique access to Friar Park, the home of George and Olivia Harrison, Brian Roylance captured photos of George Harrison and Derek Taylor during the making of I ME MINE and FIFTY YEARS ADRIFT. Nick Roylance discusses the history tied to these photographs.

The image below shows Brian Roylance with George Harrison, taken during the making of I Me Mine, in the late 1970s. The second photograph shows George with Derek Taylor around the time of the publication of Derek Taylor’s Fifty Years Adrift, circa 1984. Both were taken on black-and-white film using my father Brian Roylance’s camera at George’s home, Friar Park. He took a camera everywhere.

My father, George and Derek were very close friends. My father befriended Derek, who had been the Beatles’ press officer in the 1960s and later worked for Warner Music in the 1970s. Derek introduced Brian to George, and the three quickly formed a strong bond that combined friendship with creative collaboration.

It was very common for Brian to visit Friar Park to work with George on Genesis projects. This included interviews, reviewing draft manuscripts, discussing page layouts and cover designs, and signing sheets for inclusion in the limited editions. They enjoyed one another’s company, and visits would often continue late

into the evening, sometimes retiring to the recording studio to listen to George’s latest compositions and demos.

I would visit too – I was born in the late 1970s, so I was very young, but I was close in age to George’s son Dhani. We would play together, and occasionally have sleepovers. Those long, happy days and weekends continued through our childhood.

The photos were originally taken simply as a record of the work they were doing together, and were used in brochures and some of the earliest issues of Origo Today, they also serve as a touching memento of three much-loved figures who are no longer with us. We rediscovered them in our father’s photographic archive after his passing in 2005. Before becoming a publisher, Brian began his career at just fifteen in the photographic reproduction department of a national daily newspaper. From that early start, he was rarely without a camera, and he continued documenting the people and projects around him throughout his life.

Behind the Scenes

WILDFLOWERS

BY TOM PETTY

Created in collaboration with the Tom Petty Estate, Genesis Publications presents WILDFLOWERS, a landmark publication documenting the creation of one of Tom Petty’s most beloved and enduring albums. Here, publishers Nick and Catherine Roylance discuss the early stages of the book’s production with Tom Petty’s daughter, Adria Petty.

ADRIA PETTY: This book is an extensive look at Wildflowers. I learned a lot during the making of the book, going through the transcripts that were taken from the Wildflowers film, Somewhere You Feel Free. It was a revelation to find things that weren’t in the final edit.

CATHERINE ROYLANCE: The book came about after many conversations, over a couple of years, and it was a project we were really excited to do. We felt that it was a great fit for Genesis.

NICK ROYLANCE: We saw the movie Somewhere You Feel Free and were so moved by it that we thought it would make an incredible book. In the 50 years that we’ve been publishing books, we’ve only ever published one other about the making of an album and that was Sgt. Pepper. Wildflowers offers a similar depth of story behind the creation of the music. It’s an incredible journey discovering how the album was made, and it really lends itself to a book.

CATHERINE ROYLANCE: We began with a manuscript and then moved into working with Jeri Heiden. Jeri is a designer who has created numerous album covers over the years and has collaborated extensively with Adria, so it made perfect sense to work with her – she knew the material better than anyone else. For us, it was about publishing material that is iconic, but also including unseen material too. That tends to be a thing with all of our books. We want to give as much content as we can and show it in a new way which she really took on board.

George Harrison used to give my dad Genesis books which he loved. He thought they were the most beautiful, fussy, wonderful things he’d ever seen, although he’d tell me, ‘These are really expensive!’ – ADRIA PETTY

We did a shoot of all the memorabilia associated with the record and Jeri styled that with Catherine’s yearning for new and exclusive content. We were so happy to have the photos taken. Our fans aren’t typically the people to take on a $400 book but these books are such collectible, objet d’art editions.

NICK ROYLANCE: It’s an honour that Mike Campbell and Benmont Tench signed every copy in the edition because there are 1,500 copies and that takes time out of their day so we’re really grateful. What’s lovely is that their voices are really important in the book, alongside Tom’s and all the collaborators involved including Steve Ferrone and Rick Rubin. That’s what’s amazing – it feels like a very personal journey through the album with everyone, giving an insight into how this music was created.

In making the book I couldn’t believe that so many of Tom’s handwritten lyrics existed and were preserved so carefully. To see the evolution of a song gave me chills, it was a wonderful surprise.

CATHERINE ROYLANCE; It was great doing a shoot with costumes like the tassel jacket Tom was wearing during the sessions. When we zoomed in on the pin, it was a little TV with Elvis on which we then decided to recreate as an included extra for the Deluxe edition.

ADRIA PETTY: As a family business we’ve always had an eye on expanding beyond the music without overshadowing it. I think Nick and Catherine have really carried their father’s legacy on of making bespoke books and incredible tomes for all of my dad’s heroes and collaborators.

Behind the Scenes

ARTIST PASS

Celebrating 50 years of publishing, ARTIST PASS presents a unique exchange between musicians, producers, writers, and photographers who together cover all things rock and roll. The Genesis editors meticulously went through six decades of interview transcripts, printed manuscripts, and previously unpublished material to create a new collection of essays from some of the biggest names in rock. Editor Katy Baker discusses the book’s creation and shares photographs of the book on press.

When I was given the project Artist Pass to celebrate the company’s 50th year, I knew it would be a substantial editorial task, but also an extremely rewarding one. It offered me the rare opportunity to revisit almost our entire catalogue and review editions spanning five decades. As an editor, being asked to read as many books as possible within a set period is a welcome ask.

As Genesis has increasingly focused on rock and roll limited editions, certain recurring themes naturally began to emerge across our authors’ work: their love of the blues, early memories of learning to play guitar and life in the 1960s for example. These became some of the first chapters we established. I had regular meetings with Nick and Catherine to discuss which books would best serve these sections. Whilst we initially planned to present the material as standalone extracts, the project evolved in a way that made it surprisingly easy to shape the manuscript so that the extracts felt like a conversation between our authors.

As I continued reading, new themes would suggest themselves, prompting further discussions with Nick and Catherine and resulting in fresh chapters and recommended reading lists. Because Artist Pass was conceived as a celebration of Genesis’s 50th year, it was important to represent as many books as possible. This included several art titles, such as Yoko Ono’s Infinite Universe at Dawn and Chrissie Hynde’s Adding the Blue These fitted naturally, as another common thread among our authors is that many of them are accomplished visual artists as well, including Ronnie Wood and Chuck D.

While Artist Pass presents our books in a new way, it was equally important to include previously unpublished material for our subscribers. Over the course of five decades of publishing, there have inevitably been projects that never came to fruition, as well as extended interviews that were edited down for final publication. This left us with a wealth of archival material to draw from. Revisiting these archives and having the time to explore them properly was fascinating. We uncovered a number of interviews with producer George Martin, alongside material featuring Elton John, Robin Gibb, Alice Cooper, and Cilla Black reflecting on his impact on music, much of which was incorporated into Artist Pass

It has been wonderful to see photographs of the book on press. Although it is one of our most text-heavy publications, considerable thought went into how best to present the images. We chose duotone printing for this edition to give the monochrome photographs greater depth and richness.

I’m extremely pleased with the final result, both editorially and from a design and production standpoint. I hope it serves as a strong overview of the books Genesis has published over the years, and as an accessible introduction for those new to the company. Each quote is fully referenced, allowing readers to return to the original publications if they wish.

Titles that Didn’t Make the Cut...

Fragments

Strange Museum Word on a Wing Speed of Sound Stage Access

The Art of a Genesis Book

ROCK VISIONS

BY ROB ROTH

A fully-subscribed edition of only 500 copies, ROCK VISIONS has been a unique project for the team at Genesis. Editor Megan Lily Large shares some of the work that went on behind the scenes to make this special edition.

Rock Visions has been one of those projects that has required a lot of research and preparatory work to get the book to where it is today but it has been such a rewarding process. Along the way there has been lots of knowledge gained about the bands that feature in the book as well as the special relationship between a collector, their items and the bands too.

Rob Roth had tens of thousands of items to go through for possible inclusion within the book. As with our other books, we were keen to select rare or previously unpublished artworks and Rob was a huge help in identifying which items to choose. During the process of creating the book, Rob of course was still collecting and some of these new acquisitions made it into the book, including a Becoming Led Zeppelin documentary poster and an advertisement for Elton John and Brandi Carlile’s new song, ‘Who Believes in Angels?’.

The cover and archival box design was created by our in-house designers and all of the bands and solo musicians that feature in the book are represented within the montage. The box design was shown to Elton John and we were delighted to hear that he said that he loved it.

Some of the alternative cover and box designs are shown here. For each project we do, after we decide the title of the book – although sometimes before – we start working on the cover designs to show to the author. We usually offer a wide range of designs. Each author is different, some preferring a punk-rock aesthetic, and others preferring a simpler design. Once we have their feedback we can then set to work on finalising the design and choosing the best materials for the book. With Rob, he had a clear vision for the book so it felt easy working together to produce the final product.

ALTERNATIVE COVER & BOX DESIGNS

THE FINAL PRODUCT

The Art of a Genesis Book

BON JOVI: FOREVER BY JON BON JOVI

Winner of the Best Book Finishing category from the British Book Design & Production Awards, BON JOVI: FOREVER is the perfect example of the high quality work that our Italian printers produce. We speak to Rosalia D’Aprano from O.G.M. Spa printers, based in Padova, Italy, about the book’s production and editor Sally Millard tells us more about the art and design of this limited edition.

ROSALIA D’APRANO: O.G.M Spa is an independent printer with over 60 years of experience producing luxury books and limited editions. We have a range of clients, producing luxury editions for fashion, architecture, the music industry, galleries and book publishers from around the world. We’re one of the leading specialists, with a dedicated team of professionals that see a book through the entire production process: from preparing the digital files at the repro stage through to the delivery, making sure the books are securely packaged to be delivered worldwide.

At O.G.M. Spa I look after the UK and Ireland sales and oversee the production alongside our clients.

Our first project with Genesis was The Beach Boys by The Beach Boys. We did both the bookstore edition and the limited edition. We’re always working to come up with unique solutions for projects and for that one for example we bound the limited edition in Toile cloth, a material woven from recycled ocean plastic which was fitting, given the band.

All limited edition boxed sets are unique in their design and finish and for the Bon Jovi title, the 3D plates on the clamshell were a particular technical challenge which required multiple tests and prototypes to be made before the final production began. We had produced different types of 3D plates in the past for book covers

and boxes, working alongside our trusted suppliers, so we knew it was important to get the prototypes right to determine what would work for the finished product. It’s great to be able to meet with clients in order to communicate and understand exactly what it is they are hoping to achieve so that we can try and make it a reality. All parts of the production process from creating the files to printing, binding and finishing require the precision and skill to achieve the best possible results and so it is nice that those skills have been recognised with this title having won the Best Book Finishing category from the British Book Design and Production Awards.

One thing that I’m proud of, that probably most readers wouldn’t be aware of is our Offset printing method. Offset printing uses a unique process based on the principle that oil and water do not mix to separate. Our perfecting presses can automatically flip the paper during the printing process to print both the front and back of the sheet during a single pass through the press while maintaining the highest quality print. It all sounds simple, but this involves a qualified team of printing press staff who operate, set up and maintain the machinery, print runs and quality checks. We are especially proud of our team work and collaboration skills at the company.

SALLY MILLARD: We were given a great deal of creative freedom by Bon Jovi Management, allowing us to develop a wide range of ideas. In total, we presented 15 concept designs for the book and box, split between the Deluxe and Collector editions.

For the Deluxe edition, we focused on more elevated, tactile materials, experimenting with elements such as die-cut metals, denim cloth and sewn fabric patches to create something that felt closely connected to the band’s style. The Collector edition concepts, meanwhile, used vegan leather and printed Imitlin paper designed to evoke the look and texture of denim.

The cover designs were inspired by Bon Jovi’s rich visual archive, drawing on album artwork, tour jackets, backstage passes, instruments, badges and logos. This resulted in a cohesive design language built around denim textures, black cloth, stitched details and foiled elements.

We explored two versions of the iconic heart-anddagger logo across different concepts. The ‘vintage’ full-colour version reflects the band’s mid-1980s era, while the chrome version represents the more modern identity seen in their branding and merchandise since the 1990s.

One cover design played with the metal banner logo used on the 1988 New Jersey album cover and promotional material, while a box concept brought together a montage of backstage passes from across Bon Jovi’s tours, presented either as a striking black-on-silver design or in full colour.

We also presented half a dozen photographic covers, with a selection of iconic live, portrait and band photos.

For the book’s title, we proposed a range of impactful, one-word titles drawn from Bon Jovi song titles and lyrics. These ideas were rooted in themes that have defined the band – longevity, strength, positivity and a strong sense of brotherhood – particularly as they approached their 40th anniversary.

Ultimately, Forever felt like the natural choice. Not only does it connect to Bon Jovi’s 2024 studio album – and, as it later emerged, their forthcoming 2026 tour –but it also captures something much bigger. The word speaks to the band’s four-decade career, their continuing story, and the enduring connection they share with their fans.

Titles that Didn’t Make the Cut...

Believe

Jovi: Hold On

Bon Jovi: Someday

Bon Jovi: Stand Up

Bon Jovi: Always

The inspiration behind the denim and patches on the final cover design came directly from the jacket Jon Bon Jovi wore for the Forever album cover shoot. In the portrait by Mark Seliger (above), taken in Los Angeles, Jon is photographed from behind wearing a denim jacket featuring ‘BON JOVI’ and ‘FOREVER’ patches. The original jacket is now held by the Rock and Roll Hall of Fame in Cleveland, who kindly arranged for it to be specially photographed to our specifications, allowing the distinctive markings and stitching to be accurately replicated for the book cover.

Historically, patched denim and leather jackets have their roots in WWII bomber jackets and biker culture, later becoming closely associated with punk and metal

subcultures. The placement and selection of patches traditionally express identity and affiliation. They are not merely decorative; they signify memories, loyalties and belonging – referencing favourite bands, tours, places and communities. Over time, a patched jacket becomes a personal archive: part badge of membership, part autobiography.

Jon’s return to a patched denim jacket for an album released in the band’s 40th year created a clear sense of continuity. It echoed earlier moments in Bon Jovi’s history, including the ‘NEW JERSEY’ patched duster Jon wore during the promotion of the New Jersey album, and the denim jacket he wore on stage during the 1988–1990 New Jersey Syndicate Tour.

As a result, the patched denim jacket felt like an apt choice for the book’s cover. It reflects not just a recognisable visual style, but the accumulation of four decades of Bon Jovi’s history – tours, eras, fans and iconography – literally stitched together into a single, enduring image

The relatively simple aesthetic of the limited edition cover and box was intentionally not carried through to the book’s internal design. Given the sheer volume of material available from Bon Jovi’s archive, we wanted to share as much of it as possible with fans, resulting in a deliberately maximalist approach to the page design.

Spreads are densely layered with handwritten song lyrics, tapes and tape boxes, studio track sheets from recording sessions and outtakes, proof sheets and final artwork from album cover shoots. These are complemented by stage wear and tour ephemera, including posters, tickets, backstage passes and itineraries. The book also features hundreds of photographs of the band – captured in the studio, during promotional shoots, live on stage and backstage – from both the band’s own archives and some of the world’s most renowned photographers.

The final design captures a strong, distinctive and immediately identifiable Bon Jovi aesthetic.

The photographic covers ultimately lacked the necessary impact and did not fully represent the band’s legacy. A single image of Jon Bon Jovi could not encapsulate a 40-year career, while band photography presented challenges due to changes in line-up over time.

We made the decision to focus on a more symbolic approach. The padded denim jacket-inspired cover with sewn patches, paired with the chrome heart-and-dagger logo on a black box, provided a clear and compelling solution. Both elements are closely associated with the band’s visual identity and are instantly recognisable to fans.

The result is a highly tactile and expressive package, drawing on materials and iconography that are intrinsically linked to Bon Jovi, and appropriate for a legacy publication marking four decades of the band’s history.

At Genesis, we always create books with strong thematic packaging, but Bon Jovi: Forever really stands

out as an artefact of Bon Jovi’s iconography. We feel the book can sit naturally within a fan’s collection –alongside any album, tour memorabilia or merchandise – aligning closely with the band’s established aesthetic. The materials, detailing and visual language are all instantly recognisable, allowing the book to feel less like a standalone object and more like an extension of Bon Jovi’s world.

We are delighted that the Deluxe edition of Bon Jovi: Forever was the winner of the Best Book Finishing category at the British Book Design and Production Awards. On deciding a winner the judges commented:

‘A fiercely competitive category, but this book gave the judges something to talk about. The clever and confident use of materials and finishing techniques perfectly capture the band’s identity, executed with real flair and attention to detail. A beautifully collated book, packed with engaging elements, and presented in a bespoke box that ensures this production will live on as a standout winner.’

The signed limited edition of Bon Jovi: Forever is now fully subscribed. The bookstore edition, presented in a hardback format, is available in all good bookstores now.

Reviews

BON JOVI: FOREVER

BY JON BON JOVI

THE BOOK REVIEWS

The ‘Wanted Dead or Alive’ guys are celebrated in the eye-catching pages of a Bon Jovi fan’s dream book. Along with recollections from Jon Bon Jovi and plenty of band pics, Bon Jovi: Forever is filled with myriad images of all manner of memorabilia and ephemera as it follows the band’s career, including shots of handwritten lyrics and notes, promotional items, studio records, tour schedules, backstage passes, and even photos of a group of pre-Bon Jovi cassette tapes. Those with even a passing interest in Bon Jovi or classic rock may find it hard to stop paging through, while fans of the band will find it something to savor while breaking out those well-worn CDs.

Under the Radar Magazine

The photography is fantastic, the curation meticulous, and the text illuminating. This is far more than a ‘coffee table’ book – it’s a visual biography and emotional scrapbook rolled into one.

Now Spinning Magazine

I think the book is really wonderful! I finally had some time over the weekend to really dive into it and it is clear so much thought and care has gone into both the content and the creation of the book. The quality and the detail are really fantastic and I will enjoy poring over it for many more hours to come!

Subscriber review, UK

You created a true gem! The content and the design are so good. Being a die hard fan for 33 years I own a lot of memorabilia and books. Now I can add a jewel to my collection. It will bring many hours of delight to me!

Subscriber review, Germany

I am simply overwhelmed. It is truly exquisite, like truly archival quality – the detail, the binding, the immaculate packaging and preparation. This is by far the most superb quality collector’s edition book I have ever purchased or even seen. I am BEYOND delighted!!!! Thank you and your team so much – the craftsmanship, the hard work – it is absolutely STUNNING!!!!!!

Subscriber review, UK

Photography Spotlight

FROM STATION TO STATION

Celebrating 50 years of one of David Bowie’s most important studio albums, STATION TO STATION, Geoff McCormack introduces a selection of his of photographs taken between 1973 and 1976. Geoff MacCormack first met David Jones at Burnt Ash Primary School in Bromley when they were just eight years old. Fast-forward to 1973 and Geoff was by Bowie’s side, travelling through Japan, across Russia on the Trans-Siberian Express, through Paris and Rome, and throughout the United States. He was on stage when Bowie retired Ziggy Stardust and contributed to the recording of six albums, including PIN-UPS, DIAMOND DOGS, YOUNG AMERICANS and, of course, STATION TO STATION.

David and I were lifelong friends – I knew him for 60 years. When he asked me to join his extended Ziggy/Aladdin Sane band in 1973, one thing I hadn’t realised is that we would travel by land and sea all around the globe! David didn’t like the idea of travelling by air, so after sailing first class to New York we sailed via Canada and Hawaii to Japan. We then had the geographical problem of getting back to London. Naturally we got a boat to Siberia to travel home via the Soviet Union, Belarus, Poland, East and West Germany, and Paris before we finally made it to London.

When David broke up the Spiders from Mars band at the famous Hammersmith Odeon gig on 3rd July 1973, I stayed, recording and touring for Diamond Dog and Young Americans. I hung around for another two and a half years, taking images with my Nikkormat. A lot of the images were taken far away from the immediate vicinity to David with a cheap Vivitar fixed 200mm lens so as not to get in the way of the official photographer, or to annoy David.

The first photo shown here is David striking a pose on the Trans-Siberian Express. He is wearing a Freddie Burretti tailored jacket made exclusively for him. This shot was taken inside the train. We travelled in first class but when we ventured through the train we eventually came across the passengers that had to sleep, or at least lie on the floors wherever they could find space. Overleaf, is one of my favourite shots, also taken on the Trans-Siberian Express. I love the way the window of the carriage frames David. This shot was used as the lead publicity image for a 2023 cultural exhibition in Los Angeles.

Our dress code rapidly fell away after about two days into the long journey. The jacket David is wearing is a Freddie Buretti original. With his bright red hair and unconventional clothing, Bowie didn't exactly blend into the austere surroundings of Siberia.

The images on these two pages were taken on the set of The Man Who Fell to Earth. I was the driver of the Winnebago which was used as a make-up department and refuge for David. I was also supposed to be David’s stand-in. Bearing in mind we were very far apart in terms of our physical appearance, mercifully the gig didn’t last long, which left me time to take a few snaps with my Nikkormat.

From the Archives Woodstock Experience

In this feature we highlight a true treasure in the Genesis archive: a complete set of Woodstock tickets. Every copy of WOODSTOCK EXPERIENCE was accompanies by an original ticket from the Woodstock Music & Art Fair. Sourced by Michael Lang, it was an opportunity to own an authentic piece of Woodstock history. Publisher Nick Roylance discusses their significance.

Eight months

before the event,

I had a dream. I was on a stage looking out at a sea of people, and I knew that was coming. I didn't have the specifics of it, but I had the end results. I just followed that.

– MICHAEL LANG

Woodstock Experience was published to mark the 40th anniversary of Woodstock, in collaboration with the festival’s co-creator Michael Lang, and was limited to only 500 copies. During the development of the book, Michael surprised us by revealing that it would be possible to include an original Woodstock ticket with every copy of the limited edition. He found it amusing that the tickets themselves had been almost entirely unnecessary for entry to the festival — although tickets were sold, there was little practical system for collecting them on arrival. Many people attended simply because they had heard the festival was taking place, and the event quickly took on a life of its own.

As a result, surviving tickets are scarce, particularly when preserved as a complete set covering the entire weekend. We were fortunate to receive an equal number of Friday, Saturday and Sunday tickets, and what is shown here is one remaining set retained from the making of the edition. Individual tickets can occasionally be found, but it is uncommon to see all three together.

The story of the tickets reflects the development of the edition as a whole. The project continued to expand as new material came to light. A second volume was created to present the archive of Dan Garson, a young student who photographed the festival for his high school magazine. His images had remained largely unseen prior to the preparation of the book. As a student photographer, Garson remained at the festival until the very end, after many professional photographers had already left. In doing so, he was able to capture Jimi Hendrix’s closing performance in its entirety.

THE BOXED SET

As the project developed, the edition evolved into a multimedia boxed set. Peter Max contributed an original art print, which had not formed part of the initial plan. Shepard Fairey also became involved, producing several artworks for the cover, a selection of which are shown here. This marked our first collaboration with Shepard. The edition became one of our fastest-selling publications, and remains a project of which we are immensely proud.

Soundtrack to Your Life BRUCE JOHNSTON

In 2024, Genesis had the pleasure of working with singer, songwriter, and Beach Boy Bruce Johnston on the best selling book THE BEACH BOYS BY THE BEACH BOYS. With the limited edition fully subscribed, we were delighted to create a bookstore edition, presenting the book in a more accessible format and bringing it to a wider audience.

Having recently announced his retirement from touring, Bruce remains deeply immersed in the world of music. Here, he shares the soundtrack to his life, revealing an eclectic selection of songs that reflect his enduring appreciation for musical harmony.

Long ago when I was nine years old, I remember being at home in Santa Monica, switching on our AM radio just as the seventh movement (‘Neptune’) of Gustav Holst’s The Planets suite began. Even at this early age, my music radar helped me pay attention to this remarkable work, especially when the haunting interplay began between the orchestra and the two (wordless) three-part women’s choruses. Towards the end, when the orchestra began to sonically disappear, the angelic female voices continued to sing until they faded into silence…

The work is over 100 years old today, but no less profound.

Moments like this in my life have allowed me to recognise the greatness and uniqueness of choral vocals, and my professional career has always included a love for vocal arranging (thank you Gustav Holst and Brian Wilson!).

Sounds is ‘God Only Knows’. I recorded my vocal parts between March–April of 1966 and even at the age of 23, I could see by Brian’s complex and mature arrangements that we were dealing with something very unique and even groundbreaking. To dig deeper into the piece, after the second verse, there is a ‘bridge’ three-part vocal section that I can remember Brian assigning me the top vocal lead-in part to. This is followed by Carl Wilson’s dreamy middle-range vocal notes and then ends with Brian adding his solid bottom vocal parts. These three vocal parts then develop until they ‘meet’ in the last bar as a three-part F# minor chord and then finally glide up to a second inversion F# minor chord to complete the bridge. Truly memorable!

recording, vocal arrangement, and processing make the work truly special and employ techniques that pushed the limits of the technology of the time. Of course, everything begins with a well-written song (thank you Eric Stewart and Graham Gouldman) and top-notch vocals, but 10cc employed ground-breaking techniques that gave the track an out-of-this-world, ethereal quality. Their multi-layered ‘choir’ is a prime example of this, constructed by having three band members (Graham Gouldman, Kevin Godley and Lol Creme) each sing ‘ahhh’ 16 times (producing 48 recordings) for each note of the chromatic scale. This created 576(!) individual recordings. The application of these voices was no less innovative, as each note (with 48 voices) was assigned to a fader on the mixing board, creating a sort of ‘instrument’ which band members could then create chords on by working the faders in groupings of three and four. As a vocal arranger, I remember thinking in 1975, ‘pure genius!’

2026 marks the 60th anniversary release of Pet Sounds, a musical masterpiece and gift from Brian Wilson to us all. Pet Sounds was actually the third Beach Boys album I was blessed to be a part of. The prior two were Summer Days (And Summer Nights!!) containing ‘California Girls’ and then Beach Boys’ Party! containing ‘Barbara Ann’.

For me, the standout track on Pet

Because the final release of ‘God Only Knows’ contained only vocals from Brian, Carl and myself, since they have left us I sometimes find it hard to listen to, but I know that by sharing my experiences and remembering how magical the times were, the spirit we all shared can be kept alive and passed on to anyone who is just willing to listen

Moving on to 1975 and to the UK, I think one of the most amazing and innovative singles ever released is ‘I’m Not In Love’ by 10cc (The Original Soundtrack album). The

One final thought: In 1977, two years after the release of ‘I’m Not In Love’ I was working in London, producing an album for the band Sailor at CBS Studios. It was June, and by chance as I was walking down the hall, in an adjacent studio I saw none other than the great conductor, Leopold Stokowski. What struck me, however, was that he was conducting not an orchestra, but a multi-track recorder! I suddenly realised that like 10cc, Stokowski at the age of 95 was finding a way to connect with the technology of the time to get the results he desired. During this mix-down session, I watched as he conducted, indicating dynamic markings through hand gestures as his engineer (franticly) translated them by adjusting the mixing board’s faders. It was truly a remarkable sight.

The band members of 10cc and Stokowski might have been 60 years apart in age, but their creativity and dedication to innovation were truly ageless…

Collector Spotlight BERNIE HOWITT

In this Collector Spotlight, longtime subscriber Bernie Howitt shares how he’s successfully woven rock and roll into Australia’s national curriculum.

Finally, a moment of relief from getting three history books written for the new history syllabuses coming into New South Wales schools. I’ve been writing to help students guide themselves through the world they’re living in, hopefully aiding the journey from understanding where we all are coming from to shed some light on where we might be heading. It’s hard work which requires ongoing inspirational input. This has come from the joy of a veritable flurry of the absolutely wonderful Genesis titles which have arrived in an incredible sequence, each providing a lift exactly when I needed it.

My Genesis involvement goes back to Songs by George Harrison and Fifty Years Adrift. They were pivotal in helping me turn my passion into developing school courses, which used the history and stories of rock’n’roll’s impact of society, culture and the world we lived in, to help students understand and enjoy history.

From that humble beginning in a single school, it culminated in a phone call saying, ‘You know that rock’n’roll you think is so important, if you believe that you’re going to have to come in here and write the national history curriculum, because no one else thinks it matters.’ That was an offer I felt I had to take up, and sneaking under the guise of popular culture, rock’n’roll infiltrated Australia’s new national curriculum. One of the proudest moments of my life was telling Robert Forster I’d even sneaked the Go-Betweens in as a prime example of the impact of Australian music internationally. Through all that, my Genesis books have always been an inspiration, a haven, a support in every argument I had to engage in.

When I got asked to be lead author on this latest round of books under a ridiculously tight timeline my son said to me, ‘Just think of it as more money for concerts and nights staying in Sydney so you can really enjoy them.’ Perfect I thought, and then I thought, they could also allow me to replenish my Genesis collection. I had Artist Pass on order because it ticked every box anyone who has spent their life entranced by music could possibly dream of. When it arrived it was simply magnificent, such a culturally significant contribution to recording the course and impact of a cultural explosion which still reverberates. An amazing collection of primary sources for future generations. As I descended into the deep depths of trying to write about the

construction of history for senior students in an era of ‘fake news’ and government by tweet, I needed more inspiration. Jurgen Vollmer’s Hamburg to Hollywood was irresistible and I decided that this was something which would lift me through a Trump induced funk. Each night now, I can sleep under that wonderful group portrait which helps me access that time before the Beatles changed my life in 1964. I followed that with the warmth and compassion of Olivia Harrison’s Came the Lightening. George Harrison has been a guiding light in my life since 1964, and yes, for some deep-seated feeling I went and saw Deep Purple in Sydney on the night he came on and played ‘Lucille’ with them during their encore. When I raced back to the only hotel big rock groups used then and the car door opened and out stepped George, I asked if he would sign the only scrap of paper I had in my car. He smiled as only George Harrison could, and said ‘That’s Deep Purple over there, don’t you want them?’ to which I replied, ‘I’ll get them in a minute.’ He smiled again, even more warmly and said ‘fair cop’ and signed that precious piece of paper. Reading Came the Lightening recreated the warmth of that smile for me, and I can never find enough words to say a proper thank you for producing a book which contained the power, the beauty, the love which allowed me to feel that again. I’d also ordered Wildflowers before all this writing started because of my deep love for Tom Petty. Seeing him in Sydney on his first tour in 1980 cemented a love affair which has never wavered. The book arrived just in time to get me through the final push. That push was delayed by a couple of days as I soaked that beautiful book in. I found myself totally immersed, gaining a whole new perspective on such a pivotal album in his career and life. I can’t rank them, but that quartet of books have so much power – they are more than truly wonderful pieces of art. They’re magical portals to places we can’t otherwise access, places we need to access to help us to cherish the journey each of us is on. I can only thank you for this wonderful work continuing and enlightening the world.

I’ve used the latest Hamburg, 1961 Origo playlist to accompany writing this. It’s now run into ‘All Those Years Ago’, which seems an appropriate place to finish. Thank you all for the effort, care and love you put into every release. It is appreciated, and I hope this gives you an insight into how your work has landed over here in Australia.

Titles Coming Soon

The latest Genesis titles currently with the editorial team include Anniversary copies of THIN WILD MERCURY showcasing Jerry Schatzberg’s extraordinary photographs of Bob Dylan and a new archive photography set by Geoff MacCormack featuring photos of David Bowie.

THIN WILD MERCURY: ANNIVERSARY COPIES

Thin Wild Mercury presents the story behind Jerry Schatzberg’s extraordinary photographs of Bob Dylan –from their first meeting during the recording of Highway 61 Revisited to the creation of the blurred, era-defining cover of Blonde on Blonde

First published by Genesis in 2006, and now marking its 20th anniversary in the 60th year of Blonde on Blonde, this award-winning book returns to celebrate one of the most compelling creative partnerships of the 1960s –bound to the same exacting specifications at our Italian bindery and drawn from the remaining numbered copies of the original limited edition of 1,500.

Each Anniversary Copy includes The Collector edition of the book, a Jerry Schatzberg–signed lithograph of Bob Dylan and is individually numbered in Roman numerals I–LX.

Each lithograph was signed by Jerry Schatzberg at the time of the original 2006 publication and has been carefully preserved in the publisher’s archive. No new prints have been produced for this release.

These Anniversary Copies are strictly limited to 60 book-and-print sets.

FROM STATION TO STATION: ARCHIVE SET

Celebrating 50 years of one of David Bowie’s most important studio albums, Station to Station, this limited archival presentation brings together two authentic artefacts from one of the most compelling periods in his career.

Issued exclusively by Genesis Publications, each archive set pairs an original limited-edition photographic print by Geoff MacCormack – Bowie’s close friend and collaborator during the mid-1970s –with a Bowie-signed conceptual bookplate, both produced in connection with the sold-out publication of From Station to Station: Travels with Bowie 1973–1976. Presented with conservation at its core, each set brings together two historically linked objects from Bowie’s Station to Station era.

The Photographic Print

• Traditional dark room prints on fibre-based and

Original Genesis Publications limited edition (2007)

• resin-coated papers

Size: 23.5 cm × 30.5 cm / 9½” x 12”

• Choice of 12 images, each limited to 5 copies

• Signed by Geoff MacCormack with a Genesis stamp

• on the verso

The Bowie-Signed Bookplate

Original Genesis Publications bookplate

• Hand-signed and dated 2010 by David Bowie

• Designed as a facsimile of 1970s ‘While You Were

• Out’ hotel stationery

• publication of From Station to Station Supplied unadhered, as issued

Created specifically in connection with the

• The Bowie-Signed Bookplate

Fully lined, acid-free portfolio

• Print and bookplate mounted separately on A3

• museum-grade boards

• Housed in clear archival sleeves

Secured with acid-free photo corners

• Fully reversible, conservation-standard presentation

•

• Certificate of authenticity signed by the publishers

INFINITE UNIVERSE AT DAWN

For all those that Imagine Peace, Infinite Universe at Dawn celebrates Yoko Ono's seminal art and activism across eight decades.

Encouraging the reader to have an experience of connection and reminding us that, together, we have the power to change the world.

Postcards, trace pages and other surprises are tipped-in throughout. Each of the 1,500 books in the limited edition includes a removable jigsaw piece. If all the pieces were brought together, they would form a complete picture of the sky. In this way, each reader takes home ‘A Piece of Sky’ and becomes part of Yoko Ono’s global participatory project.

ARTIST PASS

Celebrating 50 years of publishing, Genesis is proud to present Artist Pass, a unique exchange between musicians, producers, writers, and photographers who together cover all things rock and roll. From six decades of interview transcripts, printed manuscripts, and previously unpublished material, the Genesis editors have dug deep into the publisher’s archives to create a new collection of essays from some of the biggest names in rock.

Artist Pass is the ultimate book for any rock and roll enthusiast. For anyone with a Genesis edition or two in their collection, this once-in-alifetime publication is quite simply a must-have item.

Offering fans the first-ever anthology of Bon Jovi, Bon Jovi: Forever is narrated by Jon Bon Jovi and illustrated with hundreds of photographs and items of memorabilia from the band's personal archives.

The meticulously curated collection showcases a treasure trove of memorabilia, including handwritten lyrics, tour passes and posters, iconic stage costumes, guitars, studio track lists, and personal photographs from the band's private collections.

Initially created as a signed limited edition of only 1,500 copies, a hardback bookstore edition is now available in bookstores and online.

Edition: 1,500 copies

Signed by: Yoko Ono

Binding: Quarter-bound in leather with die cut hole to see the sky

Box: Slipcase with leather accents

Page size: 250mm x 320mm

Extent: 320 pages

ISBN: 9781905662319

Price: £345

Edition: 500 copies

Signed by: At least four contributors

Binding: Fully bound in buckram with an inset laminate pass

Box: Clamshell box

Page size: 180mm x 240mm

Extent: 336 pages

Extras: Replica loose-leaf pages written and annotated by Genesis authors; vintage promotional flyers; button badge.

ISBN: 9781905662944

Price: £425

Page size: 245mm x 290mm

Extent: 250 pages

Price: £60

ROCK VISIONS

Dive deep into the heart of rock and roll history with Rock Visions: Rock ’n’ Roll Graphics From The Print Age, a stunning collection of memorabilia from 12 of the most legendary bands and artists of our times. This curated journey through the archives of Rob Roth – an award-winning theatre director whose obsession with rock 'n' roll graphics began in his teen years –captures the essence of the music, the fandom, and the larger-than-life personas that defined a generation.

Published in a highly collectable limited edition of only 500 numbered sets, each copy is individually signed by Sir Elton John and author Rob Roth.

WILDFLOWERS

Created in collaboration with the Tom Petty Estate, Genesis Publications presents Wildflowers, a landmark publication celebrating the creation of one of Tom Petty’s most beloved and enduring albums. Limited to just 1,500 numbered copies worldwide, every copy is signed by Heartbreakers Mike Campbell and Benmont Tench. Published in the year of Tom Petty’s 75th birthday, Wildflowers invites readers into the studio, the songwriting process and the mind of an artist at the peak of his creative powers.

FROM STATION TO STATION: ARCHIVE SET

Celebrating 50 years of one of David Bowie’s most important studio albums, Station to Station, this limited archival presentation brings together two authentic artefacts from one of the most compelling periods in his career.

Issued exclusively by Genesis Publications, each archive set pairs an original limited-edition photographic print by Geoff MacCormack – Bowie’s close friend and collaborator during the mid-1970s – with a Bowie-signed conceptual bookplate, both produced in connection with the sold-out publication of From Station to Station: Travels with Bowie 1973–1976.

Edition: 500 copies

Signed by: Sir Elton John, Rob Roth

Page size: 225mm x 300mm

Extent: 300 pages

Binding: Quarter-bound in black apple leather

Box: Two-piece archival case

Extras: 2 facsimile laminate tour passes; 3 facsimile promotional buttons; a facsimile sickness bag, 3 facsimile concert tickets; 2 authentic sticker tour passes.

ISBN: 9781905662999

Price: £545

Edition: 1,500 copies

Signed by: Mike Campbell and Belmont Tench

Page size: 220mm x 280mm

Extent: 240 pages

Binding: Quarter-bound in red vegan leather with gold page edging

Box: Handcrafted red clamshell box

Extras: Bandana, enamel pin badge, guitar sticker, three guitar picks, one satin pass, one laminate pass, and three archival prints (8” x 10”)

ISBN: 9781917734011

Price: £495 Deluxe/£295 Collector

Archive Set: Signed Print & Bookplate Set

Edition: 5 copies

Signed by: Geoff MacCormack

Extras: From Station To Station bookplate

signed by David Bowie

Method: Traditional dark room print on fibrebased and resin-coated papers

Price: £1,850

WOODSTOCK EXPERIENCE

Produced in collaboration with Woodstock Executive Producer, Michael Lang, Woodstock Experience, retells the story of the most influential music festival in history through an official book and multimedia box set in celebration of Woodstock's 40th anniversary, published as a signed limited edition of only 1,000 copies.

Two large format books retell the story of Woodstock in over 300 pages. Volume One is the authorised history by 60 musicians, staff and audience members, illustrated by Woodstock's official photographer, Henry Diltz. Volume Two presents the unseen photography of Dan Garson.

IN MY OWN PROCESS

In partnership with the family of Bruce Lee, In My Own Process is the official book documenting the life and work of one of the most significant cultural icons of all time. Bruce Lee's blockbuster movies, pioneering martial arts practice and motivational philosophy continue to inspire millions worldwide. Published in the fiftieth year of his passing, In My Own Process celebrates Lee’s legacy as a martial artist, actor and philosopher, offering readers the definitive book of his spectacular career.

In My Own Process is introduced by Lee's daughter Shannon Lee, the world-renowned basketball player Kareem Abdul-Jabbar, professional skateboarder Tony Hawk, and legendary actor and martial artist Jackie Chan.

THE BEACH BOYS BY THE BEACH BOYS

Their only official book, The Beach Boys by The Beach Boys is the ultimate chronicle of one of the world’s greatest bands.

Brian Wilson, Mike Love, Al Jardine and Bruce Johnston together provide a combined career narrative especially for this book, and through meticulous compilation from sources worldwide, Carl Wilson and Dennis Wilson’s words are equally represented. Documenting how they went from a Hawthorne garage band to a global phenomenon, they tell the astounding story of their ascent: perfecting their harmonies, initial fame as a surf group, and then their ultimate progression as pioneering recording artists to become one of the most musically complex ensembles in history.

Initially created as a signed limited edition of only 500 copies, a hardback bookstore edition is now available in bookstores and online.

Edition: 1,000 copies

Signed by: Michael Lang, Arlo Guthrie

Extent: 300 pages

Binding: 2 cloth-bound volumes with gold and silver page edging

Box:Handmade folding case, silk-screened with art by Shepard Fairey

Extras: Original ticket. lithograph by Peter Max, five new essays in a facsimile Woodstock press pack, facsimile of Lang's hand-drawn festival map, 7" vinyl pressing of Santana's 'Savor' and Jefferson Airplane's 'White Rabbit' Fully subscribed

Edition: 2,000 copies

Signed by: Shannon Lee, Linda Lee Cadwell, Tony Hawk

Extent: 272 pages

Binding: Bound in black cloth with coloured foils and gold page edging

Box:Clamshell box with core symbol medallion inset

Extras:Enamel pin, facsimile of Bruce Lee's essay In My Own Process, two fabric patches, a leather bookmark and photographic print. Contained in a specially designed Bruce Lee bag.

Price: £225

Extent: 408 pages

ISBN: 9781905662852

Price: £50

Origo Members’ Offer

GENESIS POSTER COLLECTION: COMPLIMENTARY FOR ORIGO MEMBERS

As we reach the conclusion of our 50th Anniversary celebrations, we are pleased to offer a small number of remaining Genesis Poster Collections to Origo members, created to mark this milestone year.

As a gesture of thanks for your continued support, members may receive a complimentary poster set with any purchase, while availability remains.

Drawn from the publisher’s archives, the handcrafted box set contains 10 collectible posters. Each poster was originally created to accompany the publication of a Genesis limited edition book, with authors including Eric Clapton, George Harrison, Ringo Starr and Yusuf / Cat Stevens, as well as bands such as Def Leppard and The Rolling Stones.

The Genesis Poster Collection was issued in a limited edition of 250 numbered copies, each containing 10 original posters from the following Genesis limited editions:

• Sojourner by Ross Halfin

T.O.T.A '75 by The Rolling Stones

• I Me Mine - The Extended Edition by George Harrison

• Revolver 50 by Klaus Voormann

• Another Day in the Life by Ringo Starr

• Sunshine of Your Love by Eric Clapton & Friends

• Mike McCartney's Early Liverpool by Mike McCartney

• Cat Stevens: Back Beyond, 1970-71 by Yusuf / Cat Stevens

• Livin' Loud by Chuck D

To receive a poster set, simply add it to your basket alongside any purchase and enter the code ORIGOPOSTER26 at checkout.

This invitation is open only to Origo members until midnight on 30 June 2026, while availability remains.

• Definitely by Def Leppard

•

Round-Up

Subscriber Comments

We love to hear from you. Keep sending your questions, musings and reviews to origo@genesis-publications.com

Thanks for your Artist Pass fabulous book!!!!! I loved the Pet Sounds section. Also: You created the most wonderful book about our band and ending at 1980 is perfect!

Bruce Johnston

Just got your Artist Pass book. You all did a wonderful job. To put this together must have been quite a bugger. Well done.

Klaus Voormann

Artist Pass – a beautiful book and a great piece of work.

Nick Mason

Rock Visions arrived safely today. Just had a flick through. What a fantastic and sumptuous book.

Jack White

Just wanted to say thanks for my beautiful copy of Rock Visions and the Alice Cooper framed print.Beautifully packaged and delivered as always. This is, I think, about my 35th Genesis book and I treasure them all.

Stephen Leadbeater

That Bon Jovi book was well worth the wait. Another treasure to add to my Genesis collection which started in 1996. I hope for many more years of wonderful books with you. I want to add to my Christmas 2026 wish list a book on the Rock Hall of Famers the Rascals. And put yet another one on my wishlist – the same author who did the Rascals book out last year, Joe Russo, did the best Monkees book that is out there called Smoke Filled Dreams. He has told me

that he can do at least two more Monkees books because his collection and archives are huge. Micky Dolenz has been contributing to a couple of Genesis books so perhaps some magic can be made if Genesis would do a Monkees book. A little secret: in 1967 they sold more records than The Beatles and Stones. At least I have read that somewhere. So let's have some Rascals and Monkees magic from Genesis. Looking forward to more wonderful books from my dear friends in merry ole England.

Joey Hornick

I just wanted to sincerely thank you for the stunningly beautiful Tom Petty Wildflowers Deluxe Edition. I had been looking forward to it for many months now, and am pleased to say that the final product was well worth the wait and exceeded my expectations. The attention to even the smallest of details speaks volumes as to the integrity and workmanship of your company. The overall presentation and packaging was just exquisite. Although I have just begun to delve into the volume, I already know that it will be mesmerising and I wanted to communicate that to you.

As an avid fan of the late Tom Petty since my freshman year of college in 1978, as well as a collector of all things Tom Petty, this volume is a welcome addition to my collection. The Petty Estate selected an ideal partner in this endeavour.

Diane Robinson

We hear from our publisher’s PA and office coordinator Rosie about her favourite Genesis title.

My favourite Genesis edition is Mike McCartney’s Early Liverpool, published in 2021. This book holds a special place in my collection since I had the privilege to help execute the launch event at Atlas Gallery in London, and later presented the book to many of our longstanding Genesis subscribers at the Beatles Week in Liverpool. Mike is a pleasure to work with and it has been fantastic to see his beautifully captured photographs both within the book’s pages and individually highlighted on the gallery walls. What’s so unique about Early Liverpool is how Mike’s personality shines through each chapter – with his distinct handwriting and art ranging from playful doodles and crafted posters to detailed portraits, paired with recollections that invitingly set the scene for each image.

It is hard to imagine Liverpool before Beatlemania but this book is a testament and rare lens on the moments, places and people that made their mark on the city and eventually music history. With the editorial process and production taking place during lockdowns, it is also very special to think back on of the challenges that were overcome and getting to share and celebrate this book with all who took part in making it possible.

Genesis Quiz

Which category did Bon Jovi: Forever win at the British Book Design and Production Awards?

What does Bruce Lee’s fighting concept Jeet Kune Do translate as?

What was the first Beach Boys album on which Bruce Johnston played?

In what London suburb did Geoff MacCormack meet David Bowie?

Which nut did Yoko Ono send to world leaders to plant as a symbol of peace?

For a mystery prize, email your answers to origo@genesis-publications.com

Winter issue answers: William Bligh’s The Log of HMS Bounty, 1787-1789; Autumn 1979; Storm Thorgerson; Glyn Johns; USA; Presence

ORIGO PLAYLIST

Soundtrack ORIGO with a specially curated playlist featuring the artists and songs from this issue. Scan the QR code or click on the cassette below!

Next Issue

In the next issue of Origo, we’ll share the visit to our printer in Italy to show Fearless: The Anthology on press as well as delving deeper into the making of this special edition by Ronnie Wood. We also look forward to some of the ideas going into the Van Halen book as well as more interviews from our authors and subscribers.