But as the end of the millennium neared, cutting-edge bands began emerging from Seattle, Austin, and London, pushing New York further from the epicenter. The behemoth music industry, too, found itself in free fall, under siege from technology. Then 9/11/2001 plunged the country into a state of uncertainty and war—and a dozen New York City bands that had been honing their sound and style in relative obscurity suddenly became symbols of glamour for a young, web-savvy, forward-looking generation in need of an anthem.Meet Me in the Bathroom charts the transformation of the New York music scene in the first decade of the 2000s, the bands behind it—including The Strokes, The Yeah Yeah Yeahs, LCD Soundsystem, Interpol, and Vampire Weekend—and the cultural forces that shaped it, from the Internet to a booming real estate market that forced artists out of the Lower East Side to Williamsburg. Drawing on 200 original interviews with James Murphy, Julian Casablancas, Karen O, Ezra Koenig, and many others musicians, artists, journalists, bloggers, photographers, managers, music executives, groupies, models, movie stars, and DJs who lived through this explosive time, journalist Lizzy Goodman offers a fascinating portrait of a time and a place that gave birth to a new era in modern rock-and-roll.

    This meticulous, choral recreation of the events of that night is brilliantly vivid and alive, it will terrify and inspire you and shatter your heart." --Francisco Goldman, writer for The New Yorker, author of The Interior Circuit: A Mexico City ChronicleOn September 26, 2014, police in Iguala, Mexico attacked five busloads of students and a soccer team, killing six people and abducting forty-three students--now known as the Iguala 43--who have not been seen since. In a coordinated cover-up of the government's role in the massacre and forced disappearance, Mexican authorities tampered with evidence, tortured detainees, and thwarted international investigations. Within days of the atrocities, John Gibler traveled to the region and began reporting from the scene. Here he weaves the stories of survivors, eyewitnesses, and the parents of the disappeared into a tour de force of journalism, a heartbreaking account of events that reads with the momentum of a novel. A vital counter-narrative to state violence and impunity, the stories also offer a testament of hope from people who continue to demand accountability and justice.John Gibler is the author of Mexico Unconquered and To Die in Mexico: Dispatches From Inside the Drug War. His work on Ayotzinapa has been praised in The New Yorker, published in California Sunday Magazine, and featured on NPR's All Things Considered.

    His world crashed down after he smashed his right ankle and causing severe damage to his left fibia and tibia. It was unclear if he would ever walk properly again, let alone ride a motorbike. Charley recounts the ambulance ride, the numerous operations in a Portugese hospital, the medivac flight back to London, and his journey of recovery. As his inability to walk for several months provokes introspection, Boorman recounts his childhood, where his passion for motorbikes began, and the formative influences in his life—from his father, a famed director, to his longtime friend Ewan McGregor, and Sean Connery’s son Jason, who introduced him to bikes. These touchstones give him strength on the long way back to health.

    Cesar Chavez and the United Farm Workers' grape and lettuce boycotts captured the imagination of the United States in the 1960s and '70s. Yet today, the stories of the more than 800,000 men, women, and children working in California's fields--one third of the nation's agricultural work force --are rarely heard, despite the persistence of wage theft, dangerous working conditions, and uncertain futures. This book of oral histories makes the reality of farm work visible in accounts of hardship, bravery, solidarity, and creativity in California's fields, as real people struggle to win new opportunities for future generations. AMONG THE NARRATORS: Maricruz, a single mother fired from a packing plant after filing a sexual assault complaint against her supervisor. Roberto, a vineyard laborer in the scorching Coachella Valley who became an advocate for more humane working conditions after his teenage son almost died of heatstroke. Oscar, an elementary school teacher in Salinas who wants to free his students from a life in the fields, the fate that once awaited him as a child.

    Once ramshackle affairs held together with duct tape and wire, matatus today are name-brand vehicles maxed out with aftermarket detailing. They can be stately black or extravagantly colored, sporting names, slogans, or entire tableaus, with airbrushed portraits of everyone from Kanye West to Barack Obama. In this richly interdisciplinary book, Kenda Mutongi explores the history of the matatu from the 1960s to the present.             As Mutongi shows, matatus offer a window onto the socioeconomic and political conditions of late-twentieth-century Africa. In their diversity of idiosyncratic designs, they reflect multiple and divergent aspects of Kenyan life—including, for example, rapid urbanization, organized crime, entrepreneurship, social insecurity, the transition to democracy, and popular culture—at once embodying Kenya’s staggering social problems as well as the bright promises of its future. Offering a shining model of interdisciplinary analysis, Mutongi mixes historical, ethnographic, literary, linguistic, and economic approaches to tell the story of the matatu and explore the entrepreneurial aesthetics of the postcolonial world.

    This immersive and engrossing book, based on five years of research and scores of interviews translated from Haitian Kreyol, gives voice to the continuing struggle of Haitian people to reconstruct their nation from the devastation of the earthquake, and from many decades of political and economic disaster. The earthquake killed more than 200,000, rendered more than a million and a half homeless, and wiped out what little infrastructure existed in the country. But prior to the quake, half the country was illiterate and two-thirds of Haitians lived in poverty. This book makes clear the long genesis of the ongoing crisis and illuminates the depths of the continuing problems, and does so through some of the most marginal and least-heard people in the world. An interview with a restavek--a child sent by poor parents to work as an unpaid servant in a wealthier household--is an example. A recent study determined a figure of 173,000 restaveks--about 8 percent of the population of children.From the Trade Paperback edition.

    Heartbreaking accounts of poverty, mistreatment, and struggle may move us deeply. But what do they move us to do? And what are the stakes in the crafting and useof storytelling?In Curated Stories, Sujatha Fernandes considers the rise of storytelling alongside the broader shift to neoliberal, free-market economies. She argues that stories have been reconfigured to promote entrepreneurial self-making and restructured as easily digestible soundbites mobilized towardutilitarian ends. Fernandes roams the globe and returns with stories from the Afghan Women's Writing Project, the domestic workers movement and the undocumented student Dreamer movement in the United States, and the Misi�n Cultura project in Venezuela. She shows how the conditions under whichcertain stories are told, the tropes through which they are narrated, and the ways in which they are responded to may actually disguise the deeper contexts of global inequality. Curated stories shift the focus away from structural problems and defuse the confrontational politics of social movements.Not just a critical examination of the contemporary use of narrative and its wider impact on our collective understanding of pressing social issues, Curated Stories also explores how storytelling might be reclaimed to allow for the complexity of experience to be expressed in pursuit oftransformative social change.

    With its entry points in the harsh urban environment of Winnipeg’s north end, and contemporary life on the reserve, Kent Monkman: Shame and Prejudice, A Story of Resilience takes us all the way back to the period of New France and the fur trade. The Rococo masterpiece The Swing by Jean-Honore´ Fragonard has been reinterpreted as an installation with Monkman’s alter ego, Miss Chief Eagle Testickle, in a beaver trimmed baroque dress, swinging back and forth between the Generals Wolfe and Montcalm.The book includes Monkman’s own paintings, drawings and sculptural works, in dialogue with historical artefacts and art works borrowed from museum and privatecollections from across Canada.