The book is going to search for the deeper roots of American cultural and musical evolution for the past 150 years by studying what the Western European culture learned from African American culture in a historical progression that reaches from the minstrel era to Bob Dylan. The book begins with America’s first great social critic, Henry David Thoreau, and his fundamental source of social philosophy:---his profound commitment to freedom, to abolitionism and to African-American culture. Continuing with Mark Twain, through whom we can observe the rise of minstrelsy, which he embraced, and his subversive satirical masterpiece Huckleberry Finn. While familiar, the book places them into a newly articulated historical reference that shines new light and reveals a progression that is much greater than the sum of its individual parts. As the first post-Civil War generation of black Americans came of age, they introduced into the national culture a trio of musical forms—ragtime, blues, and jazz— that would, with their derivations, dominate popular music to this day. Ragtime introduced syncopation and become the cutting edge of the modern 20th century with popular dances. The blues would combine with syncopation and improvisation and create jazz. Maturing at the hands of Louis Armstrong, it would soon attract a cluster of young white musicians who came to be known as the Austin High Gang, who fell in love with black music and were inspired to play it themselves. In the process, they developed a liberating respect for the diversity of their city and country, which they did not see as exotic, but rather as art. It was not long before these young white rebels were the masters of American pop music – big band Swing.As Bop succeeded Swing, and Rhythm and Blues followed, each had white followers like the Beat writers and the first young rock and rollers. Even popular white genres like the country music of Jimmy Rodgers and the Carter Family reflected significant black influence. In fact, the theoretical separation of American music by race is not accurate. This biracial fusion achieved an apotheosis in the early work of Bob Dylan, born and raised at the northern end of the same Mississippi River and Highway 61 that had been the birthplace of much of the black music he would study. As the book reveals, the connection that began with Thoreau and continued for over 100 years was a cultural evolution where, at first individuals, and then larger portions of society, absorbed the culture of those at the absolute bottom of the power structure, the slaves and their descendants, and realized that they themselves were not free.

    This cultural history of food in Mexico traces the influence of gender, race, and class on food preferences from Aztec times to the present and relates cuisine to the formation of national identity.The metate and mano, used by women for grinding corn and chiles since pre-Columbian times, remained essential to preparing such Mexican foods as tamales, tortillas, and mole poblano well into the twentieth century. Part of the ongoing effort by intellectuals and political leaders to Europeanize Mexico was an attempt to replace corn with wheat. But native foods and flavors persisted and became an essential part of indigenista ideology and what it meant to be authentically Mexican after 1940, when a growing urban middle class appropriated the popular native foods of the lower class and proclaimed them as national cuisine.

    

    As a child, he rooted for conventionally good characters like wide-eyed Luke Skywalker in Star Wars. But as Klosterman aged, his alliances shifted—first to Han Solo and then to Darth Vader. Vader was a hero who consciously embraced evil; Vader wanted to be bad. But what, exactly, was that supposed to mean? When we classify someone as a bad person, what are we really saying (and why are we so obsessed with saying it)? In I Wear the Black Hat, Klosterman questions the very nature of how modern people understand the culture of villainy. What was so Machiavellian about Machiavelli? Why don’t we see Batman the same way we see Bernhard Goetz? Who’s more worthy of our vitriol—Bill Clinton or Don Henley? What was O.J. Simpson’s second-worst decision? And why is Klosterman still obsessed with some kid he knew for one week in 1985?Masterfully blending cultural analysis with self-interrogation and limitless imagination, I Wear the Black Hat delivers perceptive observations on the complexity of the anti-hero (seemingly the only kind of hero America still creates). I Wear the Black Hat is the rare example of serious criticism that’s instantly accessible and really, really funny. Klosterman is the only writer doing whatever it is he’s doing.

    Full of extraordinary facts and astonishing stories, The Body: A Guide for Occupants is a brilliant, often very funny attempt to understand the miracle of our physical and neurological make up.A wonderful successor to A Short History of Nearly Everything, this book will have you marvelling at the form you occupy, and celebrating the genius of your existence, time and time again.

    Since women earned the right to vote a little under one hundred years ago, our progress hasn't been the Olympic sprint toward gender equality first wave feminists hoped for, but more of a slow, elderly mall walk (with frequent stops to Cinnabon) over the four hundred million hurdles we still face. Some of these obstacles are obvious-unequal pay, under-representation in government, reproductive restrictions, lack of floor-length mirrors in hotel rooms. But a lot of them are harder to identify. They're the white noise of oppression that we've accepted as lady business as usual, and the patriarchy wants to keep it that way. Erin Gibson has a singular goal-to create a utopian future where women are recognized as humans. In Feminasty -- titled after her nickname on the hit podcast "Throwing Shade" -- she has written a collection of make-you-laugh-until-you-cry essays that expose the hidden rules that make life as a woman unnecessarily hard and deconstructs them in a way that's bold, provocative and hilarious. Whether it's shaming women for having their periods, allowing them into STEM fields but never treating them like they truly belong, or dictating strict rules for how they should dress in every situation, Erin breaks down the organized chaos of old fashioned sexism, intentional and otherwise, that systemically keeps women down.

    In Running Through Corridors, two Doctor Who lovers of old - Robert Shearman and Toby Hadoke - embark on an epic quest of friendship: spend the gap year of 2009 (when Doctor Who consisted of a handful of specials rather than a full season) re-watching the whole of Who two episodes a day, every day, from the show's start in 1963 and ending with David Tennant's swan song on New Year's, 2010.This three-volume series contains Shearman and Hadoke's diary of that experience - a grand opus of their wry observations about the show, their desire to see the good in every story, and their chronicle of the real-life changes to Who in that year.With this book, Who fans will feel that they're watching along with Shearman (World Fantasy Award winner, Hugo Award nominee and writer on the new Doctor Who) and Hadoke (renowned stage performer for his one-man comedy show, Moths Ate My Doctor Who Scarf) as they make their grand journey through the world's most wonderful and longest-running drama series.

    This early-20th-century battle centers on one man: Tom Anderson, the undisputed czar of the city's Storyville vice district, who fights desperately to keep his empire intact as it faces onslaughts from all sides. Surrounding him are the stories of flamboyant prostitutes, crusading moral reformers, dissolute jazzmen, ruthless Mafiosi, venal politicians, and one extremely violent serial killer, all battling for primacy in a wild and wicked city unlike any other in the world.

    Bound or beaten, naked or painted, still or spasmodic: the artist lives his or her art publicly in performance or privately in video and photography; these records form the Works section. Amelia Jones's survey examines the most significant works in the context of social history and Tracey Warr's selection of documents combines writings by artists, critics and philosophers.

    After all, "no one tells a short person to get taller, or a tall person to get shorter, but fat people hear about their bodies all the time." From Living Large in a size zero world to jumping into the dating pool without causing a tidal wave of angst, Monica learns that when you stop buying what the diet-devils are selling and start liking yourself, life is far more rewarding. When Mr. Right appears out of thin air, will she run back to the catalogue of Mr. Wrongs out of fear? Readers will laugh and cry as she realizes that while she thought it was her body that was in the way, it was really what she kept in her head that needed adjusting.Ultimately, Getting Waisted is an inspirational look at life through society's warped fun-house mirror, but Monica's reflection tells the real tale: everyone is always under construction and we are all flawed, chipped, and dented, but that doesn't mean we're not interesting, vital, and sexy.

    He can be elegant as a slow blues." The Nick Tosches Reader is the author's own selection of his best work over the past thirty years, including fiction, poetry, interviews, rock writing, investigative journalism, and criticism. First published in major magazines, obscure underground periodicals, and his own best-selling books, many of these selections deal with rock 'n' roll and cultural icons—but there are also pieces on everything from William Faulkner to organized crime to heavyweight boxing, including the Vanity Fair feature that gave rise to Tosches's major new book on Sonny Liston, published by Little, Brown. Here is "a unique and darkly impressionistic cultural history" of the last three decades as only Nick Tosches could write it.

    The Windows Command Line Beginner's Guide gives users new to the Windows command line an overview of the Command Prompt, from simple tasks to network configuration.In the Guide, you'll learn how to:-Manage the Command Prompt.-Copy & paste from the Windows Command Prompt.-Create batch files.-Remotely manage Windows machines from the command line.-Manage disks, partitions, and volumes.-Set an IP address and configure other network settings.-Set and manage NTFS and file sharing permissions.-Customize and modify the Command Prompt.-Create and manage file shares.-Copy, move, and delete files and directories from the command line.-Manage PDF files and office documents from the command line.-And many other topics.

    From heated panels at Book Expo in Chicago to contretemps at writers’ watering holes in New York, voices—even fists—have been raised.Peck’s bracing philippic proposes that contemporary literature is at a dead end. Novelists have forfeited a wider audience, succumbing to identity politicking and self-reflexive postmodernism. In the torrent of responses to this fulguration, opinions were not so much divided as cleaved in two with, for example, Carlin Romano contending that “Peck’s judgments are worse than nasty—they are hysterical” and Benjamin Schwarz retorting that “in his meticulous attention to diction, his savage wit, his exact and rollicking prose and his disdain for pseudointellectual flatulence, Dale Peck is Mencken’s heir.”Hatchet Jobs includes swinging critiques of the work of, among others, Sven Birkerts, Julian Barnes, Philip Roth, Colson Whitehead, Jim Crace, Stanley Crouch, and Rick Moody.

    A VINTAGE ORIGINAL.What do we see when we read? Did Tolstoy really describe Anna Karenina? Did Melville ever really tell us what, exactly, Ishmael looked like? The collection of fragmented images on a page - a graceful ear there, a stray curl, a hat positioned just so - and other clues and signifiers helps us to create an image of a character. But in fact our sense that we know a character intimately has little to do with our ability to concretely picture our beloved - or reviled - literary figures.In this remarkable work of nonfiction, Knopf's Associate Art Director Peter Mendelsund combines his profession, as an award-winning designer; his first career, as a classically trained pianist; and his first love, literature - he thinks of himself first, and foremost, as a reader - into what is sure to be one of the most provocative and unusual investigations into how we understand the act of reading.

    He did it three years in a row (only two others have scored 50 since) before being unceremoniously stripped of his captaincy and traded out of town, and he did it for a promising team that was nonetheless largely stuck at the bottom of the standings. So why isn't his number 22 hanging from the rafters of the Leafs' rink and his name as revered in Leafs lore as Gilmour, Sundin and Clark?You could blame it on a team that lost far more than it won. You could blame Harold Ballard and his erratic ownership. You could blame the fans, the media...Rick Vaive doesn't blame anybody. Sometimes, life just doesn't go your way. He'd know. Growing up in a household plagued by alcoholism, the gifted young hockey player took shelter in the company of his grandmother and a blind and severely disabled uncle. Rick learned quickly that there are more valuable things in life than hockey. Even after his promising coaching career stopped dead when it ran into Don Cherry in Mississauga--one of the worst seasons in Ontario junior hockey history--he still doesn't point fingers. Life is too sweet for regrets, but learning that lesson can be one hell of a ride.