Six years after leaving home, he returned as an undercover reporter for The Guardian, working at a call center in Delhi in 2004, a time when globalization was fast proceeding and Thomas L. Friedman declared the world flat. Deb's experience interviewing the call-center staff led him to undertake this book and travel throughout the subcontinent.The Beautiful and the Damned examines India's many contradictions through various individual and extraordinary perspectives. With lyrical and commanding prose, Deb introduces the reader to an unforgettable group of Indians, including a Gatsby-like mogul in Delhi whose hobby is producing big-budget gangster films that no one sees; a wiry, dusty farmer named Gopeti whose village is plagued by suicides and was the epicenter of a riot; and a sad-eyed waitress named Esther who has set aside her dual degrees in biochemistry and botany to serve Coca-Cola to arms dealers at an upscale hotel called Shangri La.Like no other writer, Deb humanizes the post-globalization experience—its advantages, failures, and absurdities. India is a country where you take a nap and someone has stolen your job, where you buy a BMW but still have to idle for cows crossing your path. A personal, narrative work of journalism and cultural analysis in the same vein as Adrian Nicole LeBlanc's Random Family and V. S. Naipaul's India series, The Beautiful and the Damned is an important and incisive new work.The Beautiful and the Damned is a Publishers Weekly Best Nonfiction title for 2011.

    Or April, the Neo-Nazi bringing up her twin daughters Lamb and Lynx (who have just formed a white-power folk group for kids called Prussian Blue), and her youngest daughter, Dresden. For a decade now, Louis Theroux has been making programs about offbeat characters on the fringes of U.S. society. Now he revisits the people who have most intrigued him to try to discover what motivates them, and why they believe the things they believe. From his Las Vegas base (where else?), Theroux calls on these assorted dreamers, schemers, and outlaws--and in the process finds out a little about the workings of his own mind. What does it mean, after all, to be weird, or "to be yourself"? Do we choose our beliefs or do our beliefs choose us? And is there something particularly weird about Americans? America, prepare yourself for a hilarious look in the mirror that has already taken the rest of the English-speaking world by storm: "Paul Theroux's son writes with just as clear an eye for character and place as his father.... And he's funny.... Theroux's final analysis of American weirdness is true and new." -- Literary Review (England)

    It chronicles his humble beginnings in the Midwest, his early days with the Jackson 5, and his unprecedented solo success. Giving absolutely unrivalled insight into the King of Pop's life, it details his songwriting process for hits like Beat It, Rock With You, Billie Jean, and We Are the World; describes how he developed his signature dance style, including the Moon Walk; and opens the door to his very private personal relationships with his family, including sister Janet, and stars like Diana Ross, Berry Gordy, Marlon Brando, Quincy Jones, Paul McCartney, and Brooke Shields. At the time of its original publication in 1988, MOONWALK broke the fiercely guarded barrier of silence that surrounded Michael Jackson. Candidly and courageously, Jackson talks openly about his wholly exceptional career and the crushing isolation of his fame, as well as the unfair rumors that have surrounded it. MOONWALK is illustrated with rare photographs from Jackson family albums and Michael's personal photographic archives, as well as a drawing done by Michael exclusively for the book. It reveals and celebrates, as no other book can, the life of this exceptional and beloved musician.

    I want to tell the story of the moments - the ups and downs, the triumphs and traumas, the debacles and the dreams, that contributed to the person I am today. Though there have been countless stories about me throughout my career and very public personal life, it’s been impossible to communicate the complexities and depths of my experience in any single magazine article or a ten-minute television interview. And even then, my words were filtered through someone else’s lens, largely satisfying someone else’s assignment to define me.This book is composed of my memories, my mishaps, my struggles, my survival and my songs. Unfiltered. I went deep into my childhood and gave the scared little girl inside of me a big voice. I let the abandoned and ambitious adolescent have her say, and the betrayed and triumphant woman I became tell her side.Writing this memoir was incredibly hard, humbling and healing. My sincere hope is that you are moved to a new understanding, not only about me, but also about the resilience of the human spirit.Love,Mariah

    From Spenser's The Fairie Queene to Wells's The Time Machine to Murakami's 1Q84 it explores the timeless and captivating features of fiction's imagined worlds including the relevance of the writer's own life to the creation of the story, influential contemporary events and philosophies, and the meaning that can be extracted from the details of the work. With hundreds of pieces of original artwork, illustration and cartography, as well as a detailed overview of the plot and a "Dramatis Personae" for each work, Literary Wonderlands is a fascinating read for lovers of literature, fantasy, and science fiction.

    L. Hughley The American dream is in dire need of a wake-up call. A f*cked up society is like an addict: if you are in denial, then things are going to keep getting worse until you hit bottom. According to D. L. Hughley, that's the direction in which America is headed. In "I Want You to Shut the F*ck Up," D.L. explains how we've become a nation of fat sissies playing Chicken Little, but in reverse: The sky is falling, but we're supposed to act like everything's fine. D.L. just points out the sobering facts: there is no standard of living by which we are the best. In terms of life expectancy, we're 36th--tied with Cuba; in terms of literacy, we're 20th--behind Kazakhstan. We sit here laughing at Borat, but the Kazakhs are sitting in their country reading. Things are bad now and they're only going to get worse. Unless, of course, you sit down, shut the f*ck up, and listen to what D. L. Hughley has to say. "I Want You to Shut the F*ck Up" is a slap to the political senses, a much needed ass-kicking of the American sense of entitlement. In these pages," " D. L. Hughley calls it like he sees it, offering his hilarious yet insightful thoughts on: - Our supposedly post-racial society- The similarities between America the superpower and the drunk idiot at the bar- Why Bill Clinton is more a product of a black upbringing than Barack Obama - That apologizing is not the answer to controversy, especially when you meant what you said - Why civil rights leaders are largely to blame for black people not being represented on television- Why getting your ghetto pass revoked should be seen as a good thing, not something to be ashamed of - And how hard it is to be married to a black woman

    Indeed, fist-pumping hits like Twisted Sister's "We're Not Gonna Take It," Mötley Crüe's "Girls, Girls, Girls," and Guns N' Roses' "Welcome to the Jungle" are as inextricably linked to the era as Reaganomics, Pac-Man, and E.T.From the do-or-die early days of self-financed recordings and D.I.Y. concert productions that were as flashy as they were foolhardy, to the multi-Platinum, MTV-powered glory years of stadium-shaking anthems and chart-topping power ballads, to the ultimate crash when grunge bands like Nirvana forever altered the entire climate of the business, Tom Beaujour and Richard Bienstock's "Nothin' But a Good Time" captures the energy and excess of the hair metal years in the words of the musicians, managers, producers, engineers, label executives, publicists, stylists, costume designers, photographers, journalists, magazine publishers, video directors, club bookers, roadies, groupies, and hangers-on who lived it.

    An experimental, violent prison unit. The death of an American city, as seen through a complex police investigation. A lawless frontier town trying to talk its way into the United States. A corrupt cop who rules his precinct like a warlord. The survivors of a plane crash trying to make sense of their disturbing new island home. A high school girl by day, monster fighter by night. A spy who never sleeps. A space odyssey inspired by 9/11. An embattled high school football coach. A polished ad exec with a secret. A chemistry teacher turned drug lord.These are the subjects of 12 shows that started a revolution in TV drama: The Sopranos. Oz. The Wire. Deadwood. The Shield. Lost. Buffy the Vampire Slayer. 24. Battlestar Galactica. Friday Night Lights. Mad Men. Breaking Bad.These 12 shows, and the many more they made possible, ushered in a new golden age of television — one that made people take the medium more seriously than ever before. Alan Sepinwall became a TV critic right before this creative revolution began, was there to chronicle this incredible moment in pop culture history, and along the way “changed the nature of television criticism,” according to Slate. The Revolution Was Televised is the story of these 12 shows, as told by Sepinwall and the people who made them, including David Chase, David Simon, David Milch, Damon Lindelof and Carlton Cuse, Vince Gilligan and more.

    All the money and fame in the world won’t prevent him from having a bad hair day. Or stepping in gum. Or not being able to fit into skinny jeans, or watching helplessly as a scoop of ice cream falls from its cone. Or so an unnamed Superstar’s life is ingeniously imagined in this very funny book. Inspired by but not based on Jay Z’s monster hit “99 Problems,” illustrator Ali Graham riffs on what might be the real problems afflicting a world-famous music mogul who also happens to be married to the foremost diva of our time. Begun as a Tumblr, which went viral almost instantly, 99 Problems is a highly conceptual gift book showcasing 99 full-color illustrations of a cartoon character who looks just like a certain legendary rapper, and the often ordinary and sometimes fantastical things that happen to him. And that’s where the book finds its hilarious, compulsive hook—in an age that worships celebrity and assumes, somewhat enviously, that fame and fortune can protect one from life’s travails, what if that just weren’t true? There’s a surprising, underlying warmth here. Even when the author dips into flights of pop culture fantasy—Superstar on the bow of the Titanic; Superstar whipping up a bad batch alongside Walter White from Breaking Bad—the recognition of shared kinship is strong. It’s a cartoon version of celebrity, but like the best cartoons, it’s edgy and knowing, yet sweet, too.

    Once a dirty word brushed away with a grimace, "feminist" has been rebranded as a shiny label sported by movie and pop stars, fashion designers, and multi-hyphenate powerhouses like Beyoncé It drives advertising and marketing campaigns for everything from wireless plans to underwear to perfume, presenting what's long been a movement for social justice as just another consumer choice in a vast market. Individual self-actualization is the goal, shopping more often than not the means, and celebrities the mouthpieces. But what does it mean when social change becomes a brand identity? Feminism's splashy arrival at the center of today's media and pop-culture marketplace, after all, hasn't offered solutions to the movement's unfinished business. Planned Parenthood is under sustained attack, women are still paid 77 percent -- or less -- of the man's dollar, and vicious attacks on women, both on- and offline, are utterly routine. Andi Zeisler, a founding editor of Bitch Media, draws on more than twenty years' experience interpreting popular culture in this biting history of how feminism has been co-opted, watered down, and turned into a gyratory media trend. Surveying movies, television, advertising, fashion, and more, Zeisler reveals a media landscape brimming with the language of empowerment, but offering little in the way of transformational change. Witty, fearless, and unflinching, We Were Feminists Once is the story of how we let this happen, and how we can amplify feminism's real purpose and power.

    The most common type is often where a large group of like-minded punks cram into a house usually intended to accommodate two or three people, resulting in low rent and, thus, extended hours of leisure for the residents to pursue their true interests. "Punk House" features anarchist warehouses, feminist collectives, tree houses, workshops, artists studios, self-sufficient farms, hobo squats, community centers, basement bike shops, speakeasies, and all varieties of communal living spaces. In over 300 images of fifty houses in twenty-five cities in the US, photographer Abby Banks finds the already weathered face of a seventeen-year-old runaway; the soft hands of a vinyl junkie (record collector); the mohawked show-goer; the dirty dishes in the sink; silk screened posters on the wall; and many other revealing glimpses of these anarchist interiors.