Oxford Street is a sea of long hair and flared jeans; prog rock prevails. But Ron Watts, the 100 Club’s “rock night” manager, has witnessed the impromptu and chaotic gigs at High Wycombe College of Art. He invites the Sex Pistols to start a residency in central London, and over the next eighteen months, everything changes.            Unlike many writers, Phil Strongman was actually at the 100 Club punk festival in September 1976 and witnessed punk’s violent and dramatic rise. After tracing its underground roots in New York and Detroit, Strongman shows how the Sex Pistols and the Clash, along with their confreres, took rock ’n’ roll closer to the edge than any band before them. But after the outrage over the Pistols’ legendary outburst on Bill Grundy’s TV show catapulted the band into the center of a press feeding frenzy, it was swiftly eclipsed by the blossoming of a new movement in time for the Queen’s Silver Jubilee. Punk had traveled from the underground to the mainstream in the space of six months.            Based on new interviews with Malcolm McLaren, Jah Wobble, Glen Matlock, Roadent, and many more, Strongman vividly re-creates the punk eruption and charts its spread across Britain and to the West Coast of the United States. Thirty years after its inception, UK punk has found its definitive account in Pretty Vacant.

    The history of Tolerance (or the lack thereof) in the history of man as described by one of the best popular historians of all time

    Maurice Beebe calls it "a distinguished contribution to modern literary history." Jane Marcus hails it as "the first serious literary history of the period and its women writers, making along the way no small contribution to our understanding of the relationships between women artists and their male counterparts, from Henry James to Hemingway, Joyce, Picasso, and Pound."

    This updated sixth edition retains the structure and style of the popular previous editions, and includes two new, much-requested texts: Wulf and Eadwacer and Judith.The book consists of two parts. Part One comprises an introduction to the Old English language, including orthography and pronunciation, inflexions, word formation, an authoritative section on syntax. This is followed by an introduction to Anglo-Saxon studies, which discusses language, literature, history, archaeology, and ways of life. Sound changes are treated as they become relevant in understanding apparent irregularities in inflexion. Part Two contains verse texts, most of them complete, which fully reveal the range that Old English poetry offers in mood, intensity, humor, and natural observation. Full explanatory notes accompany all the texts, and a detailed glossary is provided.The new edition of this highly-acclaimed Guide will be welcomed by teachers and by anyone wanting to gain a greater understanding and enjoyment of the language and literature of the Anglo-Saxons.

    Varied stories of what it was like to be a proud member of a flight crew aboard that amazing Mach 2 strategic bomber back in the 1960's.

    n+1 appeared in the fall of 2004, the brainchild of a group of writers working out of a small apartment. Intended to revive the leftist social criticism and innovative literary analysis that was the hallmark of the Partisan Review and other midcentury magazines, n+1 was a rejoinder to the consumerism and complacency of the Bush years. It hasn't slowed down since. n+1 has given us the most clear-eyed reporting on the 2008 crash and the Occupy movement, the best criticism of publishing culture, and the first sociological report on the hipster. No media, new or old, has escaped its ire as n+1's outspoken contributors have taken on reality TV, Twitter, credentialism, drone strikes, and Internet porn.Happiness, released on the occasion of n+1's tenth anniversary, collects the best of the magazine as selected by its editors. These essays are fiercely contentious, disconcertingly astute, and screamingly funny. They explore our modern pursuits of happiness and take a searching moral inventory of the strange times we live in. Founding lights Chad Harbach, Keith Gessen, Benjamin Kunkel, Marco Roth, and Mark Greif are featured alongside Elif Batuman, Rebecca Curtis, Emily Witt, and other young talents launched by n+1. This n+1 anthology is the definitive work of the definitive twenty-first century intellectual magazine.

    Ong offers fascinating insights into oral genres across the globe and through time, and examines the rise of abstract philosophical and scientific thinking. He considers the impact of orality-literacy studies not only on literary criticism and theory but on our very understanding of what it is to be a human being, conscious of self and other.This is a book no reader, writer or speaker should be without.

    Using the popular literature of the seventeenth, eighteenth, and early nineteenth centuries-including captivity narratives, the Daniel Boone tales, and the writings of Hawthorne, Thoreau, and Melville-Slotkin traces the full development of this myth.

    Every people or nation has its own way of experiencing this psychic reality, and so a study of the world's fairy tales yields a wealth of insights into the archetypal experiences of humankind. Perhaps the foremost authority on the psychological interpretation of fairy tales is Marie-Louise von Franz. In this book—originally published as An Introduction to the Interpretation of Fairy Tales —she describes the steps involved in analyzing and illustrates them with a variety of European tales, from "Beauty and the Beast" to "The Robber Bridegroom." Dr. von Franz begins with a history of the study of fairy tales and the various theories of interpretation. By way of illustration she presents a detailed examination of a simple Grimm's tale, "The Three Feathers," followed by a comprehensive discussion of motifs related to Jung's concept of the shadow, the anima, and the animus. This revised edition has been corrected and updated by the author.

    Culture and Imperialism, by Edward Said, is a collection of thematically related essays that trace the connection between imperialism and culture throughout the 18th, 19th, and 20th centuries.

    Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text.Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television."We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect.The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance.These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination.In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.

    The 1980s were certainly loud, often garish and utterly fabulous - no matter how embarrassing the outfits were.There are so many elements, which made the 80s a truly great decade, but one of the greatest contributions, if not the greatest, is the mass introduction of affordable 8-bit home micro computers.These curious machines of geekdom changed the way we regarded computers and technology. No longer were they the sole perverse of tweed jacket clad scientists sporting unruly beards, micro computers were now forming a staple inventory in millions of homes.Much of the technology that we enjoy today, such as desktop computers, notebooks, tablets, gaming consoles and smart phones, all of which are often taken for granted, can be traced back to this innovative decade.If you were a child of the 80s and remember the joy of receiving your very first home computer or maybe a young adult who fondly remembers the excitement, then you will appreciate this unabashed reminiscence of a simpler time whose adolescent technological was on the cusp of great advancements.This book is intended as celebration and reflection of all the computer technology that made the 80s such a wonderful, pioneering period and follows the journey of a self confessed, teenaged computer geek who experienced and enjoyed every ground breaking moment, including publishing his own software.10 Print “The 80s are fab!”20 Goto 10RunAuthor's Comments:The current edition is dated 31st January 2016 and has been edited based on customer feedback.

    The producers refused. In Doctor Who, the Twelfth Doctor's costume was inspired by David Bowie. In Game of Thrones, Hodor's real name is Wyllis. Matthew Perry plays Chandler in Friends. He says he can't remember a single thing from the show throughout three seasons. In The Simpsons, Hans Moleman has died at least 15 times. Many mobsters contacted James Gandolfini to tell him his performance was excellent in The Sopranos but warned him not to wear shorts in the show. Millie Bobby Brown was 11 when she was cast as Eleven in Stranger Things. The Tourette Syndrome Association praised the show, South Park, for its accurate portrayal of the Tourette's condition. In Family Guy, Meg's full name is Megatron Griffin.

    December 4, 1978.In an appalling demonstration of the way in which a charismatic leader can bend the minds of his followers with a devilish blend of professed altruism and psychological tyranny, some 900 members of the California-based Peoples Temple died in a self-imposed ritual of mass suicide and murder.The followers of the Rev. Jim Jones, 47, a once respected Indianaborn humanitarian who degenerated into egomania and paranoia, had first ambushed a party of visiting Americans, killing California Congressman Leo Ryan, 53, three newsmen and one defector from their heavily guarded colony at Jones-town. Then, exhorted by their leader, intimidated by armed guards and lulled with sedatives and painkillers, parents and nurses used syringes to squirt a concoction of potassium cyanide and potassium chloride onto the tongues of babies. The adults and older children picked up paper cups and sipped the same deadly poison sweetened by purple Kool-Aid.This story is part of the TIME Classic Coverage Collection from Time Inc. This is a reproduction of a story that appeared in the December 4, 1978 issue of TIME magazine. Time Inc. is one of the world’s most influential media companies – home to 90 iconic brands like People, Sports Illustrated, Time, InStyle, Real Simple, Food & Wine, and Fortune. The Spotlight Stories in this collection aim to provide you with a quick read on a single subject, highlighting our readers’ most popular stories and featuring great reporting from our Time Inc. journalists.