Parlour games. Cocktails. Welcome to a glorious journey through the golden age of the country house party - and you are invited. Our host, celebrated historian Adrian Tinniswood, traces the evolution of this quintessentially British pastime from debauched royal tours to the flamboyant excess of the Bright Young Things. With cameos by the Jazz Age industrialist, the bibulous earl and the off-duty politician - whether in moated manor houses or ornate Palladian villas - Tinniswood gives a vivid insight into weekending etiquette and reveals the hidden lives of celebrity guests, from Nancy Astor to Winston Churchill, in all their drinking, feasting, gambling and fornicating. The result is a deliciously entertaining, star-studded, yet surprisingly moving portrait of a time when social conventions were being radically overhauled through the escapism of a generation haunted by war - and a uniquely fast-living period of English history. Praise for The Long Weekend:'Delicious, occasionally fantastical, revealing in ways that Downton Abbey never was. It is as if Tinniswood is at the biggest, wildest, most luxuriantly decadent party ever thrown, and he knows everyone.' Observer 'A deliciously jaunty and wonderfully knowledgeable book. Tinniswood displays a terrific insider's grasp of gossip . A meticulous, irresistible story.' Spectator 'Elegant, encyclopedic and entertaining . A confident and skilled historian who understands the mores of his era and wears his learning lightly . Deserves to be on every costume drama producer's bookshelf.' Times

    Its dazzling virtuosity and spectacular live concerts made it hugely popular with fans during the 1970s, who saw bands such as King Crimson, Emerson, Lake and Palmer, Yes, Genesis, Pink Floyd, and Jethro Tull bring a new level of depth and sophistication to rock. On the other hand, critics branded the elaborate concerts of these bands as self- indulgent and materialistic. They viewed progressive rock's classical/rock fusion attempts as elitist, a betrayal of rock's populist origins. In Rocking the Classics, the first comprehensive study of progressive rock history, Edward Macan draws together cultural theory, musicology, and music criticism, illuminating how progressive rock served as a vital expression of the counterculture of the late 1960s and 1970s. Beginning with a description of the cultural conditions which gave birth to the progressive rock style, he examines how the hippies' fondness for hallucinogens, their contempt for Establishment-approved pop music, and their fascination with the music, art, and literature of high culture contributed to this exciting new genre. Covering a decade of music, Macan traces progressive rock's development from the mid- to late-sixties, when psychedelic bands such as the Moody Blues, Procol Harum, the Nice, and Pink Floyd laid the foundation of the progressive rock style, and proceeds to the emergence of the mature progressive rock style marked by the 1969 release of King Crimson's album In the Court of the Crimson King. This golden age reached its artistic and commercial zenith between 1970 and 1975 in the music of bands such as Jethro Tull, Yes, Genesis, ELP, Gentle Giant, Van der Graaf Generator, and Curved Air. In turn, Macan explores the conventions that govern progressive rock, including the visual dimensions of album cover art and concerts, lyrics and conceptual themes, and the importance of combining music, visual motif, and verbal expression to convey a coherent artistic vision. He examines the cultural history of progressive rock, considering its roots in a bohemian English subculture and its meteoric rise in popularity among a legion of fans in North America and continental Europe. Finally, he addresses issues of critical reception, arguing that the critics' largely negative reaction to progressive rock says far more about their own ambivalence to the legacy of the counterculture than it does about the music itself. An exciting tour through an era of extravagant, mind-bending, and culturally explosive music, Rocking the Classics sheds new light on the largely misunderstood genre of progressive rock.

    This text presents an account of the epic Baseball World Series in 1966 between the celebrated Los Angeles Dodgers and the perennial underdog Baltimore Orioles.

    Haskell is one of the most moving, and honest accounts of battle ever written. Gettysburg: A Lovely Summer Morning is a compilation of vintage civil war photos, Lincoln's Gettysburg Address, and a letter written by Franklin Aretas Haskell, Aide-de-camp to General John Gibbon. Haskell's letter was first published in 1898 as a book entitled The Battle of Gettysburg. Haskell wrote the letter to his brother shortly after his participation in the Battle of Gettysburg. He did not intend for it to be published commercially.

    With a price on his father's head, Lac, with his family, was forced to immigrate in 1979 to seedy West Los Angeles where squalid living conditions and a cultural fabric that refused to thread them in effectively squashed their American Dream. Lac's search for love and acceptance amid poverty—not to mention the psychological turmoil created by a harsh and unrelenting father—turned his young life into a comedy of errors and led him to a dangerous gang experience that threatened to tear his life apart. Heart-wrenching, irreverent, and ultimately uplifting, I Love Yous Are for White People is memoir at its most affecting, depicting the struggles that countless individuals have faced in their quest to belong and that even more have endured in pursuit of a father's fleeting affection.

    They settled in Detroit, and with Josie's nine siblings, worked to create a home for themselves away from the poverty and servitude of the old country. Their descendants were proud Italian-Americans.But Josie had a sister nobody spoke of. Her name was Frances, and at age sixteen she fell in love with a young barber. Her father wanted her to marry an older don in the neighborhood mafia---a marriage that would give his sons a leg up in the mob. But Frances eloped with her barber, and when she returned home a married woman, her fate was sealed. Even eighty years and two generations later, Frances was not spoken of, and her memory was suppressed.Unto the Daughters is a historical mystery and family story that unwraps the many layers of family, honor, memory, and fear to find an honor killing in turn-of-the-century Detroit. Tracing the history and insular world of Italian immigrants back to the old country, Karen Tintori shows what they came from, what they hoped for, and how the hopes and dreams of America fell far short for her great-aunt Frances. "Nearly every family has a skeleton in its closet, an ancestor who "sins" against custom and tradition and pays a double price -- ostracism or worse at the time, and obliteration from the memory of succeeding generations. Few of these transgressors paid a higher price than Frances Costa, who was brutally murdered by her own brothers in a 1919 Sicilian honor killing in Detroit. And fewer yet have had a more tenacious successor than Frances's great-niece, Karen Tintori, who refused to allow the truth to remain forgotten. This is a book for anyone who shares the convinction that all history, in the end, is family history." -Frank Viviano, author of Blood Washes Blood and Dispatches from the Pacific Century "Switching back and forth between rural Sicily and early 20th century Detroit, Unto the Daughters reads like a nonfiction version of the film Godfather II--if it had been told from the point of view of a female Corleone. In exploring her own family's secret history, Karen Tintori gives voice not just to her victimized aunt but to all Italian-American daughters and wives silenced by the power of omerta. Half gripping true-crime story, half moving family memoir, Unto the Daughters is both fascinating and frightening, packed with telling details and obscure folklore that help bring the suffocating world of a Mafia family to life." --Eleni N. Gage, author of North of Ithaka

    Johnson’s hard-hitting investigative series won a Pulitzer Prize, inspired a screenplay by Arthur Miller, and prompted Elia Kazan’s Oscar-winning film On the Waterfront. And yet J. Edgar Hoover denied the existence of organized crime - even as the government’s dramatic hearings into waterfront misdeeds became mustsee television.Nathan Ward tells this archetypal crime story as if for the first time, taking the reader back to a city, and an era, at once more corrupt and more innocent than our own.

    And his artistic vision remains palpably present today, through the countless statues, fountains, and buildings that transformed Rome into the Baroque theater that continues to enthrall tourists.            It is perhaps not surprising that this artist who defined the Baroque should have a personal life that itself was, well, baroque. As Franco Mormando’s dazzling biography reveals, Bernini was a man driven by many passions, possessed of an explosive temper and a hearty sex drive, and he lived a life as dramatic as any of his creations. Drawing on archival sources, letters, diaries, and—with a suitable skepticism—a hagiographic account written by Bernini’s son (who portrays his father as a paragon of virtue and piety), Mormando leads us through Bernini’s many feuds and love affairs, scandals and sins. He sets Bernini’s raucous life against a vivid backdrop of Baroque Rome, bustling and wealthy, and peopled by churchmen and bureaucrats, popes and politicians, schemes and secrets.The result is a seductively readable biography, stuffed with stories and teeming with life—as wild and unforgettable as Bernini’s art. No one who has been bewitched by the Baroque should miss it.

    It is a tale of rivers diverted and dammed, of political corruption and intrigue, of billion-dollar battles over water rights, of ecologic and economic disaster. In Cadillac Desert Marc Reisner writes of the earliest settlers, lured by the promise of paradise, and of the ruthless tactics employed by Los Angeles politicians and business interests to ensure the city's growth. He documents the bitter rivalry between two government giants, the Bureau of Reclamation and the U.S. Army Corps of Engineers, in the competition to transform the West.Based on more than a decade of research, Cadillac Desert is a stunning expose and a dramatic, intriguing history of the creation of an Eden—an Eden that may be only a mirage.

    barrio to Hollywood is as close as a short drive on the 101 freeway, but the cultural divide is enormous. Born to Mexican-born and American-naturalized parents, Alicia Armendariz migrated a few miles west to participate in the free-range birth of the 1970s punk movement. Alicia adopted the punk name Alice Bag, and became lead singer for The Bags, early punk visionaries who starred in Penelope Spheeris' documentary The Decline of Western Civilization.Here is a life of many crossed boundaries, from East L.A.'s musica ranchera to Hollywood's punk rock; from a violent male-dominated family to female-dominated transgressive rock bands. Alice's feminist sympathies can be understood by the name of her satiric all-girl early Goth band Castration Squad.Violence Girl takes us from a violent upbringing to an aggressive punk sensibility; this time a difficult coming-of-age memoir culminates with a satisfying conclusion, complete with a happy marriage and children. Nearly a hundred excellent photographs energize the text in remarkable ways.Alice Bag's work and influence can be seen this year in the traveling Smithsonian exhibition "American Sabor: Latinos in U.S. Popular Music."

    Members of bands like the Byrds, the Doors, Buffalo Springfield, the Monkees, the Beach Boys, the Turtles, the Eagles, the Flying Burrito Brothers, Frank Zappa and the Mothers of Invention, Steppenwolf, CSN, Three Dog Night and Love, along with other singer/songwriters as Joni Mitchell, Judy Collins, James Taylor and Carole King, lived together and jammed together in the bucolic community nestled in the Hollywood Hills.But there was a dark side to that scene as well.Many didn't make it out alive, and many deaths remain shrouded in mystery to this day. Far more integrated into the scene than most would like to admit was a guy by the name of Charles Manson, along with his murderous entourage. Also floating about the periphery were various political operatives, up-and-coming politicians and intelligence personnel—the same sort of people who gave birth to many of the rock stars populating the canyon. And all the canyon's colorful characters—rock stars, hippies, murderers and politicos—happily coexisted alongside a covert military installation.Weird Scenes Inside the Canyon is the very strange, but nevertheless true story of the dark underbelly of a hippie utopia.

     Lavinia writes: "It WAS in the fall and winter of eighteen fifty-nine that my husband and I decided to emigrate to the far West. Imprudent speculations and other misfortunes had embarrassed us financially to such an extent that our prospects for the future looked dark and forbidding; we then determined to use the small remnant of our fortune to provide a suitable outfit for a lengthy journey toward the setting sun. We were both young and inexperienced, my husband still in his twenties, and I a young and immature girl scarce twenty years of age. "A journey across the plains of the West was considered a great event in those early days. It was long thought of and planned seriously with and among the various members of the family to which the would be traveler belonged. Whoever had the temerity to propose turning their backs on civilized life and their faces toward the far-off Rocky mountains were supposed to be daring with a boldness bordering on recklessness. Emigration then meant the facing of unknown dangers in a half-savage country. "After many lengthy debates over the manner of transportation, and a diversified quantity of advice from our numerous friends, as to the merits of horses, mules or oxen, we at last decided (and it proved to be a wise decision) to purchase three yoke of strong, sturdy oxen and a large well-built emigrant wagon; roomy enough to hold all we wanted to take with us, and in which we might travel with some degree of comfort." CONTENTS CHAPTER I. Preparations For A Journey—Bidding Farewell—The Start CHAPTER II. Camping In Kansas— A Novice With Camp Fires —Marching On Foot CHAPTER III. Fire And Fuel—Storm Bound—Fellow Emigrants—Settlers In Nebraska CHAPTER IV. Buffalo Country—Returning Gold Seekers—Our Whiskey Barrel CHAPTER V. Indians CHAPTER VI. Trials Of The Spirit —Thirsting For Water—Gathering Buffalo Chips—Sick On The Desert—Bay Rum, Bergamont, And Castor Oil—Mirage CHAPTER VII. Infant Denver—Hanging By The Vigilance Committee—An Indian And His Scalps—The Parting With My Brother—A Sale Of Glassware—On To California CHAPTER VIII Toward Laramie—Fording A Dangerous Stream—celebrating The Fourth Of July—Entertaining Strangers—An Indian Village On The Move CHAPTER IX. The Rocky Mountains—Cheyenne Pass—Lost Cattle Restored—Crossing The Chugwater—Shoeing Lame Oxen—Arriving At Fort Laramie CHAPTER X. The Overland Road—Joining Company With A Band Of Emigrants—A Threatened Attack Of Indians—A Night Of Storm And Suspense Deserting The Company Of Emigrants—Independence Rock—Mormon Emigrants—Meeting Fellow Travelers Who Passed On To Destruction—Money Giving Out—Philip CHAPTER XI. In Mormon Land—The Trading Post—Discarded Possessions—The Pony Express—Our Indian Protector—Amusing The Children . CHAPTER XII. Salt Lake City—Disappointment At Fort Bridger—Letters From Home—An Old Acquaintance;—Mormon Women CHAPTER XIII. The Deserts—Indescribable Sunsets—Alkau Dust—Chance Acquaintances—The Welcome Sunday Morning Flap-jack—Salt Well—Fish Springs—Willow Springs—T

    A performer whose career spanned the history of rhythm and blues, from doo-wop to the sultriest of soul music, Gaye's artistry magnified the contradictions that defined America's coming of age in the tumultuous 1970s. In his most searching and ambitious work to date, acclaimed critic Michael Eric Dyson illuminates both Marvin Gaye's stellar achievements and stunning personal decline--and offers an unparalleled assessment of the cultural and political legacy of R&B on American culture.Through interviews with those close to Gaye--from his musical beginnings in a black church in Washington, D.C., to his days as a "ladies' man" in Motown's stable of young singers, from the artistic heights of the landmark album What's Going On? to his struggles with addiction and domestic violence--Dyson draws an indelible portrait of the tensions that shaped contemporary urban America: economic adversity, the drug industry, racism, and the long legacy of hardship.Published to coincide with the twentieth anniversary of Gaye's death in 1984, and infused with the soulful prose that has become Michael Eric Dyson's trademark, Mercy, Mercy Me is at once a celebration of an American icon whose work continues to inspire, and a revelatory and incisive look at how a lost generation's moods, music, and moral vision continue to resonate today.

    Now he joins forces with celebrated, bestselling artist Paul Madonna to take a fresh look at this one-of-a-kind city. Marrying image and text in a way no book about this city has done before, Kamiya's captivating narratives accompany Madonna's masterful pen-and-ink drawings, breathing life into San Francisco sites both iconic and obscure.Paul Madonna's atmospheric images will awe: be amazed by his astonishing wide-angle drawing for a jaw-dropping new perspective on the “crookedest street in the world.” And Kamiya's engaging prose, accompanying each image, offers fascinating vignettes of this incredible city: witness his story of “Dumpville,” the bizarre community that sprang up in the 19th century on top of a massive garbage dump.Handsome and irresistible--much like the city it chronicles--Spirits of San Francisco is both a visual feast and a detailed, personal, loving, informed portrait of a beloved city.

    Released on July 31, the song was supposed to be an upbeat dance recording—a precursor to disco, and a song about the joyousness of dance. But events overtook it, and the song became one of the icons of American pop culture.The Beatles had landed in the U.S. in early 1964. By the summer, the sixties were in full swing. The summer of 1964 was the Mississippi Freedom Summer, the Berkeley Free Speech Movement, the beginning of the Vietnam War, the passage of the Civil Rights Act, and the lead-up to a dramatic election. As the country grew more radicalized in those few months, “Dancing in the Street” gained currency as an activist anthem. The song took on new meanings, multiple meanings, for many different groups that were all changing as the country changed.Told by the writer who is legendary for finding the big story in unlikely places, Ready for a Brand New Beat chronicles that extraordinary summer of 1964 and showcases the momentous role that a simple song about dancing played in history.