Little did he know when he opened his club under a flophouse on the Bowery that it would become the birthplace of a new era of music in New York City - Punk. While the letters CBGB ultimately didn't describe the music the club was renowned for, OMFUG (Other Music for Uplifting Gourmandizers) still represents what the club provides for all voracious consumers of music. These pages pay homage to a musical and cultural landmark. It is a spectacular photography compilation which features some of the most celebrated artists in musical history and chronicles the last 30 years of rock and roll. It also showcases photographs of famous patrons, including Andy Warhol, Allen Ginsberg and Jim Jarmusch.

    On March 25, 1911, the Triangle Shirtwaist Factory in New York City burst into flames.  The factory was crowded.  The doors were locked to ensure workers stay inside.  One hundred forty-six people—mostly women—perished; it was one of the most lethal workplace fires in American history until September 11, 2001.But the story of the fire is not the story of one accidental moment in time.  It is a story of immigration and hard work to make it in a new country, as Italians and Jews and others traveled to America to find a better life.  It is the story of poor working conditions and greedy bosses, as garment workers discovered the endless sacrifices required to make ends meet.  It is the story of unimaginable, but avoidable, disaster.  And it the story of the unquenchable pride and activism of fearless immigrants and women who stood up to business, got America on their side, and finally changed working conditions for our entire nation, initiating radical new laws we take for granted today.With Flesh and Blood So Cheap, Albert Marrin has crafted a gripping, nuanced, and poignant account of one of America's defining tragedies.

    Woodward draws from hundreds of hours of interviews with firsthand sources, meeting notes, personal diaries, files and documents. The focus is on the explosive debates and the decision-making in the Oval Office, the Situation Room, Air Force One and the White House residence.Fear is the most intimate portrait of a sitting president ever published during the president’s first years in office.

    In this updated edition of the classic anti-textbook, he debunks, recounts, and serves up the real story behind the myths and fallacies of American history.

    Police captains took hefty bribes to see nothing while reformers writhed in frustration.     In Island of Vice, bestselling author Richard Zacks paints a vivid picture of the lewd underbelly of 1890s New York, and of Theodore Roosevelt, the cocksure crusading police commissioner who resolved to clean up the bustling metropolis, where the silk top hats of Wall Street bobbed past teenage prostitutes trawling Broadway.     Writing with great wit and zest, Zacks explores how Roosevelt went head-to-head with corrupt Tammany Hall, took midnight rambles with muckraker Jacob Riis, banned barroom drinking on Sundays, and tried to convince 2 million New Yorkers to enjoy wholesome family fun. In doing so, Teddy made a ruthless enemy of police captain “Big Bill” Devery, who grew up in the Irish slums and never tired of fighting “tin soldier” reformers. Roosevelt saw his mission as a battle of good versus evil; Devery saw prudery standing in the way of fun and profit.     When righteous Roosevelt’s vice crackdown started to succeed all too well, many of his own supporters began to turn on him. Cynical newspapermen mocked his quixotic quest, his own political party abandoned him, and Roosevelt discovered that New York loves its sin more than its salvation.     Zacks’s meticulous research and wonderful sense of narrative verve bring this disparate cast of both pious and bawdy New Yorkers to life. With cameos by Stephen Crane, J. P. Morgan, and Joseph Pulitzer, plus a horde of very angry cops, Island of Vice is an unforgettable portrait of turn-of-the-century New York in all its seedy glory, and a brilliant portrayal of the energetic, confident, and zealous Roosevelt, one of America’s most colorful public figures.From the Hardcover edition.

    It is rare that a historian of the Left has managed to retain as much credibility while refusing to let his academic mantle change his beautiful writing style from being anything but direct, forthright, and accessible. Whether his subject is war, race, politics, economic justice, or history itself, each of his works serves as a reminder that to embrace one's subjectivity can mean embracing one's humanity, that heart and mind can speak with one voice. Here, in six sections, is the historian's own choice of his shorter essays on some of the most critical problems facing America throughout its history, and today.

    For each volume, a series editor reads pieces from hundreds of periodicals, then selects between fifty and a hundred outstanding works. That selection is pared down to the twenty or so very best pieces by a guest editor who is widely recognized as a leading writer in his or her field. This unique system has helped make the Best American series the most respected -- and most popular -- of its kind. Here you will find another "splendid array of unpredictable and delectable essays" (Booklist), chosen by the Pulitzer Prize-winning writer Louis Menand, another collection with "delights on every page" (Dallas Morning News). The Best American Essays once again earns its place as the liveliest and leading annual of its kind.

    Months later, several health professionals faced criminal allegations that they deliberately injected numerous patients with drugs to hasten their deaths. Five Days at Memorial, the culmination of six years of reporting, unspools the mystery of what happened in those days, bringing the reader into a hospital fighting for its life and into a conversation about the most terrifying form of health care rationing.In a voice at once involving and fair, masterful and intimate, Fink exposes the hidden dilemmas of end-of-life care and reveals just how ill-prepared we are in America for the impact of large-scale disasters—and how we can do better. A remarkable book, engrossing from start to finish, Five Days at Memorial radically transforms your understanding of human nature in crisis.

    Secret Service, that elite corps of agents who pledge to take a bullet to protect the president and his family. After conducting exclusive interviews with more than one hundred current and former Secret Service agents, bestselling author and award-winning reporter Ronald Kessler reveals their secrets for the first time.Secret Service agents, acting as human surveillance cameras, observe everything that goes on behind the scenes in the president’s inner circle. Kessler reveals what they have seen, providing startling, previously untold stories about the presidents, from John F. Kennedy and Lyndon Johnson to George W. Bush and Barack Obama, as well as about their families, Cabinet officers, and White House aides. Kessler portrays the dangers that agents face and how they carry out their missions–from how they are trained to how they spot and assess potential threats. With fly-on-the-wall perspective, he captures the drama and tension that characterize agents’ lives.In this headline-grabbing book, Kessler discloses assassination attempts that have never before been revealed. He shares inside accounts of past assaults that have put the Secret Service to the test, including a heroic gun battle that took down the would-be assassins of Harry S. Truman, the devastating day that John F. Kennedy was killed in Dallas, and the swift actions that saved Ronald Reagan after he was shot.While Secret Service agents are brave and dedicated, Kessler exposes how Secret Service management in recent years has betrayed its mission by cutting corners, risking the assassination of President Barack Obama, Vice President Joe Biden, and their families. Given the lax standards, “It’s a miracle we have not had a successful assassination,” a current agent says.Since an assassination jeopardizes democracy itself, few agencies are as important as the Secret Service–nor is any other subject as tantalizing as the inner sanctum of the White House. Only tight-lipped Secret Service agents know the real story, and Ronald Kessler is the only journalist to have won their trust.

    Presenting 119 images originally censored by the U.S. Army—the majority of which have never been published—Impounded evokes the horror of a community uprooted in the early 1940s and the stark reality of the internment camps. With poignancy and sage insight, nationally known historians Linda Gordon and Gary Okihiro illuminate the saga of Japanese American internment: from life before Executive Order 9066 to the abrupt roundups and the marginal existence in the bleak, sandswept camps. In the tradition of Roman Vishniac's A Vanished World, Impounded, with the immediacy of its photographs, tells the story of the thousands of lives unalterably shattered by racial hatred brought on by the passions of war.

    None survived.On Top of the World tells the story not only of that tragic day but also of the complicated and emotionally charged events that followed. It is an intimate, often harrowing look at how private families processed a public atrocity, how corporate war-room strategy sessions saved the company from liquidation and the efforts of opportunistic competitors.This book examines the media scrutiny that followed Howard Lutnick, who struggled to be at once the compassionate leader the grieving families needed and the tough-minded CEO his decimated company required. It also tells the story of the men and women of Cantor whose lost coworkers were relatives and friends, and brothers and sisters. That Cantor's business has survived and even flourished -- and that an initially uneasy but ultimately significant covenant has been formed between those who lived and the families of their lost friends -- is a powerful testament to the ability of a community to endure.

    In Five Came Back, he achieves something larger and even more remarkable, giving us the untold story of how Hollywood changed World War II, and how World War II changed Hollywood, through the prism of five film directors caught up in the war: John Ford, William Wyler, John Huston, Frank Capra, and George Stevens. It was the best of times and the worst of times for Hollywood before the war. The box office was booming, and the studios’ control of talent and distribution was as airtight as could be hoped. But the industry’s relationship with Washington was decidedly uneasy—hearings and investigations into allegations of corruption and racketeering were multiplying, and hanging in the air was the insinuation that the business was too foreign, too Jewish, too un-American” in its values and causes. Could an industry this powerful in shaping America’s mind-set really be left in the hands of this crew? Following Pearl Harbor, Hollywood had the chance to prove its critics wrong and did so with vigor, turning its talents and its business over to the war effort to an unprecedented extent. No industry professionals played a bigger role in the war than America’s most legendary directors: Ford, Wyler, Huston, Capra, and Stevens. Between them they were on the scene of almost every major moment of America’s war, and in every branch of service—army, navy, and air force; Atlantic and Pacific; from Midway to North Africa; from Normandy to the fall of Paris and the liberation of the Nazi death camps; to the shaping of the message out of Washington, D.C. As it did for so many others, World War II divided the lives of these men into before and after, to an extent that has not been adequately understood. In a larger sense—even less well understood—the war divided the history of Hollywood into before and after as well. Harris reckons with that transformation on a human level—through five unforgettable lives—and on the level of the industry and the country as a whole. Like these five men, Hollywood too, and indeed all of America, came back from the war having grown up more than a little.

    It is a red state in the heart of Trumpland that hasn't elected a Democrat to a statewide office in more than twenty years; but it is also a state in which minorities already form a majority (including the largest number of Muslims). The cities are blue and among the most diverse in the nation. Oil is still king but Texas now leads California in technology exports. The Texas economic model of low taxes and minimal regulation has produced extraordinary growth but also striking income disparities. Texas looks a lot like the America that Donald Trump wants to create. And Wright's profound portrait of the state not only reflects our country back as it is, but as it was and as it might be.

    As a critic, she became the most provocative and influential voice of her time. More than a commentator on her era, she helped shape it. This volume brings together four essential works of the 1960s and 70s, books whose intelligence and brilliant style confirm her credo that “the highest duty of a writer is to write well—to leave the language in better rather than worse shape after one’s passage…Language is the body, and also the soul, of consciousness.”With the publication of her first collection of critical essays, Against Interpretation (1966), Sontag took her place at the forefront of a period of cultural and political transformation. “What is important now,” she wrote, “is to recover our senses…In place of a hermeneutics we need an erotics of art.” Against Interpretation’s treatment of an astonishing range of subjects—camp sensibility, the films of Robert Bresson and Alain Resnais, the aesthetics of science-fiction and “happenings,” the work of such modern thinkers as Simone Weil and Antonin Artaud, Michel Leiris and Claude Lévi-Strauss—reveals Sontag as a catalyzing figure who opened provocative perspectives on every subject she addressed.In Styles of Radical Will (1969), Sontag collected two of her longest and most ambitious essays, “The Aesthetics of Silence” and “The Pornographic Imagination,” along with penetrating studies of Ingmar Bergman, Jean-Luc Godard, and the Romanian philosopher E. M. Cioran (one of many important modern writers Sontag introduced to American readers), and “Trip to Hanoi,” the record of a journey made at the height of the Vietnam War, reflecting both her deepening political involvement and the relentless analysis of her own motives that accompanied it.On Photography (1977) began as a review of an exhibit of Diane Arbus photographs and quickly evolved into an extended meditation on the premises and implications of photography as an art. Dazzlingly suggestive on every page, restlessly refusing to fall back on easy resolutions, it shows Sontag at the peak of her ability to connect disparate fields of thought and action, bringing aesthetics, history, politics, and philosophy into a common vision.Sontag’s own medical crisis led her to write Illness as Metaphor (1978), undoubtedly the most influential of her writings. Her precise delineation of the stereotypes and fantasies attached to illnesses—here, tuberculosis and cancer—played a major part in realizing her stated goal: “an elucidation of those metaphors, and a liberation from them.” The courage and clarity of her writing, her impatience with lazy assumptions and inherited biases, are evident on every page.This volume also includes six previously uncollected essays—studies of William S. Burroughs and the painter Francis Bacon, and a series of reflections on beauty, aging, and the emerging feminist movement—along with a chronology of Sontag’s life and explanatory notes.

    Increasingly, though, the disconnect between the chaos of world events and the response at home took on pressing urgency for her. Seeking to understand the Muslim world that had been reduced to scaremongering headlines, she moved to Istanbul.Hansen arrived in Istanbul with romantic ideas about a mythical city perched between East and West, and with a naïve sense of the Islamic world beyond. Over the course of her many years of living in Turkey and traveling in Greece, Egypt, Afghanistan, and Iran, she learned a great deal about these countries and their cultures and histories and politics. But the greatest, most unsettling surprise would be what she learned about her own country—and herself, an American abroad in the era of American decline. It would take leaving her home to discover what she came to think of as the two Americas: the country and its people, and the experience of American power around the world. She came to understand that anti-Americanism is not a violent pathology. It is, Hansen writes, “a broken heart . . . A one-hundred-year-old relationship.”Blending memoir, journalism, and history, and deeply attuned to the voices of those she met on her travels, Notes on a Foreign Country is a moving reflection on America’s place in the world. It is a powerful journey of self-discovery and revelation—a profound reckoning with what it means to be American in a moment of grave national and global turmoil.