What do all these people have in common? Fame, of course, and undeniable talent. But most of all, they were cool. Birth of the Cool is a stunningly illustrated, brilliantly written cultural history of the American avant-garde in the 1940s and 1950s -- the decades in which cool was born. From intimate interviews with cool icons like poet Allen Ginsberg, bop saxophonist Jackie McLean, and Living Theatre cofounder Judith Malina, award-winning journalist and poet Lewis MacAdams extracts the essence of cool. Taking us inside the most influential and experimental art movements of the twentieth century -- from the Harlem jazz joints where Dizzy Gillespie and Charlie Parker invented bebop to the back room at Max's Kansas City when Andy Warhol was holding court to backstage at the Newport Folk Festival the night Bob Dylan went electric, from Surrealism to the Black Mountain School to Zen -- MacAdams traces the evolution of cool from the very fringes of society to the mainstream. Born of World War II, raised on atomic-age paranoia, cast out of the culture by the realities of racism and the insanity of the Cold War, cool is now, perversely, as conventional as you can get. Allen Ginsberg suited up for Gap ads. Volvo appropriated a phrase from Jack Kerouac's On the Road for its TV commercials. How one became the other is a terrific story, and it is presented here in a gorgeous package, rich with the coolest photographs of the black-and-white era from Robert Doisneau, Henri Cartier-Bresson, Man Ray, and many others. Drawing a direct line between Lester Young wearing his pork-pie hat and his crepe-sole shoes staring out his hotel window at Birdland to the author's three-year-old daughter saying "cool" while watching a Scooby-Doo cartoon at the cusp of a new millennium, Birth of the Cool is a cool book about a hot subject...maybe even the coolest book ever.

    The book traces the history of three families: the working-class African-American Twymons, the working-class Irish McGoffs, and the middle-class Yankee Divers. It gives brief genealogical histories of each families, focusing on how the events they went through illuminated Boston history, before narrowing its focus to the racial tension of the 1960s and the 1970s. Through their stories, Common Ground focuses on racial and class conflicts in two Boston neighborhoods: the working-class Irish-American enclave of Charlestown and the uneasily integrated South End.

    

    Britain has always been a land of gallows, and every town had its hanging post and local 'turn off man.' First these men were criminals doing the work to save their own necks, and then later they were specialists in the trade of judicial killing. From the late Victorian period, the public hangman became a professional, and in the twentieth century the mechanics of hanging were streamlined as the executioners became adept at their craft. Britain's Most Notorious Hangmen tells the stories of the men who worked with their deadly skills at Tyburn tree or at the scaffolds in the prison yards across the country. Most were steeled to do the work by drink, and many suffered deeply from their despised profession. Here the reader will find the tale of the real Jack Ketch, the cases of neck-stretchers from the drunks like Curry and Askern, to the local workers of the ropes, Throttler Smith and the celebrated Billington and Pierrepoint dynasty. Along with some of the stories of famous killers such as William Palmer and James Bloomfield Rush, here are the bunglings, failures and desperate lives of the notorious hangmen, some who could entertain the vast crowds enjoying the show, and others who always faced the task as a terrible ordeal.

    

    John Myers Myers authored sixteen books, including Doc Holliday and Tombstone's Early Years, also available as Bison Books.

    And yet all is not well, Richard Florida argues in The New Urban Crisis. Florida, one of the first scholars to anticipate this back-to-the-city movement in his groundbreaking The Rise of the Creative Class, demonstrates how the same forces that power the growth of the world's superstar cities also generate their vexing challenges: gentrification, unaffordability, segregation, and inequality. Meanwhile, many more cities still stagnate, and middle-class neighborhoods everywhere are disappearing. Our winner-take-all cities are just one manifestation of a profound crisis in today's urbanized knowledge economy. A bracingly original work of research and analysis, The New Urban Crisis offers a compelling diagnosis of our economic ills and a bold prescription for more inclusive cities capable of ensuring growth and prosperity for all.

    Goldman covers all of the major developments: • The rise and decline of the city’s downtown and ethnic neighborhoods • The impact of racial change and suburbanization• The role and function of the arts in the life of the community• Urban politics, urban design, and city planningWhile describing the changes that so drastically altered the form, function, and character of the city, Goldman, through detailed descriptions of special people and special places, gives a sense of intimacy and immediacy to these otherwise impersonal historical forces. City on the Edge unflinchingly documents and describes how Buffalo has been battered by the tides of history. But it also describes the unique characteristics that have encouraged an innovative cultural climate, including Buffalo’s dynamic survival instinct that continues to lead to a surprisingly and inspiringly high quality of community life. Finally, it offers a road map, which—if followed—could point the way to a new and exciting future for this long-troubled city.

    It focuses on these fifteen cities at some of the defining moments in Islamic history: from the Prophet Mohammed receiving his divine revelations in Mecca and the First Crusade of 1099 to the conquest of Constantinople in 1453 and the phenomenal creation of the merchant republic of Beirut in the nineteenth century.

    Blunt talks to Mr. Henson, Charlie’s mentor, like he knows him, but Charlie knows that can’t be. John Peter Henson is a good man who would only spend time with someone like Blunt the day he put him into the ground…Unwilling to give up Mr. Henson’s secret and tarnish his good name, Charlie tries to put the pieces together himself. Maggie Buchanan knows he’s hiding something and she’s on his trail as well. Together, they turn the tables on Blunt’s outlaws. Charlie ends up in possession of a treasure map to Mexican gold that may just get him killed.“The pace is fast, the action plentiful, the characters colorful and memorable, and the writing is top-notch.” – Wayne D. Dundee

    Happily ever after. Such are the classic promises of fairy tales. Yet in Texas we find a twist to the familiar storyline. In If the Devil Had a Wife, there is still the battle of Good vs. Evil, a beautiful maiden, a wealthy suitor, a kingdom of riches and the wicked witch, but any similarity with Cinderella and Snow White ends there. With the help of her life partner and an attorney (always necessary in these modern times), Nelda Stark executes a devious plan that elevates fraud and theft to a new high. A massive coverup reaches into the Texas Attorney General's Office, stealing from not only the Stark family, but the federal and state governments.

    A veritable Hall of Fame list of competitors had gathered that spring in Augusta, Georgia, for the game's most famous event, including Arnold Palmer, Tom Watson, Gary Player, Lee Trevino, Hale Irwin, Billy Casper, and Sam Snead. The lead-up had been dominated by Lee Elder, the first black golfer ever invited to the exclusive club's tourney. But by the weekend, the tournament turned into a showdown between the three heavyweights of the time: Jack Nicklaus, Johnny Miller, and Tom Weiskopf. Never before had golf's top three players of the moment summoned the best golf of their lives in the same major championship. Their back-and-forth battle would rivet the sporting world and dramatically culminate in one of the greatest finishes in golf history.In The Magnificent Masters, Gil Capps, a twenty-two-year veteran of the golf industry with NBC Sports and Golf Channel, recaptures hole-by-hole the thrilling drama of this singular event during golf's golden era, from the media-crazed build-up and intertwined careers of the three combatants to the tournament's final dramatic putts that would change the game of golf forever.

    Yet in 1979, the Amon Carter Museum of Fort Worth, Texas, daringly commissioned him to do just that.The resulting 1985 exhibition and book, In the American West, was a milestone in American photography and Avedon's most important body of work. His unflinching portraits of oilfield and slaughterhouse workers, miners, waitresses, drifters, mental patients, teenagers, and others captured the unknown and often-ignored people who work at hard, uncelebrated jobs. Making no apologies for shattering stereotypes of the West and Westerners, Avedon said, "I'm looking for a new definition of a photographic portrait. I'm looking for people who are surprising—heartbreaking—or beautiful in a terrifying way. Beauty that might scare you to death until you acknowledge it as part of yourself."Photographer Laura Wilson worked with Avedon during the six years he was making In the American West. In Avedon at Work, she presents a unique photographic record of his creation of this masterwork—the first time a major photographer has been documented in great depth over an extended period of time. She combines images she made during the photographic sessions with entries from her journal to show Avedon's working methods, his choice of subjects, his creative process, and even his experiments and failures. Also included are a number of Avedon's finished portraits, as well as his own comments and letters from some of the subjects.Avedon at Work adds a new dimension to our understanding of one of the twentieth century's most significant series of portraits. For everyone interested in the creative process it confirms that, in Laura Wilson's words, "much as all these photographs may appear to be moments that just occurred, they are finally, in varying degrees, works of the imagination."

    Here too are the famous convention halls, parks, and racetracks of a great American city whose architectural treasures have been, and continue to be, recklessly squandered.Rare photographs and prints, many of them published here for the first time, document the transformative architectural achievements of such giants as Dankmar Adler, Louis Sullivan, John Wellburn Root, Daniel Burnham, William Holabird, and Frank Lloyd Wright. But this remarkable book is much more than a portfolio of now-vanished buildings; within its pages are evocative sketches of scores of Chicago personalities, from the world-famous (Abraham Lincoln, Theodore Dreiser, Clarence Darrow, Ben Hecht, Jane Addams, Cyrus McCormick, George Pullman, and Gustavus Swift, to name just a few) to the locally notorious.

    Just sixty Royal Marines stood in the way of an armada of thousands, 8,000 miles from home and with no support. The story that followed was one of a shameful defeat and ignominious surrender. A story which has lasted for 35 years. Now, with first-hand accounts from the Royal Marines themselves, from the Argentine Marines who fought against them and from the people of Stanley who watched the battle rage on their very doorsteps, a new history has emerged. It is the story of an epic and heroic defence on a scale with Rorke's Drift; a story which neither the British nor the Argentine governments wanted told. It is a battle denied; the battle of Stanley, a battle which - we are told - never happened.