Burton successfuly brings to the page the exuberant vitality and unresolved obsessions that helped make Leonard Bernstein one of the most beloved and celebrated musical figures of our age.

    Filmed on a shoestring budget after hours at a convenience store, it was crude (in technique and language), realistic and, above all, hilarious. The movie's nationwide success helped launch the indepedent film boom of the 1990s and catapulted its director, Kevin Smith, to full-fledged stardom. Smith's work is explored in AN ASKEW VIEW, the first ever study of his films. John Kenneth Muir examines all of Smith's movies. including MALLRATS, CHASING AMY, and the hugely controversial and variously interpreted DOGMA. Muir discusses Smith's themes and obsessions in depth: his New Jersey boosterism, the cast of characters that pop in and out of all of his films, and the references to STAR WARS and other icons of pop culture. AN ASKEW VIEW is a fascinating and detailed history of the art of this visionary filmmaker, New Jersey's favorite local-boy-makes-good since Bruce Springsteen.

    "Brilliantly written . . . (with) great wit, insight, and in-your-face energy".--"Review of Contemporary Fiction".

    But in the 1950s and 1960s, they were a pop culture phenomenon. The Great Books of Western Civilization, fifty-four volumes chosen by intellectuals at the University of Chicago, began as an educational movement, and evolved into a successful marketing idea. Why did a million American households buy books by Hippocrates and Nicomachus from door-to-door salesmen? And how and why did the great books fall out of fashion?In A Great Idea at the Time Alex Beam explores the Great Books mania, in an entertaining and strangely poignant portrait of American popular culture on the threshold of the television age. Populated with memorable characters, A Great Idea at the Time will leave readers asking themselves: Have I read Lucretius’s De Rerum Natura lately? If not, why not?

    Historian Victor Brooks argues that 1944 was, in effect, “the longest year” for Americans of that era, both in terms of casualties and in deciding the outcome of war itself.Brooks also argues that only the particular war events of 1944 could have produced the “reshuffling” of the cards of life that, in essence, changed the rules for most of the 140 million Americans in some fashion. Rather than focusing on military battles and strategy alone, the author chronicles the year as a microcosm of disparate military, political, and civilian events that came together to define a specific moment in time.As war was raging in Europe, Americans on the home front continued to cope (with some prospering). As US forces launched an offensive against the Japanese in the Mariana Islands and Palau, folks at home enjoyed morale-boosting movies and songs such as "To Have and Have Not" and “G.I. Jive.” And as American troops invaded the island of Leyte—launching the largest naval battle during the war—President Franklin D. Roosevelt and Thomas E. Dewey were in the home stretch leading up to the election of 1944.It has been said that the arc of history is long. Throughout American history, however, some years have been truly momentous. The Longest Year makes the case that 1944 was one such year.Skyhorse Publishing, as well as our Arcade imprint, are proud to publish a broad range of books for readers interested in history--books about World War II, the Third Reich, Hitler and his henchmen, the JFK assassination, conspiracies, the American Civil War, the American Revolution, gladiators, Vikings, ancient Rome, medieval times, the old West, and much more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to books on subjects that are sometimes overlooked and to authors whose work might not otherwise find a home.

    The Weird and the Eerie are closely related but distinct modes, each possessing its own distinct properties. Both have often been associated with Horror, yet this emphasis overlooks the aching fascination that such texts can exercise. The Weird and the Eerie both fundamentally concern the outside and the unknown, which are not intrinsically horrifying, even if they are always unsettling. Perhaps a proper understanding of the human condition requires examination of liminal concepts such as the weird and the eerie. These two modes will be analysed with reference to the work of authors such as H.P. Lovecraft, H.G. Wells, M.R. James, Christopher Priest, Joan Lindsay, Nigel Kneale, Daphne Du Maurier, Alan Garner and Margaret Atwood, and films by Stanley Kubrick, Jonathan Glazer and Christoper Nolan.

    Scott Fitzgerald spent the last moments of his life. Fitz had been Specktor’s first literary idol, someone whose own passage through Hollywood had, allegedly, broken him. Freshly divorced, professionally flailing, and reeling from his mother’s cancer diagnosis, Specktor was feeling unmoored. But rather than giving in or “cracking up,” he embarked on an obsessive journey to make sense of the mythologies of “success” and “failure” that haunt the artist’s life and the American imagination.Part memoir, part cultural history, part portrait of place, Always Crashing in the Same Car explores Hollywood through a certain kind of collapse. It’s a vibrant and intimate inspection of failure told through the lives of iconic, if under-sung, artists—Carole Eastman, Eleanor Perry, Warren Zevon, Tuesday Weld, and Hal Ashby, among others—and the author’s own family history. Through this constellation of Hollywood figures, he unearths a fascinating alternate history of the city that raised him and explores the ways in which curtailed ambition, insufficiency, and loss shape all our lives.At once deeply personal and broadly erudite, it is a story of an art form (the movies), a city (Los Angeles), and one person’s attempt to create meaning out of both. Above all, Specktor creates a moving search for optimism alongside the inevitability of failure and reveals the still-resonant power of art to help us navigate the beautiful ruins that await us all.

    Eula Biss explores race in America and her response to the topic is informed by the experiences chronicled in these essays -- teaching in a Harlem school on the morning of 9/11, reporting for an African American newspaper in San Diego, watching the aftermath of Katrina from a college town in Iowa, and settling in Chicago's most diverse neighborhood.As Biss moves across the country from New York to California to the Midwest, her essays move across time from biblical Babylon to the freedman's schools of Reconstruction to a Jim Crow mining town to post-war white flight. She brings an eclectic education to the page, drawing variously on the Eagles, Laura Ingalls Wilder, James Baldwin, Alexander Graham Bell, Joan Didion, religious pamphlets, and reality television shows.These spare, sometimes lyric essays explore the legacy of race in America, artfully revealing in intimate detail how families, schools, and neighborhoods participate in preserving racial privilege. Faced with a disturbing past and an unsettling present, Biss still remains hopeful about the possibilities of American diversity, "not the sun-shininess of it, or the quota-making politics of it, but the real complexity of it."

    This is the first poetry anthology by and for the Hip-Hop generation.It has produced generations of artists who have revolutionized their genre(s) by applying the aesthetic innovations of the culture. The BreakBeat Poets features 78 poets, born somewhere between 1961-1999, All-City and Coast-to-Coast, who are creating the next and now movement(s) in American letters.The BreakBeat Poets is for people who love Hip-Hop, for fans of the culture, for people who've never read a poem, for people who thought poems were only something done by dead white dudes who got lost in a forest, and for poetry heads. This anthology is meant to expand the idea of who a poet is and what a poem is for.The BreakBeat Poets are the scribes recording and remixing a fuller spectrum of experience of what it means to be alive in this moment. The BreakBeat Poets are a break with the past and an honoring of the tradition(s), an undeniable body expanding the canon for the fresher.

    When you fly Lutheran Air, there’s no first class, meals are potluck with assignments by rows (rows 1-6, bring rolls; rows, 7-15, salad), all fares are by freewill offering, and the plane doesn’t land until the budget is met.Welcome to the Land of Lutherans, where people drive Fords, wear cardigans, go to church at Third Lutheran (which used to be called First Lutheran, but Lutherans are more comfortable with being Third), drink a lot of coffee, serve chow mein noodles on tuna hot dish, work hard, and don’t make a fuss. Selected from live broadcasts of A Prairie Home Companion, this collection celebrates the kindest people on God’s green earth—except for the mean ones. If you’re not a Lutheran, you’ll laugh out loud. If you are, you’ll smile as hard as you can.Contents:I’m a LutheranLutheran Tours: Vacation GuiltPotato SaladElim Lutheran Anniversary with Philip BrunelleIniquity on the Tundra with Charles KeatingLYLE: Lutheran Youth League for EvangelismSt. Patrick’s DayThe Story of Bob with Vern SuttonChurch DirectoryGuy Noir: New Year’s Eve IndiscretionLOL: Lutherans On LineLutheran PolkaSummer VacationFlood: Floating Away with Your PastorEvelyn Lundquist Counseling Agency (ELCA): Easter BriefingChurch Organist

    Ward and Ken Burns vividly bring to life the story of the quintessential American music—jazz. Born in the black community of turn-of-the-century New Orleans but played from the beginning by musicians of every color, jazz celebrates all Americans at their best.Here are the stories of the extraordinary men and women who made the music: Louis Armstrong, the fatherless waif whose unrivaled genius helped turn jazz into a soloist's art and influenced every singer, every instrumentalist who came after him; Duke Ellington, the pampered son of middle-class parents who turned a whole orchestra into his personal instrument, wrote nearly two thousand pieces for it, and captured more of American life than any other composer. Bix Beiderbecke, the doomed cornet prodigy who showed white musicians that they too could make an important contribution to the music; Benny Goodman, the immigrants' son who learned the clarinet to help feed his family, but who grew up to teach a whole country how to dance; Billie Holiday, whose distinctive style routinely transformed mediocre music into great art; Charlie Parker, who helped lead a musical revolution, only to destroy himself at thirty-four; and Miles Davis, whose search for fresh ways to sound made him the most influential jazz musician of his generation, and then led him to abandon jazz altogether. Buddy Bolden, Jelly Roll Morton, Dizzy Gillespie, Art Tatum, Count Basie, Dave Brubeck, Artie Shaw, and Ella Fitzgerald are all here; so are Sidney Bechet, Coleman Hawkins, Lester Young, John Coltrane, Ornette Coleman, and a host of others.But Jazz is more than mere biography. The history of the music echoes the history of twentieth-century America. Jazz provided the background for the giddy era that F. Scott Fitzgerald called the Jazz Age. The irresistible pulse of big-band swing lifted the spirits and boosted American morale during the Great Depression and World War II. The virtuosic, demanding style called bebop mirrored the stepped-up pace and dislocation that came with peace. During the Cold War era, jazz served as a propaganda weapon—and forged links with the burgeoning counterculture. The story of jazz encompasses the story of American courtship and show business; the epic growth of great cities—New Orleans and Chicago, Kansas City and New York—and the struggle for civil rights and simple justice that continues into the new millennium.Visually stunning, with more than five hundred photographs, some never before published, this book, like the music it chronicles, is an exploration—and a celebration—of the American experiment.From the Hardcover edition.

    Concluding with the prospects for its future in a world burgeoning with noise, Biguenet asks whether we should desire or fear silence-or if it is even ours to choose.Object Lessons is published in partnership with an essay series in The Atlantic.

    From interviews with celebrities such as Leonard DiCaprio and Keanu Reeves; to obituaries for Kurt Cobain and River Phoenix; to writings on social issues—including the touchstone piece “AIDS: Words from the front”; Smothered in Hugs spans three decades of journalism from Dennis Cooper.

    To appreciate this, though it is necessary to look at what happens on the screen without bringing preconceptions to bear.

    In the hit TV show on the Disney Channel, actress Miley Cyrus (daughter of Billy Ray) leads a double-life, playing a mild-mannered 8th grader by day, and famous pop sensation Hannah Montana by night. Our PVG folio features all 13 songs from the soundtrack, which was among the ten bestselling albums of 2006! Includes: The Best of Both Worlds * I Got Nerve * If We Were a Movie * Pop Princess * Who Said * more!