Now a major motion picture starring Amber Heard, Shiloh Fernandez, Kellan Lutz, and Brittany Snow Scat (formerly known as Michael Holloway) is young, underemployed, and trying to make it in Los Angeles. When he comes up with the idea for the hottest new soda ever, he’s sure he’ll become the next overnight sensation, maybe even retire early. But in the treacherous waters of corporate America there are no sure things and Scat finds that he has to fight to save his idea if his yet-to-be-realized career will ever get off the ground. With the help of a scarily gorgeous and brilliant marketing director named 6, he sets out on a mission to grab hold the fame and fortune that, time and again, elude him. This sharp-witted novel is a scathingly funny satire of celebrity, the pop culture machine, and the length to which a guy will go to get ahead—and get a date while doing it.
With its unparalleled coverage of English slang of all types (from 18th-century cant to contemporary gay slang), and its uncluttered editorial apparatus, Cassell's Dictionary of Slang was warmly received when its first edition appeared in 1998. 'Brilliant.' said Mark Lawson on BBC2's The Late Review; 'This is a terrific piece of work - learned, entertaining, funny, stimulating' said Jonathan Meades in The Evening Standard.But now the world's best single-volume dictionary of English slang is about to get even better. Jonathon Green has spent the last seven years on a vast project: to research in depth the English slang vocabulary and to hunt down and record written instances of the use of as many slang words as possible. This has entailed trawling through more than 4000 books - plus song lyrics, TV and movie scripts, and many newspapers and magazines - for relevant material. The research has thrown up some fascinating results
Where there’s Longarm, there’s hell to pay… Deputy U.S. Marshall Long’s latest assignment is to deliver Erroll “Bone” McCluskey in one piece to Bismarck, where a hangman and undertaker await. And there’s nothing more Longarm would rather see than justice served... Unfortunately, he’s not the only one who wants Bone—dead or alive. Which means Long will have to take matters into his own hands—even if it means heading up north to Helldorado, a town overrun by a band of the vilest outlaws…
“A terrific biography of a rock innovator that hums with juicy detail and wincing truth. . . . Page after page groans with the folly of the ’60s drug culture, the tragedy of talent toasted before its time, the curse of wealth and the madness of wasted opportunity.”—The Atlanta Journal-Constitution NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE LOS ANGELES TIMES • NAMED ONE OF THE FIVE BEST ROCK BOOKS OF THE YEAR BY ROLLING STONE As a singer and songwriter, Gram Parsons stood at the nexus of countless musical crossroads, and he sold his soul to the devil at every one. His intimates and collaborators included Keith Richards, William Burroughs, Marianne Faithfull, Peter Fonda, Roger McGuinn, and Clarence White. Parsons led the Byrds to create the seminal country rock masterpiece Sweetheart of the Rodeo, helped to guide the Rolling Stones beyond the blues in their appreciation of American roots music, and found his musical soul mate in Emmylou Harris. Parsons’ solo albums, GP and Grievous Angel, are now recognized as visionary masterpieces of the transcendental jambalaya of rock, soul, country, gospel, and blues Parsons named “Cosmic American Music.” Parsons had everything—looks, charisma, money, style, the best drugs, the most heartbreaking voice—and threw it all away with both hands, dying of a drug and alcohol overdose at age twenty-six. In this beautifully written, raucous, meticulously researched biography, David N. Meyer gives Parsons’ mythic life its due. From interviews with hundreds of the famous and obscure who knew and worked closely with Parsons–many who have never spoken publicly about him before–Meyer conjures a dazzling panorama of the artist and his era. Praise for Twenty Thousand Roads “Far and away the most thorough biography of Parsons . . . skewers any number of myths surrounding this endlessly mythologized performer.”—Los Angeles Times “The definitive account of Gram Parsons’ life–and early death. From the country-rock pioneer’s wealthy, wildly dysfunctional family through his symbiotic friendship with Keith Richards, Meyer deftly illuminates one of rock’s most elusive figures.”—Rolling Stone “Meticulously researched . . . Though Meyer answers a lot of long-burning questions, he preserves Parsons’ legend as a man of mystery.”—Entertainment Weekly “Meyer gives Parsons a thorough, Peter Guralnick-like treatment.”—New York Post
Relive the glorious first 25 years of Chevy drag racing in this comprehensive and nostalgic history. With the introduction of Chevy’s OHV V-8 in 1955, the brand’s domination on the drag strip immediately snowballed. Drag racers loved the compact V-8. It was lightweight, revved high, and responded like no other engine previously produced to modification. Chevy saw a record year in sales in 1955, thanks to a combination of a restyled body and the new mill. It was the age of ingenuity, and those who could get their hands on the new engine were swapping it into engine bays that once housed other weaker mills. Ford’s flathead, one that had dominated for so long, was rendered obsolete almost overnight. Chevy had a winner and dominated the sales charts for years to come. Aftermarket manufacturers got on board and offered up all the go-fast goodies needed to make Chevy a winner, no matter what category they ran. From Dragsters to Stock, Chevy’s success was immediate. And it was a long-term success, thanks to a combination of years of great styling and a vast array of driveline combinations. Accomplished racing author Dour Boyce takes a celebratory look at those years of success, with a focus on the first 25 years (1955 through 1980). Chevrolets gave rise to such stars as Bill “Grumpy” Jenkins, “Jungle Jim” Liberman, “Sneaky Pete” Robinson, “Dyno” Don Nicholson, Sox & Martin, Dick Harrell, Dave Strickler, and many more. World champs and fan favorites all drove Chevys. The success showed in the record books. No brand has won more races and events or has set more national records than Chevrolet. And unlike the other manufacturers, Ford and Chrysler, it was done with little to no factory support. Whether you are a hardcore Chevy fan or just love catching up on the history of drag racing during the golden age, this nostalgic look at Chevy racing history is sure to entertain for hours on end.
This engaging collection of essays discusses the complexities of “being” indigenous in public spaces. Laura R. Graham and H. Glenn Penny bring together a set of highly recognized junior and senior scholars, including indigenous scholars, from a variety of fields to provoke critical thinking about the many ways in which individuals and social groups construct and display unique identities around the world. The case studies in Performing Indigeneity underscore the social, historical, and immediate contextual factors at play when indigenous people make decisions about when, how, why, and who can “be” indigenous in public spaces. Performing Indigeneity invites readers to consider how groups and individuals think about performance and display and focuses attention on the ways that public spheres, both indigenous and nonindigenous ones, have received these performances. The essays demonstrate that performance and display are essential to the creation and persistence of indigeneity, while also presenting the conundrum that in many cases “indigeneity” excludes some of the voices or identities that the category purports to represent.
Ever since he was asked to critique the poetry of a convicted murderer, he has lived in two worlds. Richard Shelton was a young English professor in 1970 when a convict named Charles Schmid—a serial killer dubbed the “Pied Piper of Tucson” in national magazines—shared his brooding verse. But for Shelton, the novelty of meeting a death-row monster became a thirty-year commitment to helping prisoners express themselves. Shelton began organizing creative writing workshops behind bars, and in this gritty memoir he offers up a chronicle of reaching out to forgotten men and women—and of creativity blossoming in a repressive environment. He tells of published students such as Paul Ashley, Greg Forker, Ken Lamberton, and Jimmy Santiago Baca who have made names for themselves through their writing instead of their crimes. Shelton also recounts the bittersweet triumph of seeing work published by men who later met with agonizing deaths, and the despair of seeing the creative strides of inmates broken by politically motivated transfers to private prisons. And his memoir bristles with hard-edged experiences, ranging from inside knowledge of prison breaks to a workshop conducted while a riot raged outside a barricaded door. Reflecting on his decision to tutor Schmid, Shelton sees that the choice “has led me through bloody tragedies and terrible disappointments to a better understanding of what it means to be human.” Crossing the Yard is a rare story of professional fulfillment—and a testament to the transformative power of writing.
