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Popular music history collides with data analytics, charts, and numbers in this insightful and surprising look at the greatest hits and musicians, fads, forgotten artists, and much more. Data analyst and musician Chris Dalla Riva reframes everything you thought you knew about music.Did you know that hit songs in the late 1950s were regularly about gruesome death? That a US vice president wrote a number one hit? That while TikTok has spawned countless hits, it's made artists more anonymous than ever before? That pop songs have shaped race relations in the United States? That the key change died around 2003? And that's just the beginning.Coupling hard data with engaging anecdotes, Uncharted Territory is both a takedown and celebration of popular music and provides new ways to think about your favorite songs, genres, and artists from the last 6 decades using unexpected statistics and playful visualizations. This entertaining history is filled with the most popular musicians of all time from The Beatles and The Bee Gees to Michael Jackson, Mariah Carey, and beyond. Whether you danced the twist or the dougie at your senior prom, you're sure to never listen to music again in the same way.

Ocean of Sound begins in 1889 at the Paris Exposition when Debussy first heard Javanese music performed. A culture absorbed in perfume, light and ambient sound developed in response to the intangibility of 20th century communications. David Toop traces the evolution of this culture, through Erik Satie to the Velvet Undergound; Miles Davis to Jimi Hendrix. David Toop , who lives in London, is a writer, musician and recording artist. His other books are Rap Attack 3 and Exotica .

Юра возвращается в пионерский лагерь своей юности спустя двадцать лет. В руинах прошлого он надеется отыскать путь в настоящее, к человеку, которого когда-то любил. Эта история о том, что в СССР не все было гладко, правильно и безлико. Что были переживания, страсти, влечения и чувства, которые не вписывались в рамки морали на пути к «светлому будущему». И что это будущее оказалось не таким уж и светлым.

A revolutionary new paradigm for understanding addictionWhy do people with addiction use drugs self-destructively? Why don’t they quit out of self-concern? Why does the rat in the experiment, alone in a cage, press the lever again and again for cocaine—to the point of death? In this pathbreaking book, Hanna Pickard proposes a new paradigm for understanding the puzzle of addiction. For too long, our thinking has been hostage to a false either addiction is a brain disease, or it is a moral failing. Pickard argues that it is neither, and that both models stifle addiction research and fail people who need help.Drawing on her expertise as an academic philosopher and her clinical work in a therapeutic community, Pickard explores the meaning of drugs for people with addiction and the diverse factors that keep them using despite the costs. People use drugs to cope with suffering—but also to self-harm, or even to die. Some identify as “addicts," while others are in denial or struggle with cravings and self-control. Social, cultural, and economic circumstances are crucial to explaining addiction—but brain pathology may also matter. By integrating addiction science with philosophy, clinical practice, and the psychology and voices of people with addiction themselves, Pickard shows why there is no one-size-fits-all theory or ethics of addiction. The result is a heterogeneous and humanistic paradigm for understanding and treating addiction, and a fresh way of thinking about responsibility, blame, and relationships with people who use drugs.

Working at the local processing plant, Marcos is in the business of slaughtering humans —though no one calls them that anymore. His wife has left him, his father is sinking into dementia, and Marcos tries not to think too hard about how he makes a living. After all, it happened so quickly. First, it was reported that an infectious virus has made all animal meat poisonous to humans. Then governments initiated the “Transition.” Now, eating human meat—“special meat”—is legal. Marcos tries to stick to numbers, consignments, processing. Then one day he’s given a gift: a live specimen of the finest quality. Though he’s aware that any form of personal contact is forbidden on pain of death, little by little he starts to treat her like a human being. And soon, he becomes tortured by what has been lost—and what might still be saved.

Area X has been cut off from the rest of the world for decades. Nature has reclaimed the last vestiges of human civilization. The first expedition returned with reports of a pristine, Edenic landscape; the second expedition ended in mass suicide, the third in a hail of gunfire as its members turned on one another. The members of the eleventh expedition returned as shadows of their former selves, and within weeks, all had died of cancer. In Annihilation, the first volume of Jeff VanderMeer's Southern Reach Trilogy, we join the twelfth expedition. The group is made up of four women: an anthropologist; a surveyor; a psychologist, the de facto leader; and our narrator, a biologist. Their mission is to map the terrain, record all observations of their surroundings and of one another, and, above all, avoid being contaminated by Area X itself. They arrive expecting the unexpected, and Area X delivers—but it’s the surprises that came across the border with them and the secrets the expedition members are keeping from one another that change everything.

A haunting Southern Gothic from an award-winning master of suspense, A House With Good Bones explores the dark, twisted roots lurking just beneath the veneer of a perfect home and family. "Mom seems off." Her brother's words echo in Sam Montgomery's ear as she turns onto the quiet North Carolina street where their mother lives alone. She brushes the thought away as she climbs the front steps. Sam's excited for this rare extended visit, and looking forward to nights with just the two of them, drinking boxed wine, watching murder mystery shows, and guessing who the killer is long before the characters figure it out. But stepping inside, she quickly realizes home isn’t what it used to be. Gone is the warm, cluttered charm her mom is known for; now the walls are painted a sterile white. Her mom jumps at the smallest noises and looks over her shoulder even when she’s the only person in the room. And when Sam steps out back to clear her head, she finds a jar of teeth hidden beneath the magazine-worthy rose bushes, and vultures are circling the garden from above. To find out what’s got her mom so frightened in her own home, Sam will go digging for the truth. But some secrets are better left buried.

Here, meine Damen und Herren, is Christopher Isherwood's brilliant farewell to a city which was not only buildings, streets, and people, but was also a state of mind which will never come around again. In linked short stories, he says goodbye to Sally Bowles, to Fraulein Schroeder, to pranksters, perverts, political manipulators; to the very, very guilty and to the dwindling band of innocents. It is goodbye to a Berlin wild, wicked, breathtaking, decadent beyond belief and already -- in the years between the wars -- welcoming death in through the door, though more with a wink than a whimper. ~from the back cover

Poor Folk (Russian: Бедные люди, Bednye lyudi), sometimes translated as Poor People,[note] is the first novel by Fyodor Dostoevsky, written over the span of nine months between 1844 and 1845. Dostoevsky was in financial difficulty because of his extravagant lifestyle and his developing gambling addiction; although he had produced some translations of foreign novels, they had little success, and he decided to write a novel of his own to try to raise funds. Inspired by the works of Gogol, Pushkin, and Karamzin, as well as English and French authors, Poor Folk is written in the form of letters between the two main characters, Makar Devushkin and Varvara Dobroselova, who are poor third cousins twice removed. The novel showcases the life of poor people, their relationship with rich people, and poverty in general, all common themes of literary naturalism. A deep but odd friendship develops between them until Dobroselova loses her interest in literature, and later in communicating with Devushkin after a rich widower Mr. Bykov proposes to her. Devushkin, a prototype of the clerk found in many works of naturalistic literature at that time, retains his sentimental characteristics; Dobroselova abandons art, while Devushkin cannot live without literature. Contemporary critics lauded Poor Folk for its humanitarian themes. While Vissarion Belinsky dubbed the novel Russia's first "social novel" and Alexander Herzen called it a major socialist work, other critics detected parody and satire. The novel uses a complicated polyphony of voices from different perspectives and narrators. Initially offered by Dostoyevsky to the liberal-leaning magazine Fatherland Notes, the novel was published in the almanac, St. Petersburg Collection, on January 15, 1846. It became a huge success nationwide. Parts of it were translated into German by Wilhelm Wolfsohn and published in an 1846/1847 magazine. The first English translation was provided by Lena Milman in 1894, with an introduction by George Moore, cover art design by Aubrey Beardsley, and publication by London's Mathews and Lane.

Oliver Barrett IV, a wealthy jock from a stuffy WASP family on his way to a Harvard degree and a career in law . . . Jenny Cavilleri, a sharp-tongued, working-class beauty studying music at Radcliffe . . . Opposites in nearly every way, Oliver and Jenny are kindred spirits from vastly different worlds. Falling deeply and powerfully, their attraction to one another defies everything they have ever believed—as they share a passion far greater than anything they dreamed possible . . . and explore the wonder of a love that must end too soon. One of the most adored novels of our time, this is the book that defined a generation—a story of uncompromising devotion, of life as it really is . . . and love that changes everything.

A gargantuan, mind-altering tragi-comedy about the Pursuit of Happiness in America. Set in an addicts' halfway house and a tennis academy, and featuring the most endearingly screwed-up family to come along in recent fiction, Infinite Jest explores essential questions about what entertainment is and why it has come to so dominate our lives; about how our desire for entertainment affects our need to connect with other people; and about what the pleasures we choose say about who we are. Equal parts philosophical quest and screwball comedy, Infinite Jest bends every rule of fiction without sacrificing for a moment its own entertainment value. It is an exuberant, uniquely American exploration of the passions that make us human—and one of those rare books that renew the idea of what a novel can do.

The post-war period in Japan was one of immense social change as Japanese society adjusted to the shock of defeat and to the occupation of Japan by American forces and their allies. Osamu Dazai’s The Setting Sun takes this milieu as its background to tell the story of the decline of a minor aristocratic family. The story is told through the eyes of Kazuko, the unmarried daughter of a widowed aristocrat. Her search for self meaning in a society devoid of use for her forms the crux of Dazai’s novel. It is a sad story, and structurally is a novel very much within the confines of the Japanese take on the novel in a way reminiscent of authors such as Nobel Prize winner Yasunari Kawabata – the social interactions are peripheral and understated, nuances must be drawn, and for readers more used to Western novelistic forms this comes across as being rather wishy-washy. Kazuko’s mother falls ill, and due to their financial circumstances they are forced to take a cottage in the countryside. Her brother, who became addicted to opium during the war is missing. When he returns, Kazuko attempts to form a liaison with the novelist Uehara. This romantic displacement only furthers to deepen her alienation from society.