Spanning 12 years Don't Call Me Urban is a fascinating photographic portrayal of underground music culture and social alienation. Capturing the era when London's inner-city youth found an authentic voice, Simon Wheatley's incisive eye goes into the raw environment from which the new stars of British popular music, such as Dizzee Rascal and Tinchy Stryder have emerged.

Wang Shuo imagines an Olympics where nations compete not on the basis of athletic prowess, but on their citizens' capacity for humiliation. China is determined to win at any cost. Enter a slacker pedicab driver from Beijing, a degenerate nihilist who rips off his own face in order to win the gold for his country.

The first biography of David L. Lawrence, the best of the city bosses, who became mayor of Pittsburgh, modern municipal manager, governor of Pennsylvania, and a power in national politics.

WILDLY INDEPENDENT, SHE’S NOT ONE FOR PACK MENTALITY. On the outside, Sophie Garou is living every woman’s dream: she has beauty, brains, and a big-time position in Austin’s most respected accounting firm (not to mention a very sexy, very successful new boyfriend). But there’s one Sophie would rather keep under wraps: she is a werewolf. Sophie’s life gets a little more hairy when her long-estranged father, Luc, arrives in the Live Music Capital to attend the werewolves’ annual Howl and reconnect with his daughter. But Luc’s plans fall apart after he’s accused of murder and arrested by his archrival, Wolfgang, leader of the Houston pack (and one notoriously dirty dog). Wolfgang drools at the thought of Luc’s impending execution, but Sophie won’t let her father die without a fight. Determined to prove his innocence, she and her friends set out to find the real killer. Along the way, Sophie must deal with taboo attractions, Machiavellian intrigues, sinister agendas, and hair-raising betrayals. From the Paperback edition.

Joanne Walker has three days to learn to use her shamanic powers and save the world from the unleashed Wild Hunt. No worries. No pressure. Never mind the lack of sleep, the perplexing new talent for healing herself from fatal wounds, or the cryptic, talking coyote who appears in her dreams. And, as if all thats not bad enough, in the three years Joannes been a cop shes never seen a dead body–yet shes just come across her second in three days. Its been a bitch of a week. And it isn't over yet.

"Harryette Mullen is a magician of words, phrases, and songs . . . No voice in contemporary poetry is quite as original, cosmopolitan, witty, and tragic." —Susan Stewart, citation for the Academy of American Poets Fellowship Urban tumbleweed, some people call it, discarded plastic bag we see in every city blown down the street with vagrant wind. —from Urban Tumbleweed Urban Tumbleweed is the poet Harryette Mullen's exploration of spaces where the city and the natural world collide. Written out of a daily practice of walking, Mullen's stanzas adapt the traditional Japanese tanka, a poetic form suited for recording fleeting impressions, describing environmental transitions, and contemplating the human being's place in the natural world. But, as she writes in her preface, "What is natural about being human? What to make of a city dweller taking a ‘nature walk' in a public park while listening to a podcast with ear-bud headphones?"

The death of David Leo Lawrence in 1966 ended a fifty-year career of major influence in American politics. In a front-page obituary, the New York Times noted that Lawrence, the longtime mayor of Pittsburgh, governor of Pennsylvania, and power in Democratic national politics, disliked being called Boss. But, the Times noted, "he was one anyway."Certainly Lawrence was a consumate politician. Born in a poor, working-class neighborhood, in the present-day Golden Triange of Pittsburgh, he was from boyhood an astute student of politics and a devoted Democrat. Paying minute attention to every detail at the ward and precinct level, he revived the moribund Democratic party of Pittsburgh and fashioned a machine that upset the long-entrenched Republican organization in 1932.When "Davy" Lawrence, as he was affectionately known, won the gubernatorial election in 1958, he became the first Roman Catholic governor of Pennsylvania and the oldest. But he achieved his greatest public recognition as mayor of Pittsburgh. Taking office in 1945, at the close of World War II, this stalwart Democrat formed an alliance with the predominantly Republican business community to bring about the much acclaimed Pittsburgh Renaissance, transforming the downtown business district and persuading many large corporations to retain their national headquarters in Pittsburgh. In 1958 the editors of Fortune magazine name Pittsburgh as one of the eight best administered cities in America.Don't Call Me Boss examines the lengthy career of this remarkable politician. Using over one hundred interviews, as well as extensive archival material, Michael Weber demonstrates how Lawrence was able to balance his intense political drive and devotion to the Democratic party with the larger needs of his city and state. Although his administration was not free of controversy, as indicated by the city's police and free work scandals. Lawrence showed that it was possible to make the transition from nineteenth-century political boss to modern municipal manager. He was one of the few politicians of the century to do so. When the undisputed bosses of other American cities - the Curleys, Pendergasts, and Hagues - were out of power and disgraced, Lawrence was elected governor of Pennsylvania.More than twenty years after his death, David L. Lawrence and his success in rebuilding the city of Pittsburgh continue to serve as an example of effective urban leadership.

Youth unemployment in the UK remains around the one million mark, with many young people from impoverished backgrounds becoming and remaining NEET (Not in Education, Employment, or Training). However, the NEET categorisation covertly disguises and obscures the significance of the diverse range of activities, achievements and accomplishments of those who operate in the informal creative economy. With grime music and its related enterprise a key component of the urban music economy, this book employs the inherent contradictions and questions that emerge from an exploration of the grime music scene to build a complex reading of the socio-economic significance of urban music. Incorporating insightful dialogue with the participants in this economy, White challenges the prevailing wisdom on marginalised young people, whilst also confronting the assumption that the inertia and localisation of the grime culture results from its close links to NEET "members" and the informal sector. Offering an ethnographic and timely critique of the NEET classification, this compelling book would be suitable for undergraduate and post-graduate students interested in urban studies, business, work and labour, education and employment, ethnography, music, and cultural studies.

The art of Harry Gamboa Jr. encompasses photography, video, performance, installation, essays, fiction, poetry, and lesser-known forms of his own creation. Working in the tradition of Bertolt Brecht and Samuel Beckett, Gamboa has pioneered multimedia formats for nearly three decades, setting a precedent for the work of artists such as Coco Fusco, Guillermo Gomez-Pena, and Daniel J. Martinez. Urban Exile gathers Gamboa's diverse creations in a visually compelling collection that reveals a rich vein of Chicano avant-garde production reaching back to the early 1970s. Gamboa was a founding member of Asco (1972-1987), the East L.A. multimedia art group that critically satirized high art and cinema while parodying the utopian nationalism of the Chicano Arts Movement. Urban Exile comprises works Gamboa created with Asco as well as solo efforts -- Mexican fotonovelas rewritten as performance pieces, mail art, No Movies (images presented as stills from nonexistent movies). Firmly grounded in the megalopolis of Los Angeles, these texts present a unique perspective on the bizarre racialized and class-stratified fabric of that city -- the "urban desert in ruins". Gamboa's work is crucial to an understanding not only of Chicano art but also of the post-1968 avant-garde in the United States; he consistently debunks traditional categories, creates innovative alternatives, and reveals a history rendered invisible by the dominant art institutions and media industries. Sometimes hilarious, sometimes dreamlike, always unexpected, these texts present a compelling critique of urban life at the end of the millennium and are essential reading for all "orphans of modernism".