Reprint (with the omission of the color insert) of a work published in New York in 1982. Photos of musicians, record labels, and promotional flyers and posters are accompanied by lively and affectionate explanatory text. An exuberant reference, dense with both visual and textual information. Annotation copyright by Book News, Inc., Portland, OR

Once in a blue moon a book is published that changes irrevocably the face of things. White Heat is one such book. Since it was originally produced in 1990, it has gone on to become one of the most enduring classic cookbooks of our time. With its unique blend of outspoken opinion, recipes and dramatic photographs by the late legendary photographer Bob Carlos Clarke, White Heat captures the magic and spirit of Marco Pierre White in the heat of his kitchen. This 25th anniversary edition features brand new material, including photographs from the late Bob Carlos Clarke and contributions from James Steen, Lindsey Carlos Clarke and a host of high-profile chefs: Jason Atherton, Sat Bains, Mario Batali, Raymond Blanc, Anthony Bourdain, Adam Byatt, David Chang, Phil Howard, Tom Kerridge, Paul Kitching, Pierre Koffmann, Gordon Ramsay and Jock Zonfrillo.

White Heat is the first book to portray the remarkable relationship between America's most beloved poet and the fiery abolitionist who first brought her work to the public. As the Civil War raged, an unlikely friendship was born between the reclusive poet Emily Dickinson and Thomas Wentworth Higginson, a literary figure who ran guns to Kansas and commanded the first Union regiment of black soldiers. When Dickinson sent Higginson four of her poems he realized he had encountered a wholly original genius; their intense correspondence continued for the next quarter century. In White Heat Brenda Wineapple tells an extraordinary story about poetry, politics, and love, one that sheds new light on her subjects and on the roiling America they shared.

Longlisted for the CWA Gold Dagger Award, White Heat is the first book in the gripping Edie Kiglatuk Mystery Series, with "an Arctic setting so real it’ll give you frostbite" (Dana Stabenow, author of A Cold Day for Murder) Half Inuit and half outsider, Edie Kiglatuk is the best guide in her corner of the Arctic. But as a woman, she gets only grudging respect from her community's Council of Elders. While Edie is leading two tourists on a hunting expedition, one of them is shot and killed. The Council wants to call it an accident, but Edie and police sergeant Derek Palliser suspect otherwise. When the other tourist disappears, Edie sets off into the far reaches of the tundra for answers. A stunning debut novel, White Heat launches a formidable new series set amidst an unforgiving landscape of ice and rock, of spirit ancestors, and never-rotting bones.

White Heat is pure adrenaline—a thrilling exploration of extreme skiing that pushes the reader over the edge with heart-pounding accounts of people who risk their lives on the fastest, steepest slopes. Often obsessed and possibly crazy, extreme skiers and snowboarders are having the time of their lives facing death-defying challenges. But the extreme skiing life isn't just about the quest to finish first; it's a lifestyle made up of insane jumps, bone-breaking speeds, and world records—not to mention the wild off-mountain social world, the flamboyant gear and slang completely unique to it, and, of course, the remarkable history of the racing champions and events that is its backdrop. Wayne Johnson, former competitive skier and acclaimed novelist, takes us into the cult of extreme skiing populated by stars such as one-eyed jumping champion Jerry Martin, who held the North American distance record for more than a decade, and Vinko Bogataj, whose world-famous wipeout on ABC's Wide World of Sports gave rise to the expression “pulling a Vinko.” Here are real-life adventures, everything from Shane McConkey ski BASE jumping the Eiger in Switzerland to Shawn White, the Flying Tomato, throwing 1260s in the halfpipe. Johnson, who has spent a lifetime on the mountains, also puts you in his boots when recounting goose-bump- inducing tales of high-speed downhill racing, Nordic jumping competitions, avalanche control, and the hip, ripping world of snowboarding. If you've ever wondered what kind of nut would willingly choose to fly off a twenty-story ski jump, or have ever dreamed of living outside the usual boundaries, or just like to read about people having life-expanding adventures, then White Heat is an exhilarating thrill ride that will leave you breathless.

Here too are recollections of Hollywood's effects on local culture, the precedent-setting merger of the black and white musicians' unions, and the repercussions from the racism in the Los Angeles Police Department in the late 1940s and early 1950s.

Born of African rhythms, the spiritual "call and response," and other American musical traditions, jazz was by the 1920s the dominant influence on this country's popular music. Writers of the Harlem Renaissance (Langston Hughes, Claude McKay, Zora Neale Hurston) and the "Lost Generation" (Malcolm Cowley, F. Scott Fitzgerald, and Gertrude Stein), along with many other Americans celebrated it--both as an expression of black culture and as a symbol of rebellion against American society. But an equal number railed against it. Whites were shocked by its raw emotion and sexuality, and blacks considered it "devil's music" and criticized it for casting a negative light on the black community. In this illuminating work, Kathy Ogren places this controversy in the social and cultural context of 1920s America and sheds new light on jazz's impact on the nation as she traces its dissemination from the honky-tonks of New Orleans, New York, and Chicago, to the clubs and cabarets of such places as Kansas City and Los Angeles, and further to the airwaves. Ogren argues that certain characteristics of jazz, notably the participatory nature of the music, its unusual rhythms and emphasis, gave it a special resonance for a society undergoing rapid change. Those who resisted the changes criticized the new music; those who accepted them embraced jazz. In the words of conductor Leopold Stowkowski, "Jazz [had] come to stay because it [was] an expression of the times, of the breathless, energetic, superactive times in which we [were] living, it [was] useless to fight against it." Numerous other factors contributed to the growth of jazz as a popular music during the 1920s. The closing of the Storyville section of New Orleans in 1917 was a signal to many jazz greats to move north and west in search of new homes for their music. Ogren follows them to such places as Chicago, New York, and San Francisco, and, using the musicians' own words as often as possible, tells of their experiences in the clubs and cabarets. Prohibition, ushered in by the Volstead Act of 1919, sent people out in droves to gang-controlled speak-easies, many of which provided jazz entertainment. And the 1920s economic boom, which made music readily available through radio and the phonograph record, created an even larger audience for the new music. But Ogren maintains that jazz itself, through its syncopated beat, improvisation, and blue tonalities, spoke to millions. Based on print media, secondary sources, biographies and autobiographies, and making extensive use of oral histories, The Jazz Revolution offers provocative insights into both early jazz and American culture.

Early Jazz is an overview of the beginnings of jazz from its nineteenth-century roots through 1929, when elements of the Swing Era began to emerge. It is the first book on early jazz history in over fifty years and fills a compelling need for an update that reflects recent research. With a broad definition of jazz that encompasses the artistic and the commercial, the book's inclusive tone allows for a wide spectrum of musicians, including not only pioneering African American and white musicians but also those who are commonly skipped or skimmed over in jazz history textbooks—lesser-known sidemen, prominent instrumentalists, entertainers or novelty performers, women, vocalists, and American jazz musicians who introduced jazz on their travels around the world. Nineteen songs are analyzed in depth, but no musical knowledge is required to understand or to read Early Jazz. The book is written as an introduction for fans, students, musicians, historians, scholars, and anyone who is interested in this fascinating era of jazz history.

He was jazz's first hipster. He performed in sunglasses and coined and popularized phrases like "that's cool" and "you dig?" He always wore a suit and his trademark porkpie hat. He influenced everyone from B. B. King to Stan Getz to Allen Ginsberg, creating a lyrical style of playing that forever changed the sound of the tenor saxophone. In this groundbreaking biography of Lester Young (1909-1959), historian Douglas Daniels brings to life the man and his world, and corrects a number of misconceptions. Even though others have identified Young as a Kansas City musician, Daniels traces his roots to the blues of Louisiana and his early years traveling with his father's band and the legendary Oklahoma City Blue Devils. Later we see the jazz culture of New York in the early 1940s, when Young was launched to national and international fame with the Count Basie Orchestra and began to accompany his close friend Billie Holiday. After a year spent in an Army prison on a conviction for marijuana use, Young made changes in his music but never lost his sensitivity or soul. The first ever to gain access to Young's family and many musicians who performed with him, Daniels reconstructs the world in which Young lived and played: the racism that he and other black musicians faced, the feeling of home and family that they created together on the road, and what his music meant to black audiences. Young emerges as a kind friend, a loving parent, and a gentle and sensitive man who had, in the words of Reginald Scott, "the saddest eyes I ever saw

Complementing Ethnomusicology: An Introduction, this volume of studies, written by world-acknowledged authorities, places the subject of ethnomusicology in historical and geographical perspective. Part I deals with the intellectual trends that contributed to the birth of the discipline in the period before World War II. Organized by national schools of scholarship, the influence of 19th-century anthropological theories on the new field of "comparative musicology" is described. In the second half of the book, regional experts provide detailed reviews by geographical areas of the current state of ethnomusicological research.