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A collection of humorous and nostalgic Americana stories—the beloved, bestselling classics that inspired the movie A Christmas Story Before Garrison Keillor and Spalding Gray there was Jean Shepherd: a master monologist and writer who spun the materials of his all-American childhood into immensely resonant—and utterly hilarious—works of comic art. In God We Trust: All Others Pay Cash represents one of the peaks of his achievement, a compound of irony, affection, and perfect detail that speaks across generations. In God We Trust, Shepherd's wildly witty reunion with his Indiana hometown, disproves the adage “You can never go back.” Bending the ear of Flick, his childhood-buddy-turned-bartender, Shepherd recalls passionately his genuine Red Ryder BB gun, confesses adolescent failure in the arms of Junie Jo Prewitt, and relives a story of man against fish that not even Hemingway could rival. From pop art to the World's Fair, Shepherd's subjects speak with a universal irony and are deeply and unabashedly grounded in American Midwestern life, together rendering a wonderfully nostalgic impression of a more innocent era when life was good, fun was clean, and station wagons roamed the earth. A comic genius who bridged the gap between James Thurber and David Sedaris, Shepherd may have accomplished for Holden, Indiana, what Mark Twain did for Hannibal, Missouri.

In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.

Statistical Models in S extends the S language to fit and analyze a variety of statistical models, including analysis of variance, generalized linear models, additive models, local regression, and tree-based models. The contributions of the ten authors-most of whom work in the statistics research department at AT&T Bell Laboratories-represent results of research in both the computational and statistical aspects of modeling data.

This book tests critical reassessments of US radical writing of the 1930s against recent developments in theories of modernism and the avant-garde. Multidisciplinary in approach, it considers poetry, fiction, classical music, commercial art, jazz, and popular contests (such as dance marathons and bingo). Relating close readings to social and economic contexts over the period 1856–1952, it centers in on a key author or text in each chapter, providing an unfolding, chronological narrative, while at the same time offering nuanced updates on existing debates. Part One focuses on the roots of the 1930s proletarian movement in poetry and music of the nineteenth and early twentieth centuries. Part Two analyzes the output of proletarian novelists, considered alongside contemporaneous works by established modernist authors as well as more mainstream, popular titles.

These are the recollections of "Ragtime Bob" Darch (1920-2002) told in his own words and transcribed by his longtime friend Steve Spracklen. Bob begins by recalling his life from childhood in Detroit through his college years and then service in World War II as an army paratrooper and in the Korean conflict as an Alaskan post engineer. Then he recounts his nearly six decades as an itinerant ragtime piano player sharing stories as only Bob could tell them of the many celebrities with whom he worked and the countless tales of his experiences "on the Ragtime Trail." Bob entertained his audiences with music and stories of ragtime, past and present. He was not encumbered by facts...he had a story to tell. Bob died in 2002 at the age of 82 and he is buried in Sedalia, Missouri where he often said his style of classic ragtime music began. March 31, 2020 marked the centennial of his birth and like he said of ragtime, Bob's legacy isn't dead, it isn't even sick.