Benny More (1919-1963) was one of the giants at the center of the golden age of Cuban music. Arguably the greatest singer ever to come from the island, his name is still spoken with reverence and nostalgia by Cubans and Cuban exiles alike. Unable to read music, he nevertheless wrote more than a dozen Cuban standards. His band helped shape what came to be known as the Afro-Cuban sound and, later, salsa. More epitomized the Cuban big-band era and was one of the most important precursors to the music later featured in the Buena Vista Social Club. Even now, to hear his recordings for the first time, it is impossible not to be thrilled and amazed. Journalist John Radanovich has spent years tracking down the musicians who knew More and More family members, seeking out rare recordings and little-known photographs. Radanovich provides the definitive biography of the man and his music, whose legacy was forgotten in the larger scheme of political difficulties between the United States and Cuba. Even the exact spelling of More's first name was unknown until now. The author also examines the milieu of Cuban music in the 1950s, when Havana was the playground of Hollywood stars and the Mafia ran the nightclubs and casinos.

Rhythm Man: Chick Webb and the Beat that Changed America presents the first full-length biography of the Swing Era icon, restoring this pioneering virtuoso drummer and bandleader's primacy alongside other 20th century jazz giants.

This revised and expanded edition of the first comprehensive study of Occidentalism in post-Mao China includes a new preface, foreword, and chapter on Chinese diaspora writings in the Chinese language. Xiaomei Chen offers an insightful account of the unremittingly favorable depiction of Western culture and its negative characterization of Chinese culture in post-Mao China since 1978. She examines the cultural and political interrelationship between the East and West from a vantage point more complex than that accommodated by most current theories of Western imperialism and colonialism. Going beyond Edward Said's construction in Orientalism of cross-cultural appropriations as a defining facet of Western imperialism, Chen argues that the appropriation of Western discourse--what she calls "Occidentalism"--can actually have a politically and ideologically liberating effect on contemporary non-Western culture. She maintains that simplistic allegations of Orientalism frequently found in current critical discourses seriously underestimate the complexities of intercultural and multicultural relationships. Using China as the focus of her analysis, Chen examines a variety of cultural media, from Shakespearean drama, to modernist poetry, to contemporary Chinese television and popular fiction. She thus places sinology in the general context of Western theoretical discourses, such as Eurocentrism, postcolonialism, nationalism, modernism, feminism, and literary hermeneutics, showing that it has a vital role to play in the study of Orient and Occident and their now unavoidable symbiotic relationship. Occidentalism presents a new model of comparative literary and cultural studies that reenvisions cross-cultural appropriation. It will be indispensable to future discussions of Orientalism, Occidentalism, and postcolonialism, as well as subaltern studies, Asian studies, comparative literature, cultural studies, and non-Western drama.

In the 1930s, swing music reigned, and the Jimmie Lunceford Orchestra was the hottest and hippest attraction on the black dance circuits. Known for its impeccable appearance and infectious rhythms, Lunceford's group was able to out-swing and outdraw any band. For ten consecutive years, they were the best-loved attraction at Harlem's famed Apollo Theater. The group's hit recordings sold in the hundreds of thousands, and Jimmie Lunceford's band rivaled Ellington's for popularity in the African American community. Jimmie Lunceford was also an innovator, elevating big-band showmanship to an art and introducing such novel instruments as the electric guitar and bass. The band's arrangements, written by Sy Oliver, Edwin Wilcox, Gerald Wilson, Billy Moore, Jr., and Tadd Dameron, were daring and forward looking, influencing generations of big-band writers. Rhythm Is Our Business traces the development of the Jimmie Lunceford Orchestra from its infant days as a high school band in Memphis to its record-breaking tours across the United States, Canada, and Europe. The book also unveils Lunceford's romantic yet ill-fated involvement with Yolande Du Bois, daughter of famous writer and opinion leader W.E.B. Du Bois. And by reconstructing Lunceford's last day, the book offers a glimpse into the mysteries surrounding the leader's untimely death. This is essential reading for anyone interested in the history and legacy of swing. Eddy Determeyer has been a freelance music journalist for more than three decades. In 1984 Determeyer wrote a seven-part series on Jimmie Lunceford for the Dutch magazine Jazz Nu. Determeyer has written thousands of articles on music for a variety of Dutch publications and is the author of several books. He currently produces the Holiday for Hipsters radio show for Dutch station Concertzender. Cover image: Lunceford brass section, ca. late 1936. Left to right: Paul Webster, Eddie Durham, Sy Oliver, Elmer Crumbley, Eddie Tompkins, Russell Bowles. (Bertil Lyttkens Collection)

This "thought-provoking, hilarious, eloquent" (Kirkus Reviews) debut novel by a remarkable new talent explores the relationship between identity and place, marvels at the speed at which a well-planned life can change forever, and asks the question, " How can a total stranger understand you better than the people you've known your entire life?" When Lance's '93 Buick breaks down in the middle of nowhere, he tells himself Don't panic. After all, he's valedictorian of his class. First-chair trumpet player. Scholarship winner. Nothing can stop Lance Hendricks. But the locals don't know that. They don't even know his name. Stuck in a small town, Lance could be anyone: a delinquent, a traveler, a maniac. One of the townies calls him Wildman, and a new world opens up. He's ordering drinks at a roadhouse. Jumping a train. Talking to an intriguing older girl who is asking about his future. And what he really wants. As one day blurs into the next, Lance finds himself drifting farther from home and closer to a girl who makes him feel a way he's never felt before-like himself.

This book, which deals with the life and ideas of the poet and philosopher Tadano Makuzu (1763-1825), presents insights into gender discourses of the late Tokugawa period (1600-1868), and thereby opens a way to break away from conventional intellectual history.

Part autobiographical journal, part social-historical novel, Wild Man tracks Tobias Schneebaum's fascinating and almost epic life story, from his earliest contemplation of homoerotic desire through his life in Peru, Borneo, and beyond. A young man from New York, Schneebaum "disappeared" in 1955 on the eastern slopes of the Andes. He was, in actuality, living for more than a year among the remote Harakhambut people, discovering a way of being that was strange, primitive, and powerfully attractive to him. This longing to find the "wild man" in other cultures—and in himself—eventually led him on an odyssey through South America, India, Tibet, Africa, Borneo, New Guinea, and Southeast Asia. He lived among isolated forest peoples, including headhunters and cannibals, in regions where few, if any, white men had ever been.

When Jesse and Alexandra's youngest child Becca is taken from their home in the middle of the night, a happy family's life shatters. Jesse's grief triggers a full-blown psychiatric crisis, which spurs a most unusual spiritual quest in an attempt to find a way to feel at home in what suddenly seems like a cruel world. In the midst of her own trauma, Alexandra is diagnosed with Alzheimer's disease, further pitching the family into desperation. Jesse's weekly breakfast with his two sons, along with Alexandra's determined efforts to fight the erasure of her memories, holds the family together despite the agonizing uncertainty surrounding all of them, and the futility of their ongoing search efforts for Becca. Jesse and Alexandra find themselves drawn into the horrifying world of missing and abducted children and the minds of their captors, and eventually adopt an abduction survivor named Maddy and her young children. Together, they forge a new and expanded family, and create a home where everyone can heal. This is a family saga, a love story, an account of child abduction and its exacting aftermath, a tale of hard-won hope, and a profound exploration of the spiritual potential of ordinary life in the face of the unthinkable.

STONY MAN Very few are aware they exist, but those who do know that each mission Stony Man Farm’s commando teams complete means another night of peace in America. They are the best cybertechs and soldiers in the world and their covert goal is to stop terror attacks before they happen—even if it means sacrificing themselves in the process. COUNTER FORCE When Iraqi insurgents detain a regiment of Marines during their attempt to withdraw from Iraq, the international incident incites retribution killings in Montana by a militia of former veterans. For Stony Man Farm’s Phoenix Force, it’s a race against the clock to rescue the American soldiers in Iraq as Able Team struggles to quell the combathardened militia in the U.S.—with as little loss of life as possible—before the terrorists kill every single hostage.

About the Book THE GREEN BOOK, VOL. 1: The Intertwined Musical and Historical Journey by People of Color in America provides a comprehensive exploration of the music that occurred alongside some of American history’s biggest events. This impressive and extensive guide spans from 1380 until 1959. This book's purpose is to share, illuminate, and stick to the positive achievements of the people who’ve helped to spread the message of music. That will include all the musicians, singers, and lyricists who helped the fans to appreciate the various styles of music that we have today. About the Author Raymond was a native of New York City and a product of schools in Brooklyn. He worked in all three levels of government. He has spent the past fifty five years gathering and exploring America’s musical journey. His primary motivation for writing this book was to seek out and amass a stream of verifiable truths. He is a fan of most styles of music, though he does struggle to find a love for hard rock and bluegrass at times. McNeil’s ultimate goal is to share his love of music and history and the ways in which they intertwine together throughout the years.