How much do you remember about the music of the Me Decade? 'Dont Dream Its Over: The 80s Music Party Game' tests your knowledge of the songs, albums, lyrics, and lifestyles of hundreds of your favorite New Wave bands, New Jack swingers, and Old School rappers. The 1000+ questions cover everything from ABC to ZZ Top, hair metal to eyeliner goth, and high top fade hip hop to spiky-haired techno pop. With nine different ways to play and questions ranked according to difficulty, anybody can participate.

A step-by-step plan offers examples and exercises on how to determine and live by a set of values, experiment with failure as a formula for success, and take life beyond set limits.

Don't Dream It's Over is the first biography to focus exclusively on Neil Finn, the man who wrote the timeless hits of Split Enz and Crowded House. In early 1980, 21-year-old Neil Mullane Finn wrote 'I Got You', which became the signature song and biggest hit for the Kiwi band Split Enz, co-founded by Neil's big brother Tim several years earlier. Over the next four decades, Neil not only nurtured one of the finest heads of hair in music, but crafted hit after hit--'Don't Dream It's Over', 'Better Be Home Soon', 'One Step Ahead', 'Into Temptation' and more--for Split Enz, for his own chart-topping band Crowded House, and as a solo act. In 2018, he joined international superstars Fleetwood Mac, who added 'Don't Dream It's Over' to their sets. Neil is the most successful singer-songwriter of his generation from this end of the planet-and probably the most respected. Neil has endured his share of challenges. There was massive conflict with his older brother, especially when Tim was briefly invited to join Crowded House in 1990; the tragic death of close friend and Crowded House bandmate Paul Hester; and his difficult early days in England with Split Enz, surviving, but only just, on the dole. Stir in his devout Catholic upbringing, a marriage to Sharon that has somehow lasted more than 40 years-a miracle in the world of entertainment-and the efforts of his sons, Liam and Elroy, to also pursue careers as musicians, and the result is one of the most inspiring musical sagas of recent times.

“Series fans will find themselves right at home” as a computer game draws two players into the illusion-, pun-, and dragon-filled land of Xanth (Kirkus Reviews). Sixteen-year-old Dug has yet to be impressed by a computer game, but that’s before he gets hooked by Companions of Xanth—and the beguilingly beautiful princess-serpent he’s chosen to guide him. Nada Naga has her work cut out for her keeping Dug’s eyes on the magical prize . . . and off of her human form. Kim is no stranger to Xanth, which is why she chooses her favorite companion, Jenny Elf, to accompany her through its marvels—and dangers. Though Kim’s hyper-enthusiasm is infectious, she doesn’t really believe that Xanth is real, and it’s up to Jenny to prove it. What the two players don’t know is that there’s more at stake than winning; the very existence of Xanth hangs in the balance. Demons may run the game, but there are voids to avoid, loan sharks to outswim, and Com Pewter—the most evil machine of all—to outwit. Not to mention that a companion may be just as willing to sabotage Dug and Kim as help them succeed . . . “The legions of Xanth readers can rest assured that [Demons Don’t Dream] contains plenty of the punningly named animals, vegetables, people and things (such as the Ice Queen Clone and the Censor-Ship) that have become the series’ raison d’etre.” —Publishers Weekly

The basic story of the rise, reign, and fall of deconstruction as a literary and philosophical groundswell is well known among scholars. In this intellectual history, Gregory Jones-Katz aims to transform the broader understanding of a movement that has been frequently misunderstood, mischaracterized, and left for dead—even as its principles and influence transformed literary studies and a host of other fields in the humanities. ? Deconstruction begins well before Jacques Derrida’s initial American presentation of his deconstructive work in a famed lecture at Johns Hopkins University in 1966 and continues through several decades of theoretic growth and tumult. While much of the subsequent story remains focused, inevitably, on Yale University and the personalities and curriculum that came to be lumped under the “Yale school” umbrella, Deconstruction makes clear how crucial feminism, queer theory, and gender studies also were to the lifeblood of this mode of thought. Ultimately, Jones-Katz shows that deconstruction in the United States—so often caricatured as a French infection—was truly an American phenomenon, rooted in our preexisting political and intellectual tensions, that eventually came to influence unexpected corners of scholarship, politics, and culture.

An illuminating history of the song for every kind of music lover Often today, the word ‘song’ is used to describe all music. A free-jazz improvisation, a Hindustani raga, a movement from a Beethoven symphony: apparently, they’re all songs. But they’re not. From Sia to Springsteen, Archie Roach to Amy Winehouse, a song is a specific musical form. It’s not so much that they all have verses and choruses – though most of them do – but that they are all relatively short and self-contained; they have beginnings, middles and ends; they often have a single point of view, message or story; and, crucially, they unite words and music. Thus, a Schubert song has more in common with a track by Joni Mitchell or Rihanna than with one of Schubert’s own symphonies. The Song Remains the Same traces these connections through seventy-five songs from different cultures and times: love songs, anthems, protest songs, lullabies, folk songs, jazz standards, lieder and pop hits; ‘When You Wish Upon a Star’ to ‘We Will Rock You’, ‘Jerusalem’ to ‘Jolene’. Unpicking their inner workings makes familiar songs strange again, explaining and restoring the wonder, joy (or possibly loathing) the reader experienced on first hearing. ‘As much about singing, musicianship and recording as it is about songwriting, this eclectic ride through a unique choice of songs (everyone will argue for alternatives) is cleverly curated and littered with intriguing details about the creators and their times, filled with loving cross-references to other songs and deft musical analysis. I defy anyone not to leap online to listen to the unfamiliar, or re-listen to old favourites in light of new detail. One of the best games in this book is figuring out why one song follows the other: there’s always an intelligent, often very funny, link.’ —Robyn Archer