A smart, gossipy, and very funny examination of celebrity culture from New York’s premiere social columnist. Ben Widdicombe is the only writer to have worked for Page Six, TMZ, and The New York Times—an unusual Triple Crown that allowed him personal access to the full gamut of Hollywood and high society’s rich and famous, from billionaires like Rupert Murdoch, Donald Trump, and the Koch brothers, to pop culture icons Kim Kardashian and Paris Hilton. Now, in Gatecrasher, New York’s premiere gossip-turned-society writer spills the sensational stories that never made it to print. Widdicombe has appeared at nearly every gossip-worthy venue—from the Oscars and the Hamptons, to the Met Gala and Mar-a-Lago—and has rubbed elbows with a dizzying array of celebrities (and wannabes), and he whisks us past the clipboard and velvet rope to teach us the golden rules of gatecrashing, dishing on dozens of boldface names along the way. Widdicombe shares secrets for how to crash the parties, climb the ladder, avoid the paparazzi, or make small talk with Henry Kissinger and Anna Wintour. Endlessly fun and extremely telling, Gatecrasher makes the unnerving argument that Paris Hilton conquering pop culture two decades ago lead to Donald Trump winning the White House. “As the gossip pages go, so goes the country,” he says.

A gold digger woos a widower in a “modern day novel of manners . . . [with] memorable characters . . . as unpredictable and multifaceted as they are stylish” (Publishers Weekly). Madeleine Wickham is Sophie Kinsella, and The Gatecrasher is just as delicious as her internationally bestselling Shopaholic series. Everything’s coming up roses for Fleur Daxeny, as she goes through more rich men than she does designer hats. Beautiful and utterly irresistible, her success at crashing funerals to find wealthy men is remarkable. Fleur wastes no time in seducing her latest conquest, the handsome and rich widower Richard Favour. His children are caught up in a whirlwind as their father’s new girlfriend descends on the family estate. Fleur is not one to wear her heart on her Chanel sleeves, but she soon finds herself embracing Richard and his family. But just as Fleur contemplates jumping off the gold-digger train for good, a long-buried secret from her past threatens to destroy her new family. “Witty and deeply biting. . . . Wickham’s characters move with the studied grace of Jane Austen’s upper class. . . . Readers will be both touched and entertained.” —Library Journal “An observant and engaging storyteller.” —Kirkus Reviews “An enjoyable read.” —Booklist

The Maverick Heart is bored. That is until it discovers a top team of engineers and scientists in a barren, backwater system have created the Gate, a stable, artificial wormhole that will revolutionize interplanetary travel forever. Breaching the wall of secrecy around this radical new technology is a temptation too sweet for human partners Keene and Lexa-Blue to resist. Elswhere, Ember Avanti is a thief, with the highest of high tech toys in his arsenal. And he’s damned good at it, too. But sooner or later, every thief chooses the wrong mark. When he targets Quintaine DiaStellar, he soon learns the corporation will stop at nothing to make the Gate its own. Ember’s team and the Maverick Heart crew must unite in a desperate attempt to stop the most vicious act of industrial espionage in the history of the Pan Galactum.

Fleur Daxeny gatecrashes funerals in the hopes of picking up rich and vulnerable men, but when she becomes involved with Richard Favour, she discovers that she is in too deep, and that she wants more than his money.

After World War I, artists without formal training “crashed the gates” of major museums in the United States, diversifying the art world across lines of race, ethnicity, class, ability, and gender. At the center of this fundamental reevaluation of who could be an artist in America were John Kane, Horace Pippin, and Anna Mary Robertson “Grandma” Moses. The stories of these three artists not only intertwine with the major critical debates of their period but also prefigure the call for inclusion in representations of American art today. In Gatecrashers, Katherine Jentleson offers a valuable corrective to the history of twentieth-century art by expanding narratives of interwar American modernism and providing an origin story for contemporary fascination with self-taught artists.

CMJ New Music Monthly, the first consumer magazine to include a bound-in CD sampler, is the leading publication for the emerging music enthusiast. NMM is a monthly magazine with interviews, reviews, and special features. Each magazine comes with a CD of 15-24 songs by well-established bands, unsigned bands and everything in between. It is published by CMJ Network, Inc.

At a time before cell phones or Andy Warhol, you could say Mace Bugen was the world's first practitioner of the celebrity selfie. Over a period of three decades, the 48" tall Jewish dwarf engineered photos of himself with some of the biggest celebrities of his day: Muhammad Ali, Jonas Salk, Joe DiMaggio, and Richard Nixon. Photos and biography.