*A New York Times Bestseller* The first definitive, unauthorized, behind-the-scenes cultural history of the Bachelor franchise, America’s favorite guilty pleasure. For sixteen years and thirty-six seasons, the Bachelor franchise has been a mainstay in American TV viewers’ lives. Since it premiered in 2002, the show’s popularity and relevance have only grown—more than eight million viewers tuned in to see the conclusion of the most recent season of The Bachelor. Los Angeles Times journalist Amy Kaufman is a proud member of Bachelor Nation and has a long history with the franchise—ABC even banned her from attending show events after her coverage of the program got a little too real for its liking. She has interviewed dozens of producers, contestants, and celebrity fans to give readers never-before-told details of the show’s inner workings: what it’s like to be trapped in the mansion “bubble”; dark, juicy tales of producer manipulation; and revelations about the alcohol-fueled debauchery that occurs long before the Fantasy Suite. Kaufman also explores what our fascination means, culturally: what the show says about the way we view so-called ideal suitors; our subconscious yearning for fairy-tale romance; and how this enduring television show has shaped society’s feelings about love, marriage, and feminism by appealing to a marriage plot that’s as old as the best of Jane Austen.

The true account of the Nicholsons, the father and son who sold national secrets to Russia. “One of the strangest spy stories in American history” (Robert Lindsey, author of The Falcon and the Snowman). Investigative reporter and Pulitzer Prize finalist Bryan Denson tells the riveting story of the father and son co-conspirators who betrayed the United States. Jim Nicholson was one of the CIA’s top veteran case officers. By day, he taught spycraft at the CIA’s clandestine training center, The Farm. By night, he was a minivan-driving single father racing home to have dinner with his kids. But Nicholson led a double life. For more than two years, he had met covertly with agents of Russia’s foreign intelligence service and turned over troves of classified documents. In 1997, Nicholson became the highest-ranking CIA officer ever convicted of espionage. But his duplicity didn’t stop there. While behind the bars of a federal prison, the former mole systematically groomed the one person he trusted most to serve as his stand-in: his youngest son, Nathan. When asked to smuggle messages out of prison to Russian contacts, Nathan saw an opportunity to be heroic and to make his father proud. “Filled with fascinating details of the cloak-and-dagger techniques of KGB and CIA operatives, double agents, and spy catchers . . . A poignant and painful tale of family love, loyalty, manipulation and betrayal.” —The Oregonian

Sociocultural Identities in Music Therapy is a collection of personal narratives by 18 music therapists who engage in a critical culturally reflexive process and explore implications for their therapeutic practice. Amongst the authors, there is gender diversity, diversity of sexualities, racial diversity, ethnic diversity, neurodiversity, geographical diversity, linguistic diversity, educational diversity, and more. Each person's intersectional identity positions them differently in terms of their sociocultural location and thus each has differing experiences of unearned advantages or disadvantages based purely on their membership in various sociocultural groups in unique combinations. As such, each person distinctively explores how they experience and are experienced in social contexts. Woven together, this book is a rich tapestry of the sociocultural identities of music therapists and implications for their therapeutic relationships and processes. It provides a deep understanding and appreciation of the concept of culture and its omnipresence in all we do and all we are. The hope is that these narratives, and the included strategies for doing this kind of critical culturally reflexive work, will guide music therapy students and practitioners to examine their own sociocultural location and experiences, and that it will open music therapists to consider their relational dynamics in all aspects of their lives.

Nearly every night on every major network,"unscripted" (but carefully crafted) "reality" TV shows routinely glorify retrograde stereotypes that most people would assume got left behind 35 years ago. In Reality Bites Back, media critic Jennifer L. Pozner aims a critical, analytical lens at a trend most people dismiss as harmless fluff. She deconstructs reality TV's twisted fairytales to demonstrate that far from being simple "guilty pleasures," these programs are actually guilty of fomenting gender-war ideology and significantly affecting the intellectual and political development of this generation's young viewers. She lays out the cultural biases promoted by reality TV about gender, race, class, sexuality, and consumerism, and explores how those biases shape and reflect our cultural perceptions of who we are, what we're valued for, and what we should view as "our place" in society. Smart and informative, Reality Bites Back arms readers with the tools they need to understand and challenge the stereotypes reality TV reinforces and, ultimately, to demand accountability from the corporations responsible for this contemporary cultural attack on three decades of feminist progress.

Life of the great criminal lawyer.

Amexica is the harrowing story of the extraordinary terror unfolding along the U.S.-Mexico border—"a country in its own right, which belongs to both the United States and Mexico, yet neither"—as the narco-war escalates to a fever pitch there. In 2009, after reporting from the border for many years, Ed Vulliamy traveled the frontier from the Pacific coast to the Gulf of Mexico, from Tijuana to Matamoros, a journey through a kaleidoscopic landscape of corruption and all-out civil war, but also of beauty and joy and resilience. He describes in revelatory detail how the narco gangs work; the smuggling of people, weapons, and drugs back and forth across the border; middle-class flight from Mexico and an American celebrity culture that is feeding the violence; the interrelated economies of drugs and the maquiladora factories; the ruthless, systematic murder of young women in Ciudad Juarez. Heroes, villains, and victims—the brave and rogue police, priests, women, and journalists fighting the violence; the gangs and their freelance killers; the dead and the devastated—all come to life in this singular book. Amexica takes us far beyond today's headlines. It is a street-level portrait, by turns horrific and sublime, of a place and people in a time of war as much as of the war itself.