Since 1980, Social Anarchism: A Journal of Theory and Practice has developed into a premier anarchist periodical, a feat that is honored in this anthology that showcases the journal's finest pieces. Dividing its focus equally between theoretical works and descriptions of contemporary practice, the anthology boasts such notable contributors as Noam Chomsky, Colin Ward, Kingsley Widmer, Murray Bookchin, and Richard Kostelanetz, and all contributions have been reviewed by an international board of editors—avoiding the sectarian diatribes that characterize so much of political writing. The book is divided into five major sections that cover theory, practice, education, historical figures, and contemporary voices, and each article includes a summary abstract written by the editors. This fascinating and relevant collection presents a unique and rewarding perspective on the fresh and vital contributions of anarchism to the modern world.

After six decades of writing about film, acclaimed critic Richard Schickel generously shares Keepers, a history of film as he’s seen and lived it. Here is a tour of his favorites from Snow White and the Seven Dwarfs to Pulp Fiction, and a master class in what makes a film soar or flop. Schickel reminds us of the subjective art of film criticism, highlighting above all the true gems, the immortal moments of transcendent “movie magic”—the scenes, characters, lines, shots, scores, and even lighting cues—that have stuck with him over a lifetime of movie-watching. Buster Keaton, His Girl Friday, Ingrid Bergman, Taxi Driver, Star Wars, Stanley Kubrick—Schickel reveals all the films and the forces behind them that have kept him coming back for more.

When Jimi Hendrix transfixed the crowds of Woodstock with his gripping version of "The Star Spangled Banner," he was building on a foundation reaching back, in part, to the revolutionary guitar playing of Howlin' Wolf and the other great Chicago bluesmen, and to the Delta blues tradition before him. But in its unforgettable introduction, followed by his unaccompanied "talking" guitar passage and inserted calls and responses at key points in the musical narrative, Hendrix's performance of the national anthem also hearkened back to a tradition even older than the blues, a tradition rooted in the rings of dance, drum, and song shared by peoples across Africa. Bold and original, The Power of Black Music offers a new way of listening to the music of black America, and appreciating its profound contribution to all American music. Striving to break down the barriers that remain between high art and low art, it brilliantly illuminates the centuries-old linkage between the music, myths and rituals of Africa and the continuing evolution and enduring vitality of African-American music. Inspired by the pioneering work of Sterling Stuckey and Henry Louis Gates, Jr., author Samuel A. Floyd, Jr, advocates a new critical approach grounded in the forms and traditions of the music itself. He accompanies readers on a fascinating journey from the African ring, through the ring shout's powerful merging of music and dance in the slave culture, to the funeral parade practices of the early new Orleans jazzmen, the bluesmen in the twenties, the beboppers in the forties, and the free jazz, rock, Motown, and concert hall composers of the sixties and beyond. Floyd dismisses the assumption that Africans brought to the United States as slaves took the music of whites in the New World and transformed it through their own performance practices. Instead, he recognizes European influences, while demonstrating how much black music has continued to share with its African counterparts. Floyd maintains that while African Americans may not have direct knowledge of African traditions and myths, they can intuitively recognize links to an authentic African cultural memory. For example, in speaking of his grandfather Omar, who died a slave as a young man, the jazz clarinetist Sidney Bechet said, "Inside him he'd got the memory of all the wrong that's been done to my people. That's what the memory is....When a blues is good, that kind of memory just grows up inside it." Grounding his scholarship and meticulous research in his childhood memories of black folk culture and his own experiences as a musician and listener, Floyd maintains that the memory of Omar and all those who came before and after him remains a driving force in the black music of America, a force with the power to enrich cultures the world over.

This delightful and instructive history of invention shows why National Public Radio dubbed Tenner “the philosopher of everyday technology.” Looking at how our inventions have impacted our world in ways we never intended or imagined, he shows that the things we create have a tendency to bounce back and change us. The reclining chair, originally designed for brief, healthful relaxation, has become the very symbol of obesity. The helmet, invented for military purposes, has made possible new sports like mountain biking and rollerblading. The typewriter, created to make business run more smoothly, has resulted in wide-spread vision problems, which in turn have made people more reliant on another invention—eyeglasses. As he sheds light on the many ways inventions surprise and renew us, Tenner considers where technology will take us in the future, and what we can expect from the devices that we no longer seem able to live without.