By self-admission, the 1977 Chicago White Sox couldnt catch, run, or throw; and only on occasion could they pitch. Some felt unwanted and unloved by past teams. Two were told by skeptics that they didnt even belong on the field. Yet it was these qualities that made them one of the most entertaining teams in franchise history. They didnt bunt to move runners along, steal bases to distract the opposing defense, or turn the double play. They just hit and hit until demoralized opponents cried uncle. They didnt win the World Series or even a division title. They couldnt be called champions, but they lived up to another title. They were the South Side Hitmen. Team owner Bill Veeck transformed a hapless 1976 ball club into contenders and big-time draws at the ticket box. New acquisitions Oscar Gamble, Richie Zisk, and Eric Soderholm led the team to a franchise record 192 home runs, while legendary broadcaster Harry Caray led Comskey Park fans through the seventh-inning stretch. The White Sox won 90 games that season (including 22 in an amazing month of July) and finished first in the hearts of baseball fans across the citys South Side.

Looks at the 1977 season of the Chicago White Sox, a year in which the team won ninety games.

This title introduces baseball fans to the history of the Chicago White Sox MLB franchise. The title features informative sidebars, exciting photos, a timeline, team facts, trivia, a glossary, and an index. Aligned to Common Core Standards and correlated to state standards. SportsZone is an imprint of Abdo Publishing, a division of ABDO.

Perkins, a former chief economist at a Boston strategic-consulting firm, confesses he was an "economic hit man" for 10 years, helping U.S. intelligence agencies and multinationals cajole and blackmail foreign leaders into serving U.S. foreign policy and awarding lucrative contracts to American business.

These new essays and memories cover the history and evolution of the former home of the Chicago White Sox, as well as its importance to its surrounding neighborhoods, and to the city of Chicago. The essays cover Charles Comiskey and the location of the ballpark; the neighborhoods that surround the site; the dimensions and configurations of Old Comiskey Park; a summary of All-Star, World Series, and playoff games played there; Negro League baseball at Comiskey Park; Bill Veeck; the ballpark as host to events and sports other than White Sox baseball; and an analysis of the evolution of the famous "exploding scoreboard," the original model for today's modern sports stadium boards. Former players, White Sox personnel and fans contributed memories, including substantial pieces by Roland Hemond and Nancy Faust.

Beginning with the premise that there is no other rivalry in team sports like that between the Cubs and the White Sox this work traces the history of the antagonism (and, at times, open hostility) between the fans of the two clubs. Of special interest is the baseball culture that is fostered in Chicago, as well as a recounting of the memorable on-field moments between the two teams. There are 50 photographs and two essays that deal with the question of bias at the Chicago Tribune.

For readers of Heavy, Punch Me Up to The Gods, and A Little Devil in America, a beautiful, painful, and soaring tribute to everything that Black men are and can be. Growing up in the Bronx, Joél Leon was taught that being soft, being vulnerable, could end your life. Shaped by a singular view of Black masculinity espoused by the media, by family and friends, and by society, he learned instead to care about the gold around his neck and the number of bills in his wallet. He absorbed the “facts” that white was always right and Black men were seen as threatening or great for comic relief but never worthy of the opening credits. It wasn’t until years later that Joél understood he didn’t have to be defined by these things. Now, in a collection of wide-ranging essays, he takes readers from his upbringing in the Bronx to his life raising two little girls of his own, unraveling those narratives to arrive at a deeper understanding of who he is as a son, friend, partner, and father. Traversing both the serious and lighthearted, from contemplating male beauty standards and his belly to his decision to seek therapy to the difficulties of making co-parenting work, Joél cracks open his heart to reveal his multitudes. “I learned that being Black is an all-encompassing everything...To be Black, to be a Black man in the era I grew up in, was easily everything and nothing at once.” Crafted like an album, each essay is a single that stands alone yet reverberates throughout the entire collection. Pieces like “How to Make a Black Friend.” consider challenging, delightful and absurd moments in relationships, while others like “Sensitive Thugs All Need Hugs” and “All Gold Everything” ponder the collective harms of society's lens. With incisive, searing prose, Everything and Nothing at Once deconstructs what it means to be a Black man in America.