'Excellent - I inhaled it, I absolutely loved it!... it's moving, and funny...It's a beautiful, beautiful read...for anyone who wants to laugh and be charmed' CLAUDIA WINKLEMAN, BBC Radio 2 'Wonderfully funny, utterly charming and sharp as all Hell' SARAH MILLICAN 'Tom Allen is one of the funniest comedians in the UK, the best dressed man I know and now it turns out he is a superb writer. I hate him' JOSH WIDDICOMBE ~~~~~ 'When I was 16 I dressed in Victorian clothing in a bid to distract people from the fact that I was gay. It was a flawed plan.' No Shame is a very funny, candid and emotional ride of a memoir by one of our most beloved comedians. The working-class son of a coach driver, and the youngest member of the Noel Coward Society, Tom Allen grew up in 90s suburbia as the eternal outsider. In these hilarious, honest and heart breaking stories Tom recalls observations on childhood, his adolescence, the family he still lives with, and his attempts to come out and negotiate the gay dating scene. They are written with his trademark caustic wit and warmth, and will entertain, surprise and move you in equal measure.

Tells the story of Harriet Tubman and other slaves and free African-Americans who risked death to gather information about the Confederacy for the Union during the Civil War.

Building on his pioneering work on the management of technology and innovation in his first book, Managing the Flow of Technology, Thomas J. Allen is joined by award-winning architect Gunter Henn in this book that explores the combined use of two management tools to make the innovation process most effective: organizational structure and physical space. Demonstrating how organizational structure and physical space each affect communication, the book illustrates how organizations can transform for innovation. Allen and Henn illustrate their points with discussions of well-known buildings around the world, including Audi's corporate headquarters, Steelcase's corporate design center, and the Corning Glass Becker building. An integrative case study illustrates how organizational structure and physical space were combined successfully to promote innovation for the BMW Group.

Tony Allen is the autobiography of legendary Nigerian drummer Tony Allen, the rhythmic engine of Fela Kuti's Afrobeat. Conversational, inviting, and packed with telling anecdotes, Allen's memoir is based on hundreds of hours of interviews with the musician and scholar Michael E. Veal. It spans Allen's early years and career playing highlife music in Lagos; his fifteen years with Fela, from 1964 until 1979; his struggles to form his own bands in Nigeria; and his emigration to France. Allen embraced the drum set, rather than African handheld drums, early in his career, when drum kits were relatively rare in Africa. His story conveys a love of his craft along with the specifics of his practice. It also provides invaluable firsthand accounts of the explosive creativity in postcolonial African music, and the personal and artistic dynamics in Fela's Koola Lobitos and Africa 70, two of the greatest bands to ever play African music.

Reprint of the original, first published in 1882.

The long-awaited biography of the frontier Founding Father whose heroic actions and neglected writings inspired an entire generation from Paine to Madison. On May 10, 1775, in the storm-tossed hours after midnight, Ethan Allen, the Revolutionary firebrand, was poised for attack. With only two boatloads of his scraggly band of Vermont volunteers having made it across the wind-whipped waters of Lake Champlain, he was waiting for the rest of his Green Mountain boys to arrive. But with the protective darkness quickly fading, Allen determined that he hold off no longer. While Ethan Allen, a canonical hero of the American Revolution, has always been defined by his daring, predawn attack on the British-controlled Fort Ticonderoga, Willard Sterne Randall, the author of Benedict Arnold, now challenges our conventional understanding of this largely unexamined Founding Father. Widening the scope of his inquiry beyond the Revolutionary War, Randall traces Allen’s beginning back to his modest origins in Connecticut, where he was born in 1738. Largely self-educated, emerging from a relatively impoverished background, Allen demonstrated his deeply rebellious nature early on through his attraction to Deism, his dramatic defense of smallpox vaccinations, and his early support of separation of church and state. Chronicling Allen’s upward struggle from precocious, if not unruly, adolescent to commander of the largest American paramilitary force on the eve of the Revolution, Randall unlocks a trove of new source material, particularly evident in his gripping portrait of Allen as a British prisoner-of-war. While the biography reacquaints readers with the familiar details of Allen’s life—his capture during the aborted American invasion of Canada, his philosophical works that influenced Thomas Paine, his seminal role in gaining Vermont statehood, his stirring funeral in 1789—Randall documents that so much of what we know of Allen is mere myth, historical folklore that people have handed down, as if Allen were Paul Bunyan. As Randall reveals, Ethan Allen, a so-called Robin Hood in the eyes of his dispossessed Green Mountain settlers, aggrandized, and unabashedly so, the holdings of his own family, a fact that is glossed over in previous accounts, embellishing his own best-selling prisoner-of-war narrative as well. He emerges not only as a public-spirited leader but as a self-interested individual, often no less rapacious than his archenemies, the New York land barons of the Hudson and Mohawk Valleys. As John E. Ferling comments, “Randall has stripped away the myths to provide as accurate an account of Allen’s life as will ever be written.” The keen insights that he produces shed new light, not only on this most enigmatic of Founding Fathers, but on today’s descendants of the Green Mountain Boys, whose own political disenfranchisement resonates now more than ever.

"The Exorcist", a 1973 movie about a twelve-year-old girl possessed by the Devil, frightened people more than any horror film ever did. Many moviegoers sought therapy to rid themselves of fears they could not explain. Psychiatrists coined the term "cinematic neurosis" for patients who left the movie feeling a terrifying presence of demons. At the Washington premiere, a young woman stood outside the theater, trembling. "I come out here in the sunlight," she said, "and I see people's eyes, and they frighten me." Among the few moviegoers unmoved by the horror were two priests, Father William S. Bowdern and Father Walter Halloran, members of the Jesuit community at St. Louis University. "Billy came out shaking his head about the little girl bouncing on the bed and urinating on the crucifix," Halloran remembers. "He was kind of angry. 'There is a good message that can be given by this thing,' he said. The message was the fact that evil spirits operate in our world." Bowdern and Halloran knew that the movie was fictional veneer masking a terrible reality. Night after night in March and April 1949, Bowdern had been an exorcist, with Halloran assisting. Bowdern fervently believed that he had driven a demon from a tormented soul. The victim had been a thirteen-year-old boy strangely lured to St. Louis from a Maryland suburb of Washington. Bowdern's exorcism had been the inspiration for the movie. The true story of this possession, told in Possessed, is based on a diary kept by a Jesuit priest assisting Father Bowdern. The diary, the most complete account of an exorcism since the Middle Ages, is published for the first time in this revised edition of Possessed.