Every one of these 500 songs, from “Anarchy in the UK” to “Smells Like Teen Spirit,” helped reshape popular music and culture. Illuminating essays pay tribute to their undeniable power. “Spaces pithy commentaries with sleeve and label art. With its in-your-face attitude and strong opinions, this is a good one.”—Booklist

Admit it: you want to be cool. Cool is a destination: everyone else has arrived, but you can't seem to catch up. Cool is a security blanket: you wear it ragged and hide beneath its tatters. Cool is a coping mechanism: you're leaning on it, and it keeps breaking down on you. Sooner or later, you'll count yourself among the uncool: in those moments when everybody gets the joke but you, when the new kid's swagger leaves you self-conscious, when your friends invite you to do what you swore you'd never do. In those moments God sees you and calls you blessed. In Blessed Are the Uncool Paul Grant deconstructs the cultural phenomenon of cool, an ever-elusive, exclusionary act of perpetual rebellion for rebellion's sake. A life spent chasing after cool is exposed for the fickle, fruitless and ultimately inauthentic life that it is. In its place God offers you community: where exclusion is replaced with love, rebellion is redeemed with hope, and your longings are answered with faith that in Christ, God is reconciling this uncool world to himself.

Everyone undergoes some kind of teenage trauma, and a fundamental way of coping, or rite of passage, is the teen movie. Yet until now there has been no book that explores this successful movie sub-genre with any depth. Step forward Garry Mulholland, who, taking his cue from his previous, hugely acclaimed pop culture list books (This is Uncool and Fear of Music) , seeks to create a pantheon of the very finest teen movies, or in Garry Mulholland's words: 'I'll be doing what film critics have been loathe to do since the 1950s, and taking the entire subculture of teen movies seriously, making a constant and compelling argument that Grease and A Nightmare on Elm Street tell us a great deal more about modern life and human nature than Citizen Kane and The Godfather.' From Kes to Fame, Badlands to the Breakfast Club, and National Lampoon's Animal House to Twilight, Garry Mulholland re-evaluates a much maligned genre, and brings it all back again: the good, the bad and the traumatic.

For the Protestant reformer, times were treacherous. The reformer lived, moved, and exercised his or her faith within the shadow of a powerful church that dominated Western culture. Many of these men and women paid the ultimate price for their faith. Celebrating the 500th anniversary of the Protestant Reformation, Godspeed is a 365-day devotional that features the words of prominent reformers, including Martin Luther, William Tyndale, John Calvin, and others, thoughtfully illuminated by best-selling author David Teems with both historical precision and charm. Godspeed: Voices of the Reformation possesses a startling relevance for today’s reader, offering a word of hope and comfort. The reformer’s voice is clear and bright and comes to us with the authority of heaven.

'Dividing pop sheep from out-there GOATS with spite and guile, it's part SCUM manifesto, part insane hot or not list.' SUNDAY TIMES The followers - this book is not for you. The salt of the earth - this book is not for you. The worthy - this book is not for you. The ideologists - this book is not for you. Hedonists and bohemians - this book is not for you. The middlebrow - this book is not for you. The highbrow - this book is not for you. Dilettantes - this book is not for you. 1970s middle school RE teachers - this book is not for you. The England football team (women's and men's) - this book is not for you. The litanists - this book is not for you. Gatekeepers - this book is not for you. Gamekeepers - this book is not for you. (Not even for the poachers...) The curators - this book is not for you. The left, the right - this book is not for you. The list-makers - lists are for shoppers not rockers, and this book is not for you. This is not a list - this is a manifesto, and this book is for ... the Freaks. Musician and author Luke Haines embarks on an odyssey through the ages, exploring how the 'freaks' infiltrated modern culture - and almost won the rock 'n' roll wars - only to lose to the rise of Cool Britannia and TV 'talent' shows that turned the strange and the outsiders into fodder for laughter. In this ultimate celebration of freakdom, Haines tells the story of pivotal freaks - including Johnnie Ray, Gene Vincent, Hank Marvin, Syd Barrett, the Incredible String Band and Big Youth - through the prism of rock 'n' roll and explains how freaks infiltrated wider culture through history in the form of the Cathars, the Ranters, Hells Angels and the Yippies. Part memoir, part manifesto, Freaks Out! is a righteous alternate history of rock 'n' roll.

They care for each other and they love each other... but Yukihisa starts to feel a little distant from Mamoru. He doesn't say anything and he doesn't even try to explain... and Yukihisa doesn't know how to fix this broken relationship...

In The Sonic Episteme Robin James examines how twenty-first-century conceptions of sound as acoustic resonance shape notions of the social world, personhood, and materiality in ways that support white supremacist capitalist patriarchy. Drawing on fields ranging from philosophy and sound studies to black feminist studies and musicology, James shows how what she calls the sonic episteme—a set of sound-based rules that qualitatively structure social practices in much the same way that neoliberalism uses statistics—employs a politics of exception to maintain hegemonic neoliberal and biopolitical projects. Where James sees the normcore averageness of Taylor Swift and Spandau Ballet as contributing to the sonic episteme's marginalization of nonnormative conceptions of gender, race, and personhood, the black feminist political ontologies she identifies in Beyoncé's and Rihanna's music challenge such marginalization. In using sound to theorize political ontology, subjectivity, and power, James argues for the further articulation of sonic practices that avoid contributing to the systemic relations of domination that biopolitical neoliberalism creates and polices.