Explains America's love of sport just as it reveals sport's darker side--the influence of big business, corruption, price gouging, political maneuvering, and media grandstanding. Visit our website for sample chapters!

I Will Survive is the story of Gloria Gaynor, America's "Queen of Disco." It is the story of riches and fame, despair, and finally salvation. Her meteoric rise to stardom in the mid-1970s was nothing short of phenomenal, and hits poured forth that pushed her to the top of the charts, including "Honey Bee," "I Got You Under My Skin," "Never Can Say Goodbye," and the song that has immortalized her, "I Will Survive," which became a #1 international gold seller. With that song, Gloria heralded the international rise of disco that became synonymous with a way of life in the fast lane - the sweaty bodies at Studio 54, the lines of cocaine, the indescribable feeling that you could always be at the top of your game and never come down. But down she came after her early stardom, and problems followed in the wake, including the death of her mother, whose love had anchored the young singer, as well as constant battles with weight, drugs, and alcohol. While her fans always imagined her to be rich, her personal finances collapsed due to poor management; and while many envied her, she felt completely empty inside. In the early 1980s, sustained by her marriage to music publisher Linwood Simon, Gloria took three years off and reflected upon her life. She visited churches and revisited her mother's old Bible. Discovering the world of gospel, she made a commitment to Christ that sustains her to this day.

In Bedford-Stuyvesant, Brooklyn, pianist Randy Weston and bassist Ahmed Abdul-Malik celebrated with song the revolutions spreading across Africa. In Ghana and South Africa, drummer Guy Warren and vocalist Sathima Bea Benjamin fused local musical forms with the dizzying innovations of modern jazz. These four were among hundreds of musicians in the 1950's and '60's who forged connections between jazz and Africa that definitively reshaped both their music and the world. Each artist identified in particular ways with Africa's struggle for liberation and made music dedicated to, or inspired by, demands for independence and self-determination. That music was the wild, boundary-breaking exultation of modern jazz. The result was an abundance of conversation, collaboration, and tension between African and African American musicians during the era of decolonization. This collective biography demonstrates how modern Africa reshaped jazz, how modern jazz helped form a new African identity, and how musical convergences and crossings altered politics and culture on both continents. In a crucial moment when freedom electrified the African diaspora, these black artists sought one another out to create new modes of expression. Documenting individuals and places, from Lagos to Chicago, from New York to Cape Town, Robin Kelley gives us a meditation on modernity: we see innovation not as an imposition from the West but rather as indigenous, multilingual, and messy, the result of innumerable exchanges across a breadth of cultures.

This collection of watercolors and poems will surprise and delight, taking readers on a meditative journey around the world. The paintings visually interpret the places visited, and the poems give insights as to why these places are important.

Harvey Penick's life in golf began when he started caddying at the Austin, (Texas), Country Club at age eight. Eighty-one years later he is still there, still dispensing wisdom to pros and beginners alike. His stature in the golf world is reflected in the remarkable array of champions he's worked with, both men and women, including U.S. Open champion and golf's leading money winner Tom Kite, Masters champion Ben Crenshaw, and LPGA Hall of Famers Mickey Wright, Betsy Rawls, and Kathy Whitworth. It is not for nothing that the Teacher of the Year Award given by the Golf Teachers Association is called the Harvey Penick Award. Now, after sixty years of keeping notes on the things he's seen and learned and on the golfing greats he's taught, Penick is finally letting his Little Red Book (named for the red notebook he's always kept) be seen by the golf world. His simple, direct, practical wisdom pares away all the hypertechnical jargon that's grown up around the golf swing, and lets all golfers, whatever their level, play their best. He avoids negative words; when Tom Kite asked him if he should "choke down" on the club for a particular shot, Harvey told him to "grip down" instead, to keep the word "choke" from entering his mind. He advises golfers to have dinner with people who are good putters; their confidence may rub off, and it's certainly better than listening to bad putters complain. And he shows why, if you've got a bad grip, the last thing you want is a good swing. Throughout, Penick's love of golf and, more importantly, his love of teaching shine through. He gets as much pleasure from watching a beginner get the ball in the air for the first time as he does when one of his students wins the U.S. Open. Harvey Penick's Little Red Book is an instant classic, a book to rank with Ben Hogan's Modern Fundamentals of Golf and Tommy Armour's How to Play Your Best Golf All the Time.