The Taxi Cabaret follows six people in their twenties during their first year in New York City. Scott, an aspiring novelist, discovers that you do not have to suffer to write. Mark and Sara test their relationship when they move in together. Zach lives an E-ZPass lifestyle, staying safely in the closet, while the eternally unlucky but relentlessly optimistic Karen falls for him, only to have her heart broken. C.C. is an actress/temp who longs for something in her life that will last more than sixteen bars.

First published in 2003. This is Volume II of eight in the Early Sociology of Culture collection and offers a sociological study on the commercialized recreation. Paul G. Cressey while serving as a case-worker and special investigator for the Juvenile Protective Association was requested during the summer of 1925 to report upon the new and then quite unfamiliar closed dance halls. This book is in a sense the outgrowth of those assignments.

Beyond the stereotypical expectation of glitter and sequins, comes a personal and inspirational journey of overcoming fear, rejection and insecurity. This story isn't solely about a drag-queen, but rather, it's a journey of real life experiences which many of us have faced throughout life, written by a gay man who happens to be a drag-queen. It's a story which is relevant in today's society, regardless of one's own sexuality. This book was written to bring inspiration and hope to anyone who may need positive affirmation to love the life they live, or for anyone who needs to understand first-hand what it can be like to fight, a sometimes losing battle, for self acceptance. Whoever the reader, it shows that it is possible to overcome extreme adversity and survive those horrendous experiences which seem determined to destroy us. "In a world where society dictates 'right' from 'wrong', a young boy struggles with the pressure of living up to the expectations of others. Desperately seeking acceptance and finding only rejection, he is isolated and on the brink of despair. There seems to be no escape from the years of relentless school-ground bullying and victimization he suffers, which at times, is almost too much to bear. He feels as though his spirit has been crushed, but this young scared boy still harbours a burning desire to break free and be true to himself. Later in life, a tremendous gut-wrenching loss would set him on another course, and a journey of true self-discovery. Armed with the knowledge of his past experiences, his eyes are opened to a wonderland of pleasures, and through determination and sacrifice, he leaves a life of secrecy and sexual defiance behind him. Discovering the world of drag, he becomes more of a man than he thought he would be, and more of a woman than he thought he ever could be. From Darkness to Diva is an empowering tale of overcoming fear and insecurity, with an uplifting message of triumph."

Survived To Tell About It is based on the true-life experiences of Bill Marshall. It’s the story of a coal miner who, after escaping death in a collapsed mine, unwittingly takes a job as a doorman at a nightclub. Little did he know that the primary function of the job was to remove undesirables from the club, in any way possible! Bill disliked violence and, in most cases, removed unruly customers from the club without resorting to physical force. However, on those occasions when he couldn't avoid it, Bill showed he was more than capable of handling any trouble that came his way. The glitz and glamour of the industry, not to mention the appeal of wearing an evening suit to work, was like a powerful drug to Bill. When he finally grew tired of the seedy side of the nightclub business, Bill set off on an incredible odyssey that took him to the Middle East. Not surprisingly, more improbable adventures followed. As one of Bill’s friends once told him, “You’re what every boy wants to be when he’s growing up and what every man wishes he had been when he’s grown old.”

"The Jazz Tradition and Black Vernacular Dance explores the complex intersections between jazz music and popular dance over the last hundred-plus years. It aims to show how popular entertainment and cultures of social dancing were crucial to jazz music's formation and development, but it also investigates the processes through which jazz music came to earn a reputation as a "legitimate" art form better suited for still, seated listening. Through the concept of "choreographies of listening," the book explores amateur and professional jazz dancers' relationships with jazz music and musicians as jazz's soundscapes and choreoscapes were forged through close contact and mutual creative exchange. The book's later chapters also critically unpack the aesthetic and political negotiations through which jazz music supposedly distanced itself from dancing bodies. As musicians and critics sought to secure institutional space for jazz within America's body-averse academic and high-art cultures, an intentional severance from the dancing body proved crucial to jazz's re-positioning as a form of autonomous, elite art. Fusing little-discussed material from diverse historical and contemporary sources with the author's own years of experience as a social jazz dancer, this book seeks to advance participatory dance and embodied practice as central topics of analysis in jazz studies. As it tells the rich, untold story of jazz as popular dance music, this book also exposes how American anxieties about bodies and a broad cultural privileging of the cerebral over the corporeal have shaped efforts to "elevate" expressive forms such as jazz to elite status"--

The first biography of Canada's most enigmatic literary figure, a self-described "great practitioner of deceit."