No one gets today's Washington like Ben Terris…THE BIG BREAK is the definitive accounting of ‘how it works’ in this ongoing post-Trump (pre-Trump?) maelstrom. I just imbibed this book." ―Mark Leibovich, author of This Town In this fascinating investigation into the real life inner workings of a post-Trump American government, uncover the odd and eccentric personalities grappling for their own bit of power in D.C. The Big Break investigates how Washington works, and how different kinds of people try to make it work for them. Ben Terris presents an inside history of this crucial moment in Washington, reporting from exclusive parties, poker nights, fundraisers, secluded farms outside town and the halls of Congress; among the oddballs and opportunists and true believers. This book is about the people who see this moment as an opportunity to bet big—on their country or maybe just on themselves. It will take a close look at Washington’s bold-faced names as they try to get their bearings on the post-Trump (and possibly pre-Trump) landscape. And it will introduce readers to the behind-the-scenes players — MAGA pilgrims and Resistance flamekeepers and shapeshifting veterans — who believe they know what Washington, and America, must do if they’re going to survive, or even thrive. Trump’s arrival in Washington represented a big break in how the city operated. He surrounded himself with outsiders; power structures reorganized around those who knew him or his family and those who could flatter and influence his base. He changed the way the game was played, only it wasn’t actually a game at all. When pro-Trump elements both inside and outside of government plotted to overturn his loss in the 2020 presidential election, the Capitol became a combat zone, then a military fortress. It was, to put it lightly, a destabilizing time. But how much did the Trump years really change Washington? Has Joe Biden’s presidency heralded a return to normal, as many had hoped? What did ‘normal’ mean before Trump, and what do people think it means now? The Big Break will follow a cast of D.C. characters in search of answers to these questions. They are a diverse crew—a pollster with a gambling habit, an oil heiress with a big heart, a cowboy lobbyist, a Republican kingmaker who decided to love Trump and his right-hand man who decided he couldn’t any longer. They all share at least one thing in common: They had seen their country go through a Big Break, and they’d come to get theirs.
Introducing Christian Ethics 2e, now thoroughly revised and updated, offers an unparalleled introduction to the study of Christian Ethics, mapping and exploring all the major ethical approaches, and offering thoughtful insights into the complex moral challenges facing people today. This highly successful text has been thoughtfully updated, based on considerable feedback, to include increased material on Catholic perspectives, further case studies and the augmented use of introductions and summaries Uniquely redefines the field of Christian ethics along three strands: universal (ethics for anyone), subversive (ethics for the excluded), and ecclesial (ethics for the church) Encompasses Christian ethics in its entirety, offering students a substantial overview by re-mapping the field and exploring the differences in various ethical approaches Provides a successful balance between description, analysis, and critique Structured so that it can be used alongside a companion volume, Christian Ethics: An Introductory Reader, which further illustrates and amplifies the diversity of material and arguments explored here
The American Musical is a comprehensive history of an American art form. It delivers a detailed and definitive portrait of the American musical’s artistic evolution over the course of seven distinct, newly defined eras, with a unique perspective gleaned from research at more than twenty different archives across the United States. Individual in both its approach and coverage, The American Musical traces the form’s creative journey from its 19th century beginnings, through its 20th century maturation, and to the turn of the 21st century, shedding new light on a myriad of authors, directors, and craftspeople who worked on Broadway and beyond. This book actively addresses the form’s often overlooked female and African-American artists, provides an in-depth accounting of such outside influences as minstrelsy, vaudeville, nightclubs, and burlesque, and explores the dynamic relationship between the form and the consciousness of its country. The American Musical is a fascinating and insightful read for students, artists, and afficionados of the American musical, and anyone with an interest in this singular form of entertainment.
Franz Liszt is most well-known for his compositions for piano and orchestra, but his influence is also strong in chamber music, choral music, and orchestral transcriptions. This new collection of essays presents a scholarly overview of all of the composer's work, providing the most comprehensive and current treatment of both his oeuvre and the immense amount of secondary literature written about it. Highly regarded critics and scholars write for both a general and academic audience, covering all of Liszt's major compositions as well as the neglected gems found among his choral and chamber works. Following an outline of the subject's life, The Liszt Companion goes on to detail Liszt's critical reception in the German press, his writings and letters, his piano and orchestral works, his neglected secular choral works, and his major organ compositions. Also explored here are his little-known chamber pieces and his songs. An exhaustive bibliography and index of works conclude the volume. This work will both elucidate aspects of Liszt's most famous work and revive interest in those pieces that deserve and require greater attention.
A persuasive case for building career success through broad education, targeted skills, and social capital Young people coming out of high school today can expect to hold many jobs over the course of their lives, which is why they need a range of essential skills. The Career Arts provides a corrective to the widespread and misleading notion that there is a direct trade-off between going to college and acquiring practical job skills. Ben Wildavsky cuts through the noise and anxiety surrounding this issue to offer sensible, clear-eyed guidance for anyone who is making decisions about education and career preparation with a view to getting ahead in the workforce. Drawing on evidence-based research, illuminating case studies, and in-depth interviews, Wildavsky shares the most vital lessons of what he calls the career arts, which include cultivating a mix of broad and targeted skills, taking advantage of employer-funded education benefits, and preparing for the world as it is, not as you wish it could be. He explains why college remains the gold standard of credentials, and presents the most promising high-quality supplements and alternatives to college that can help learners combine general and job-specific skills. He shows how building social capital is also critical to success, particularly for disadvantaged students. An invaluable guidebook for students, parents, counselors, and educators, The Career Arts reveals why college education and job preparation are not either-or propositions and identifies the blend of education and networking needed to support real-world career aspirations.
Shakespearers"s nearest rival created in Volpone and The Alchemist hilarious portraits of cupidity and chicanery, while in Bartholomew Fair he portrays his fellow Londoners at their most festive-and most bawdy.
Early modern London - too foggy and Protestant to have a carnival - offered its inhabitants commercial events during which to indulge their need for bodily delights and festival exuberance. The fair of St Bartholmew, held anually in Smithfield on 24 August, served Jonson as an opportunity to dissect a wide cross-section of Londoners and their various reasons for spending a day out among the booths, stalls, smells and noises of the fair. Unusually magnanimous for a Jonsonian city comedy, the main thrust of the satire is not against fools, madmen, fortune-hunters, cuckolds or prostitutes, but against hypocrisy and bigotry. This edition shows that the play can be read as a comprehensive refutation of puritanism and the London magistracy, both of whom were attacking the theatre (and the festive culture of which it was still part) as idolatrous, seditious and disorderly.
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