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Discover how to diagnose the mentally ill. Identify the alarming statistics and origins. Through an examination of various case studies of specific individuals, this manual aids in recognizing many forms of mental infirmities, including: pathological egotists narcissism the "God" complex sociopaths delusions of grandeur megalomania sadism hallucinations paranoia sycophants manic disorders Schizophrenia Through the auspices of the American Psychopathic Association this path-breaking volume of the Diagnostic and Statistical Manual of Mental Disease will help researchers understand the epidemic of psychiatric disorders from the past all the way up to the present.
A self-help manual specifically targeted for men.
Reid (history, U. of NC Chapel Hill) emphasizes the human story of sewers--politics, sanitation, labor. The engineering of Parisian sewers occupies some 85 pages (lacking a single map). Good book. Annotation copyrighted by Book News, Inc., Portland, OR
Teaching children to make the right choice. Educate them to not choose to go to jail.
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A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. How Hip Hop Became Hit Pop examines the programming practices at commercial radio stations in the 1980s and early 1990s to uncover how the radio industry facilitated hip hop's introduction into the musical mainstream. Constructed primarily by the Top 40 radio format, the musical mainstream featured mostly white artists for mostly white audiences. With the introduction of hip hop to these programs, the radio industry was fundamentally altered, as stations struggled to incorporate the genre's diverse audience. At the same time, as artists negotiated expanding audiences and industry pressure to make songs fit within the confines of radio formats, the sound of hip hop changed. Drawing from archival research, Amy Coddington shows how the racial structuring of the radio industry influenced the way hip hop was sold to the American public, and how the genre's growing popularity transformed ideas about who constitutes the mainstream. The author gratefully acknowledges the AMS 75 PAYS Fund of the American Musicological Society, supported in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.
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