“Best,” from the Old English betest (adjective), betost, betst (adverb), of Germanic origin; related to Dutch and German best, also “to better.”*
*To better your end-of-the-year book perusing considerations, here’s a list of our titles we were geeked to see on many of the year’s Best of 2014 lists, from non-fiction inner-city ethnographies to the taxonomies of beetle sheaths:
John Drury’s Music at Midnight was named one of the ten best nonfiction books of 2014 by the Wall Street Journal.
Alice Goffman’s On the Run was named one of the 100 Notable Books of 2014 by the New York Times Book Review, one of only two university press books on the list, and one of the 30 best nonfiction books of 2014 by Publishers Weekly.
Rachel Sussman’s Oldest Living Things in the World was named one of the 100 best books of 2014 by Amazon, was one of three Chicago books on the Wall Street Journal’s six-book list of the Best Nature Gift Books of 2014, and topped Maria Popova’s list of the year’s best art, design, and photo books at Brainpickings.
Mark E. Hauber’s The Book of Eggs was one of three Chicago books on the Wall Street Journal’s six-book list of the Best . . .
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Irina Baronova and the Ballets Russes de Monte Carlo chronicles one of the most acclaimed touring ballet companies of the twentieth century, along with its prima ballerina and muse, the incomparable Irina Baronova. Along the way, it expands upon the rise of modern ballet as a medium, through an unprecedented archive of letters (over 2,000 of them), photographs, oral histories, and interviews conducted by Victoria Tennant, the book’s author and Baronova’s daughter. Earlier this month, the book was feted at a launch by none other than Mikhail Baryshnikov at his eponymous Arts Center in New York City. Although less sumptuous than those collected in the book, below follow some candid photos from the event:
To read more about Irina Baronova and the Ballets Russes de Monte Carlo, click here.
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It’s unconventional, to say the least, for a university press to publish a cookbook. But an exception to this rule, coming in Spring 2015, is Paul Fehribach’s Big Jones Cookbook, which expands upon the southern Lowcountry cuisine of the eponymous Chicago restaurant. As mentioned in the book’s catalog copy, “from its inception, Big Jones has focused on cooking with local and sustainably grown heirloom crops and heritage livestock, reinvigorating southern cooking through meticulous technique and the unique perspective of its Midwest location.” More expansively, Fehribach’s restaurant positions the social and cultural inheritances involved in regional cooking at the forefront, while the cookbook expands upon the associated recipes by situating their ingredients (and the culinary alchemy involved in their joining!) as part of a rich tradition invigorated by a kind of heirloom sociology, as well as a sustainable farm-to-table tradition.
This past week, as part of the University of Chicago Press’s Spring 2015 sales conference, much of the Book Division took to a celebratory meal at Big Jones, and the photos below, by editorial director Alan Thomas, both show Fehribach in his element, as well as commemorate the occasion:
To read more about The Big Jones Cookbook, forthcoming in Spring 2015, . . .
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To follow-up on yesterday’s post, here’s an excerpt from Eric Weisbard’s Top 40 Democracy: The Rival Mainstreams of American Music.
“The Logic of Formats”
Nearly every history of Top 40 launches from an anecdote about how radio station manager Todd Storz came up with the idea sometime between World War II and the early 1950s, watching with friends in a bar in Omaha as customers repeatedly punched up the same few songs on the jukebox. A waitress, after hearing the tunes for hours, paid for more listens, though she was unable to explain herself. “When they asked why, she replied, simply: ‘I like ’em.’ ” As Storz said on another occasion, “Why this should be, I don’t know. But I saw waitresses do this time after time.” He resolved to program a radio station following the same principles: the hits and nothing but the hits.
Storz’s aha moment has much to tell about Top 40’s complicated relationship to musical diversity. He might be seen as an entrepreneur with his ear to the ground, like the 1920s furniture salesman who insisted hillbilly music be recorded or the 1970s . . .
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