A frenetic account of Britney Spears’s historic rise and equally tragic fall, from Jeff Weiss, LA's Hunter S. Thompson.America, 2003: A country at war, its shiny veneer beginning to crack. Von Dutch and The Simple Life dominate. And on the cover of every magazine, a twenty-one-year-old pop star named Britney Spears. Tracking her every move for a third-tier gossip rag in Los Angeles is a young writer who for all practical purposes let's call Jeff Weiss, who took whatever job he could to pursue his dream of being a “serious” writer. He'd instead become a firsthand witness to the slow tragedy of a changing nation, represented in spirit by “the coy it-girl at the end of history.”Years later, after finally making it as a celebrated cultural critic, Weiss presents Waiting for Britney Spears, a gonzo, nostalgic, and mostly true recounting of Britney's rise and fall during his years in the tabloid underbelly of Los Angeles. Weiss follows America’s sweetheart through Vegas superclubs and Malibu car chases, annulled marriages and soul-crushing legal battles, all the way to Britney’s infamous 2007 VMA performance. As Weiss lives through the years leading to Britney’s conservatorship, he observes, with peerless style, cringe-inducing fashion waves, a destructive culture of celebrity surveillance, and a country whose decline is embodied by the devastating downturn of its former golden child.With the narrative flair that established him as a singular chronicler of modern pop culture, Weiss goes for broke in Waiting for Britney Spears, a roaring Künstlerroman of celebrity, obsession, morality, and the last great pop star.

"Tramps Like Us charts an incredible moment in the 20th century, the 70s and 80s, when the young roamed around America like wild dogs, randomly having sex and taking drugs, concerned about clothes and music and maybe enjoying the landscape. From 'here' it seems fantastic. So much of that land is gone, yet this writer speaks like a sweet and unworldly citizen of a place you'd like to know. Sometimes it's just plain youth. As told by Joe." ?Eileen Myles, author of a "Working Life"A treasured cult classic following a young gay man crisscrossing 1970s and ’80s America in search of salvation. Now reissued with an introduction from Eileen Myles and an afterword from the author. Abused by his father and stifled by closeted life as a teenager in Kansas City, Joe, the wide-eyed narrator of Tramps Like Us, graduates from high school in 1974 and hits the road hitchhiking. But it isn’t until he reunites with Ali, his hometown’s other queer outcast, that Joe finds a partner in crime. When the two of them finally wash up in New Orleans, they discover a hedonistic paradise of sex, drugs, and music, a world that only expands when they move to San Francisco in 1979.Told with openhearted frankness, Joe Westmoreland’s Tramps Like Us is an exuberantly soulful adventure of self-discovery and belonging, set across a consequential American decade. In New Orleans and San Francisco, and on the roads in between, Joe and Ali find communities of misfits to call their own. The days and nights blur, a blend of LSD and heroin, new wave and disco, orgies and friends, and the thrilling spontaneity of youth—all of which is threatened the moment Joe, Ali, and seemingly everyone around them are diagnosed with HIV. But miraculously, the stories survive. As Eileen Myles writes, “I love this book most of all because it is so mortal.”Back in print after two decades and with an introduction by Myles and an afterword by the author, Tramps Like Us is an ode to a nearly lost generation, an autofictional chronicle of America between gay liberation and the AIDS crisis, and an evergreen testament to the force of friendship.

The Bronx born activist and poet Roya Marsh returns with a riveting exploration of Black joy, collective action, and healing. what will come of what you leave behind?do youremember that timeyou survived?The poems in Roya Marsh’s second collection, savings time, wear their raw feeling and revolutionary forcefulness on their sleeves. Alternating between confrontation and celebration, Marsh trains her unsparing eye on the twinned subjects of Black rage and Black healing with practiced, musical intention.In poems flitting between breathless prose and measured lyricism, Marsh contemplates the contradictions and challenges of Black life in America, tackling everything from police brutality and urban gentrification to queer identity, presidential elections, and pop culture, all while calling for a world where self-care, especially for Black women, is not just encouraged but mandated. “no one told the Black girl,” she writes, “‘see you later’ was a prayer / begging us survive our own erasure.”As unforgettable on the page as when recited in Marsh’s legendary spoken-word performances, the poems in savings time are focused on both revolution and self-love, at once holding society accountable for its exploitation of Black life and honoring the joy of persisting nonetheless.

A frenetic account of Britney Spears’s historic rise and equally tragic fall, from Jeff Weiss, LA's Hunter S. Thompson.America, 2003: A country at war, its shiny veneer beginning to crack. Von Dutch and The Simple Life dominate. And on the cover of every magazine, a twenty-one-year-old pop star named Britney Spears. Tracking her every move for a third-tier gossip rag in Los Angeles is a young writer who for all practical purposes let's call Jeff Weiss, who took whatever job he could to pursue his dream of being a “serious” writer. He'd instead become a firsthand witness to the slow tragedy of a changing nation, represented in spirit by “the coy it-girl at the end of history.”Years later, after finally making it as a celebrated cultural critic, Weiss presents Waiting for Britney Spears, a gonzo, nostalgic, and mostly true recounting of Britney's rise and fall during his years in the tabloid underbelly of Los Angeles. Weiss follows America’s sweetheart through Vegas superclubs and Malibu car chases, annulled marriages and soul-crushing legal battles, all the way to Britney’s infamous 2007 VMA performance. As Weiss lives through the years leading to Britney’s conservatorship, he observes, with peerless style, cringe-inducing fashion waves, a destructive culture of celebrity surveillance, and a country whose decline is embodied by the devastating downturn of its former golden child.With the narrative flair that established him as a singular chronicler of modern pop culture, Weiss goes for broke in Waiting for Britney Spears, a roaring Künstlerroman of celebrity, obsession, morality, and the last great pop star.

"Tramps Like Us charts an incredible moment in the 20th century, the 70s and 80s, when the young roamed around America like wild dogs, randomly having sex and taking drugs, concerned about clothes and music and maybe enjoying the landscape. From 'here' it seems fantastic. So much of that land is gone, yet this writer speaks like a sweet and unworldly citizen of a place you'd like to know. Sometimes it's just plain youth. As told by Joe." ?Eileen Myles, author of a "Working Life"A treasured cult classic following a young gay man crisscrossing 1970s and ’80s America in search of salvation. Now reissued with an introduction from Eileen Myles and an afterword from the author. Abused by his father and stifled by closeted life as a teenager in Kansas City, Joe, the wide-eyed narrator of Tramps Like Us, graduates from high school in 1974 and hits the road hitchhiking. But it isn’t until he reunites with Ali, his hometown’s other queer outcast, that Joe finds a partner in crime. When the two of them finally wash up in New Orleans, they discover a hedonistic paradise of sex, drugs, and music, a world that only expands when they move to San Francisco in 1979.Told with openhearted frankness, Joe Westmoreland’s Tramps Like Us is an exuberantly soulful adventure of self-discovery and belonging, set across a consequential American decade. In New Orleans and San Francisco, and on the roads in between, Joe and Ali find communities of misfits to call their own. The days and nights blur, a blend of LSD and heroin, new wave and disco, orgies and friends, and the thrilling spontaneity of youth—all of which is threatened the moment Joe, Ali, and seemingly everyone around them are diagnosed with HIV. But miraculously, the stories survive. As Eileen Myles writes, “I love this book most of all because it is so mortal.”Back in print after two decades and with an introduction by Myles and an afterword by the author, Tramps Like Us is an ode to a nearly lost generation, an autofictional chronicle of America between gay liberation and the AIDS crisis, and an evergreen testament to the force of friendship.

The Bronx born activist and poet Roya Marsh returns with a riveting exploration of Black joy, collective action, and healing. what will come of what you leave behind?do youremember that timeyou survived?The poems in Roya Marsh’s second collection, savings time, wear their raw feeling and revolutionary forcefulness on their sleeves. Alternating between confrontation and celebration, Marsh trains her unsparing eye on the twinned subjects of Black rage and Black healing with practiced, musical intention.In poems flitting between breathless prose and measured lyricism, Marsh contemplates the contradictions and challenges of Black life in America, tackling everything from police brutality and urban gentrification to queer identity, presidential elections, and pop culture, all while calling for a world where self-care, especially for Black women, is not just encouraged but mandated. “no one told the Black girl,” she writes, “‘see you later’ was a prayer / begging us survive our own erasure.”As unforgettable on the page as when recited in Marsh’s legendary spoken-word performances, the poems in savings time are focused on both revolution and self-love, at once holding society accountable for its exploitation of Black life and honoring the joy of persisting nonetheless.