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Finally! The adult coloring book you've been waiting for. Cock-full of a variety of famous characters from movies and television all inspired by and featuring everyone's favorite one-eyed snake. Get your colored peencils sharpened because it's gonna be HARD to put this one down! Includes: Cocktor Who Jurassdick Park Cocky Balboa Dong of the Dead and more! 18 detailed illustrations, Single-Sided Pages At 8.5x11
Whether you like it or not, Dick Cheney is our president. Whoops, we mean vice president. Now, just in time for hunting season, here’s an indispensable guide fully loaded with tips for surviving these tortuous Cheney years, including • 6 actions to take if you think someone is spying on you • 4 recipes for cooking quail • 4 public relations steps to take if you’ve shot someone • 9 things Halliburton is under investigation for • 6 ways to impeach a vice president • 7 things to do if your children exhibit Cheney-like behavior (other than send them hunting with the vice president) • 9 ways to profit financially from Cheney So take heart that we’re in the last throes, if you will, of the Cheney reign. Remember, the best kind of leader by far is a lame duck!
With her superb coloratura soprano, passion for the world of opera, and down-to-earth personality, Beverly Sills made high art accessible to millions from the time of her meteoric rise to stardom in 1966 until her death in 2007. An unlikely pop culture phenomenon, Sills was equally at ease on talk shows, on the stage, and in the role of arts advocate and administrator. Merging archival research with her own love of Sills's music, Nancy Guy examines the singer-actress's artistry alongside the ineffable aspects of performance that earned Sills a passionate fandom. Guy mines the memories of colleagues, critics, and aficionados to recover something of the spell Sills wove for people on both sides of the footlights during the hot moments of onstage performance. At the same time, she analyzes essential questions raised by Sills's art and celebrity. How did Sills challenge the divide between elite and mass culture and build a fan base that crossed generations and socio-economic lines? Above all, how did Sills capture the unnameable magic that joins the members of an audience to a performer--and to one-another? Intimate and revealing, The Magic of Beverly Sills explores the alchemy of art, magnetism, community, and emotion that produced an American icon.
All Dylan Mint has ever wanted is to keep his Tourette's in check and live life as a “normal” teenager. The swearing, the tics, the howling “dog” that escapes when things are at their worst-nothing about Tourette's makes it easy to meet cute girls or have normal friends (or many friends at all). But a routine hospital visit changes everything-Dylan overhears that he's going to die. In an attempt to claim the life he's always wanted, he decides to grant himself parting wishes, or “Cool Things To Do Before I Cack It”. In an intimate portrayal of life with Tourette's, Dylan's journey to come to terms with the disorder that has defined his life and his preconceptions about the world around him is hilarious, painful and, ultimately, utterly masterful.
Many remember the 1980s as the era of Ronald Reagan, a conservative decade populated by preppies and yuppies dancing to a soundtrack of electronic synth pop music. In some ways, it was the "MTV generation." However, the decade also produced some of the most creative works of punk culture, from the music of bands like the Minutemen and the Dead Kennedys to avant-garde visual arts, literature, poetry, and film. In We're Not Here to Entertain, Kevin Mattson documents what Kurt Cobain once called a "punk rock world" --the all-encompassing hardcore-indie culture that incubated his own talent. Mattson shows just how widespread the movement became--ranging across the nation, from D.C. through Ohio and Minnesota to LA--and how democratic it was due to its commitment to Do-It-Yourself (DIY) tactics. Throughout, Mattson puts the movement into a wider context, locating it in a culture war that pitted a blossoming punk scene against the new president. Reagan's talk about end days and nuclear warfare generated panic; his tax cuts for the rich and simultaneous slashing of school lunch program funding made punks, who saw themselves as underdogs, seethe at his meanness. The anger went deep, since punks saw Reagan as the country's entertainer-in-chief; his career, from radio to Hollywood and television, synched to the very world punks rejected. Through deep archival research, Mattson reignites the heated debates that punk's opposition generated in that era-about everything from "straight edge" ethics to anarchism to the art of dissent. By reconstructing the world of punk, Mattson demonstrates that it was more than just a style of purple hair and torn jeans. In so doing, he reminds readers of punk's importance and its challenge to simplistic assumptions about the 1980s as a one-dimensional, conservative epoch.
Love once inspired sonnets, plays, novels, and countless romantic songs. But romance can become obsession, and nowadays, love songs are creepier than ever. Even the Police's stalker anthem "Every Breath You Take" is a popular choice at weddings and funerals. In Touch Me, I'm Sick, Tom Reynolds offers hilarious riffs on 52 love songs that have gone off the rails into the realm of the tawdry, the overwhelming, the obsessive, the self-absorbed, and the completely weird. Including songs by artists as diverse as Melissa Etheridge, Michael Jackson, Paul Anka, Sinéad O'Connor, and Slipknot, he also pillories a handful of the 1,700 different songs called "Butterfly." Praise for Tom Reynolds' I Hate Myself and Want to Die: "A tremendous idea . . . Reynolds ameliorates the pain of having put his ear up close to some of the most inconsiderate despair anthems of our time by having enormous fun deconstructing them." --The Sunday Times "Full of premium trivia and pinpoint pomposity-pricking, Reynolds has made comedy gold from the full base metal of misery." --NME "An entertaining and well-researched set of cautionary tales music fans will enjoy. Consider the list a batch of enthralling liner notes for a box set that comes with razor blades." --Playboy "Bridget Jones would love it." --The Scotsman
Live Flesh by Santiago Fouz-Hernández,Alfredo Martinez-Exposito Pdf
In post-Franco Spain, a re-shaping of notions of the masculine has been under way for some time. The authors of "Live Flesh" demonstrate how contemporary Spanish films, during this modern period, have contributed to this process. They do so by visualizing the ways in which Spanish men have been abandoning old self images and adopting new ones, and they explain and explore the complexity and diversity of these fresh cinematic creations of masculine identities. The book's point of focus is Spanish films of the democratic period, both popular and auteur, made by directors of national and international prominence, such as Pedro Almodovar, Alejandro Amenabar, Bigas Luna or Julio Medem, as well as films featuring acclaimed actors who have contributed to the construction of contemporary ideas of the masculine in their country, including Antonio Banderas and Javier Bardem. Using a fresh theoretical framework, embracing queer and feminist theory and concepts of nation, race and class, each chapter examines key films that represent the male body, highlighting notable elements - young, muscular, homosexual, (dis)abled, foreign and so on - and goes on to focus on recent case studies from the early 1990s to the present. An increasingly transnational Spanish cinema is a most promising field in which to explore questions of how male bodies are represented - and mediated - in film. "Live Flesh" more than fulfils this promise and goes further, to reveal how these representations have intervened in the Spanish cultural imagination.
