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Mascot Madness! When Raven wins two all-access tickets to the Boyz Motion concert, she and Chelsea plan to sing their out from the front row. That is, until Eddie steals a rival school's mascot Gomez the goat. Kindhearted Chelsea tries to convince Eddie that Gomez deserves a life as a farm animal instead of as a mascot, and Raven is stuck holding the leash while her friends argue. But when Raven finds Gomez chewing on her concert tickets, she must quickly decide where her loyalties lie. Will Raven ditch her friends in their hour of need so she can go to the concert? And will Chelsea make a stand to save the goat?
As a child, Ray Charles learned not to give up when times were tough. In this inspiring narrative, young readers will learn how this groundbreaking musician overcame blindness in childhood to ascend the top ranks of American music in an era of deep racial segregation.
In this study, Titchkosky analyzes the depiction of disabled people in the mass media. Through an examination of everyday texts such as news stories and government surveys, she uncovers and critiques a Western cultural assumption that sees disability as a clear-cut "problem" in need of a solution. Titchkosky (disability studies, U. of Toronto) is also the author of Disability, Self, and Society (2003). Annotation ©2007 Book News, Inc., Portland, OR (booknews.com)
Can a song change a nation? In 1964, Marvin Gaye, record producer William "Mickey" Stevenson, and Motown songwriter Ivy Jo Hunter wrote "Dancing in the Street. " The song was recorded at Motown's Hitsville USA Studio by Martha and the Vandellas, with lead singer Martha Reeves arranging her own vocals. Released on July 31, the song was supposed to be an upbeat dance recording--a precursor to disco, and a song about the joyousness of dance. But events overtook it, and the song became one of the icons of American pop culture. The Beatles had landed in the U. S. in early 1964. By the summer, the sixties were in full swing. The summer of 1964 was the Mississippi Freedom Summer, the Berkeley Free Speech Movement, the beginning of the Vietnam War, the passage of the Civil Rights Act, and the lead-up to a dramatic election. As the country grew more radicalized in those few months, "Dancing in the Street" gained currency as an activist anthem. The song took on new meanings, multiple meanings, for many different groups that were all changing as the country changed. Told by the writer who is legendary for finding the big story in unlikely places,Ready for a Brand New Beatchronicles that extraordinary summer of 1964 and showcases the momentous role that a simple song about dancing played in history.
Ronald Reagan was one of the most powerful and popular American presidents. The key to understanding his political success and the remarkable likability and effortless charisma that made it possible is hidden in his early years as a Hollywood movie star. Other biographers and Reagan in his two memoirs have skimmed over the thirty years he spent as an actor, union activist, and ladies' man. Now, for the first time, in this highly entertaining and provocative new work, acclaimed film critic and historian Marc Eliot reveals the truth of those formative years and presents a far different and infinitely more detailed portrait of Reagan than ever before. Based on original research and never-before-published interviews, documents, and other materials, Eliot sheds new light on Reagan's film and television work opposite some of the most talented women of the time, including Bette Davis, Ann Sheridan, and Ginger Rogers; his starlet-strewn bachelor days when his name was linked with Lana Turner and Susan Hayward; his first, rocky marriage to actress Jane Wyman and his career-making second marriage to Nancy Davis; his controversial eight years as the president of the Screen Actors Guild; his friendships with Jimmy Stewart and William Holden; his place in the "Irish Mafia" alongside Pat O'Brien, Spencer Tracy, Humphrey Bogart, James Cagney, and Errol Flynn; and the crucial role of super-agent Lew Wasserman, who was instrumental in developing the persona that would prove essential to Reagan's future as a world leader. Set against the glamorous and often combative background of Hollywood's celebrated Golden Age, Eliot's biography provides an exceptionally nuanced examination of the man and uncovers the startling origins of the legend. From the Hardcover edition.
"Loud, raucous, infantile, racy, and very funny...The book is full of likable eccentrics, sexual shenanigans, and--if you know where to look for them--valuable life lessons."--Booklist Animal House, the movie, didn't tell the half of it. Writing with a freshness and joy that make Dartmouth 1960 feel like a beer-soaked rock-and-roll heaven on earth, Chris Miller tells the real story of the Alpha Delta Phi fraternity as no one else could. Seal, Doberman, Otter, the legendary Moses (he of the burning bush) - these titans and dozens of others come alive again, terrorizing the administration, taunting cops, surviving their own lunacy, and challenging the squareness of a stifling time. The Real Animal House is the perfect antidote for a conventional age much like today. "A breezy, chuckle-worthy read, and a must for the Animal House fan." -Courier-Post "Action-packed. . . . A boozy holler of a book, with a great soundtrack." -Kirkus Reviews "A seriously funny read. . . . The joy and exuberance that Pinto and his pals demonstrate holds a lesson for every generation that needs to learn not to blindly follow the expectations of parents and guidance counselors, but to seek out those blissful bands of merry misfits that appear from time to time." -Review
Bravo's The Real Housewives franchise has taken the country by storm with over 13 million fans and record-breaking new seasons. The Real Housewives Tell It Like It Is captures the best, most outlandish quotes from the ladies of the O.C., New York, Atlanta, New Jersey, D.C., Beverly Hills, and Miami in one deluxe volume so fans can refer to their unique brand of wisdom again and again. Organized by topic and brimming with color photographs, The Real Housewives Tell It Like It Is is a must-have for fans everywhere!
Media critic Pozner deconstructs reality TV's twisted fairy tales to demonstrate that far from being simple "guilty pleasures," these programs are actually guilty of fomenting gender-war ideology and significantly affecting the intellectual and political development of this generation's young viewers.
When Lilly decides to record a song with her less than stellar singing voice as a gift for her mom, Miley secretly pitches in and lends her vocals to the recording. But then Lilly challenges awful Amber to a singing competition! Can Miley rescue her friend from major embarrassment? Plus, when Miley can't bring herself to admit to her dad that she doesn't like a song he's written for Hannah, she begins sleepwalking--leaving quite a mess behind!
Dan Rather, Tom Brokaw, Peter Jennings: They were on a first-name basis with the country for a generation, leading viewers through moments of triumph and tragedy. But now that a new generation has succeeded them, the once-glittering job of network anchor seems unmistakably tarnished. In an age of instantaneous Internet news, cable echo chambers and iPod downloads, who really needs the evening news? And, by extension, who needs Katie Couric, Brian Williams, and Charlie Gibson?
Dan Rather, Tom Brokaw, Peter Jennings: They were on a first-name basis with the country for a generation, leading viewers through moments of triumph and tragedy. But now that a new generation has succeeded them, the once-glittering job of network anchor seems unmistakably tarnished. In an age of instantaneous Internet news, cable echo chambers and iPod downloads, who really needs the evening news? And, by extension, who needs Katie Couric, Brian Williams, and Charlie Gibson? But the anchors still have a megaphone capable of cutting through the media static. Their coverage of Iraq helped turn the country against that bloody war, and they are now playing a leading role in chronicling the collapse of George Bush's presidency and the 2008 race to succeed him. Yet, even as the anchors fight for ratings supremacy, the mega-corporations they work for have handed them a bigger challenge: saving an American institution. In this freewheeling, intimate account of life atop the media pyramid, award-winning bestselling author Howard Kurtz takes us inside the newsrooms and executive suites of CBS, NBC, and ABC, capturing the deadline judgments, image-making, jealousies, and gossip of this high-pressure business. Whether it is Couric trying to regain her morning magic while coping with tabloid stories about her boyfriends, Williams reporting from New Orleans and Baghdad while worrying about his ailing father, or Gibson weighing whether to follow his wife into retirement while grappling with having to report the explicit details of sex scandals, Kurtz brings to life the daily battles that define their lives. The narrative reflects an extraordinary degree of access to such corporate chieftains as Jeff Zucker and Les Moonves, star correspondents, and the anchors themselves. Their goal: create an on-screen persona that people will tune in to and trust. Yet they are faced with a graying, shrinking audience as younger viewers flock to Jon Stewart, whose influence on the real newscasts is palpable. Here is the untold story of what these journalistic celebrities think of their bosses, cable competitors, bloggers, and each other.
By the Hollywood correspondent for The New York Times, Rebels on the Backlot is a revealing and page-turning account of the new generation of film directors who are changing the face of today's Hollywood. Very much as the 1970s gave rise to a defining group of filmmakers such as Martin Scorsese and Francis Ford Coppola, the 1990s witnessed a new generation who captured the imaginations of audiences and opened the purse strings of the Hollywood film machine. Rebels on the Backlot follows six top-level film directors from the origins of their careers through the making and release of their signature films. They are: Quentin Tarantino (Pulp Fiction), Paul Thomas Anderson (Boogie Nights), David Fincher (Fight Club), Steven Soderbergh (Traffic), Spike Jonze (Being John Malkovich) and David O. Russell (Three Kings). The book uses the development, writing, shooting, editing and release of each director's major film to explore the lives and struggles each of them faced. It will dip in and out of each filming experience, drawing in the stories of other figures along the way, creating a chronological portrait of contemporary Hollywood and the rebel generation of the 1990s. This is also a story of an emerging community of talented artists -- directors, writers, actors of young Hollywood -- who supported each other, burn with envy at one another's success, swap girlfriends and boyfriends and ultimately spur each other to greater accomplishments.
It is true, as you may have heard, that a comedian's jokes are like his children. You conceive them (not nearly as much fun as with real kids), nurture them, and eventually let them go. Like real children, some are cute, some are bad, and once in a while one exceeds every expectation you ever had for it. That was the case with my "Redneck" jokes. Appropriately conceived in a cheap motel in Huntsville, Alabama, they quickly grew into more than a comedy bit or even a best-selling book. They became a part of my life. People stop me in airports or on streets and say, "Hey, you're the Redneck guy! And I'm one of 'em!" Excerpts from the first book, YOU MIGHT BE A REDNECK IF..., have been copied, modified, and faxed from workplace to workplace. The material has been "borrowed" by newspapers, wire services, and radio stations nationwide. I feared we had beaten the subject to death, but not a day goes by that someone doesn't offer me a new example of "redneckism." I have received photos of front-yard flower pots made out of old toilets, and newspaper clippings of grooms wearing Harley-Davidson tee-shirts. With the help of my wife and friends, I add several to the list almost daily. I have collected numerous Redneck lines from radio audiences and even from my live show audiences. I must admit that I am very proud of my "Redneck child." I am even happier that others love it as I do. So for all those people, here is a second helping. Though conventional wisdom says you can't believe everything you read, in this case I assure you that you can. Red ain't dead. - Jeff Foxworthy
Be ready the next time the spotlight is on you! She's interviewed "glamazons," watched stars shine (Sharon Stone in a Gap T-shirt at the Oscars) and bomb (Jennifer Aniston in dreadlocks, Cher in an Egyptian headdress), and witnessed many a celebrity rise to the top only to come crashing down a mere year later. And she's both reveled in kudos and despaired over criticism of herself. As the daughter of Joan Rivers and with years of face time with the Hollywood elite, Melissa has learned far more than your average person about what it takes to be a star-not just on the red carpet, but in life. For the first time, she shares the lessons she's learned along the way and teaches you how to embrace your big moments, be it a graduation, a first date, a job interview, a prom, or a wedding. Pulling from inspirational and humorous tales from her probing chats with red-carpet royalty and episodes in her own life, she lays out nine essential rules to seize momentous times with graciousness, fun, preparedness, confidence-and, of course, drop-dead gorgeous style that flatters you. (Hint: It's not always the top designer brand that'll scream stardom.) The walk down the red carpet, as Rivers so colorfully relates, can teach us all some basic but essential lessons in fashion and in life. With miles of red carpet under her belt, Melissa Rivers has seen it all, from the biggest oops! moments to those unforgettable times when a star truly did shine. She knows exactly what it takes to be a star-both on the red carpet and in life. Based on her insider knowledge and her personal experience under Hollywood's glare, Melissa shares tips and techniques for embracing your momentous times and being at your best when the focus is on you, including: * The simple trick to being the hit of every party * How to escape from a date that's become a train wreck * The celebrity secret to looking radiant, rain or shine * A success strate gy that beats pure talent every time * The one rule about people even the superstars are afraid to break * How to apologize or run into your ex and keep your cool.
Revealing himself to be a consummate storyteller, stage and screen star Everett ("My Best Friend's Wedding") pens a delightfully witty memoir in which he reveals his life experiences as an up-and-coming actor, detailing everything from the eccentricities of the British upper class to the madness of Hollywood.
Sammy Hagar--legendary lead singer of Van Halen, founder of the Cabo Wabo Tequila brand, and one of rock music's most notoriously successful performers--tells his unforgettable story in this one-of-a-kind autobiography of a life at the top of the charts. From his decade-long journey alongside Eddie Van Halen to his raucous solo career with Chicken foot and everything in between--the drugs, groupies, and excesses of fame, the outrageous stadium tours, and the thrill of musical innovation--Hagar reveals all in this treasure trove of rock-and-roll war stories. Red is a life-changing look at one of music's biggest talents--an essential read for music fans and anyone dreaming of becoming rock's next number one star.
Until now, Hollywood's political history has been dominated by a steady stream of films and memoirs decrying the "nightmare" of the Red Scare and how it victimized political innocents. But in Red Star over Hollywood, Ronald and Allis Radosh tell for the first time the "backstory" behind this myth. The authors show how the Soviet Comintern decided to make the film capital a prime target in the late 1920s. They follow the lives of Budd Schulberg, Ring Lardner Jr., Maurice Rapf and other young radicals who journeyed to the USSR in the early 1930s, underwent a political conversion experience there, and came back to Hollywood as apostles preaching a Soviet gospel. They take us inside the cells and discussion groups that Communist Party members formed, the guilds and unions they tried to take over, and the studios they aimed to influence. The Radoshes not only prove that the members of the Hollywood Party were loyal first and foremost to Joseph Stalin, but demonstrate that in fact many of the screenwriters who later became part of the Hollywood Ten succeeded in using film as a propaganda medium in behalf of the Soviet cause. One of their most significant accomplishments was the wartime blockbuster Mission to Moscow, whose inside story the authors document in fascinating detail. The Radoshes are at their best when writing about the blacklist era. They take us inside the strategy sessions of the Hollywood Communists as they prepared to testify in front of the House Committee on Un-American Activities, revealing that while others were lionizing them as blameless victims of American nativism and paranoia, the Hollywood Reds themselves were beset by doubts and disagreements about their disloyalty to America and their treatment by the Communist Party. Creating memorable portraits of Dalton Trumbo, Elia Kazan and John Garfield, the authors also trace the afterlives of those touched by HUAC and the blacklist, and document their continuing argument with America and each other through the next half-century. Red Star over Hollywood is an epic work about one of the most discussed but least understood episodes in our political life. Getting behind the denial and apologetics, the Radoshes tell a story whose long half-life has not ended. The men and women who agitated for Communism decades ago created a living legacy used by Jane Fonda and others who revived the Hollywood Left in the 1960s, and by figures such as Susan Sarandon, Tim Robbins and Sean Penn in the equally turbulent filmland politics of today. Ronald Radosh, adjunct Senior Fellow at the Hudson Institute, was the first writer to establish the guilt of Julius Rosenberg, in his bestselling book, The Rosenberg File. He is also the author of Commies: A Journey Through The Old Left, The New Left, and the Leftover Left. Allis Radosh is the author of Persia Campbell: Portrait of a Consumer Activist.
Secrets about love, life, and Hollywood from the Tony Award-winning actress from the Broadway production of Dreamgirls --in the role recently made famous by Beyonce--timed to coincide with the thirtieth anniversary of the original Broadway show.Sheryl Lee Ralph was the original Deena Jones in Broadway's production of Dreamgirls and the show was a Broadway sensation from its inception. Now, the star of film, television, and Broadway, known for her talent and fearlessness, shows readers how to find--and own--their inner divas. Sheryl rose to international fame after her performance in Dreamgirls, winning the Tony Award for Best Actress and going on to star in movies with Denzel Washington and Robert DeNiro and capture America's heart as television's favorite mom Die in the #1-rated series Moesha . But it wasn't an easy task. From her legendary catfight with Diana Ross to her controversial exit from Moesha, Sheryl Lee Ralph is a woman who does not fade in the background--and she reveals how and why she has remained in the spotlight for decades.Sheryl is a hip, modern Miss Manners who inspires women with her wit, strength, and call-it-like-it-is courage. Using her own experiences as a guide--and dishing the truth behind all the rumors--Sheryl reveals her rules for living. This is Divahood A-Z--from the practical to the spiritual, featuring advice on everything from relationships to fashion to success in the business world. So, the next time someone calls you a diva, you'll just smile and say "Thank you!"
Redneck Boy in the Promised Land is Ben Jones's hilarious, uplifting life story of escaping the rail yards and finding success in the unlikeliest places. As a child, Jones called a dingy railroad shack with no electricity or indoor plumbing home. An unabashed Southern redneck from a "likker drinkin', hell-raisin'" family, Jones grew up in the depressed railroad docks outside of Portsmouth, Virginia, and spent most of his days dreaming about where the tracks out of town could take him. That he would go on to become a beloved television icon on The Dukes of Hazzard and a firebrand two-term Congressman is a story that no one could have ever seen coming, least of all ol' "Cooter" himself. Written with naked honesty and wry humor, Redneck Boy in the Promised Land is one good ol' boy's remarkable tale of falling flat on his face, picking himself up, and finding his way to the American dream--while fighting for civil rights, the plight of the working class, "real" Southern culture, and the rights of rednecks everywhere.
In her provocative new book Rednecks, Queers, and Country Music, Nadine Hubbs looks at how class and gender identity play out in one of America's most culturally and politically charged forms of popular music. Skillfully weaving historical inquiry with an examination of classed cultural repertoires and close listening to country songs, Hubbs confronts the shifting and deeply entangled workings of taste, sexuality, and class politics. In Hubbs's view, the popular phrase "I'll listen to anything but country" allows middle-class Americans to declare inclusive "omnivore" musical tastes with one crucial exclusion: country, a music linked to low-status whites. Throughout Rednecks, Queers, and Country Music, Hubbs dissects this gesture, examining how provincial white working people have emerged since the 1970s as the face of American bigotry, particularly homophobia, with country music their audible emblem. Bringing together the redneck and the queer, Hubbs challenges the conventional wisdom and historical amnesia that frame white working folk as a perpetual bigot class. With a powerful combination of music criticism, cultural critique, and sociological analysis of contemporary class formation, Nadine Hubbs zeroes in on flawed assumptions about how country music models and mirrors white working-class identities. She particularly shows how dismissive, politically loaded middle-class discourses devalue country's manifestations of working-class culture, politics, and values, and render working-class acceptance of queerness invisible. Lucid, important, and thought-provoking, this book is essential reading for students and scholars of American music, gender and sexuality, class, and pop culture.
Founded in 1997 by producer Anita Lee and journalist Andrew Sun, the Toronto Reel Asian International Film Festival is a unique showcase of contemporary Asian cinema and work from the Asian diaspora. The festival fosters the exchange of cultural and artistic ideals between East and West, provides a public forum for homegrown Asian media artists and their work and fuels the growing appreciation for Asian cinema in Canada.In Reel Asian: Asian Canada on Screen, contributors, many of them filmmakers, examine East and Southeast Asian Canadian contributions to independent film and video. This collection highlights the screen as a site for the reflection, projection and reimagination of identities and communities, and explores the idea that Asian Canada is less a demographic category than it is a term of art. Distinguished film- and video-makers, artists and cultural critics address a wide array of topics, genres, regional concerns and historical contexts in provocative, original essays and one-on-one conversations. The first anthology of its kind, the volume also includes a substantial selection of images and stills, and a resources section providing detailed artist and distribution information.
A groundbreaking book that dissects a slanderous history dating from cinema's earliest days to contemporary Hollywood blockbusters that feature machine-gun wielding and bomb-blowing "evil" Arabs.
Arguing that film consistently distorts and sanitizes the past, Chadwick (history and film, Rutgers U.) details the distortions and myths purveyed by film from the KKK to the 1993 film in which actor Richard Gere plays a former slave-owner who is miraculously transformed into a populist who heroically drives off the KKK from a racially integrated community. For the bulk of film's history, myths have portrayed a myth of the underdog Southerner and demeaned African Americans, but new "politically correct," yet still sanitized, versions have begun to crop up in Hollywood productions. In the end, Chadwick seems to believe, despite changes in the treatment of the Civil war on screen, the "reel" still fails to be "real." Annotation c. Book News, Inc., Portland, OR (booknews.com)
When Mark Radcliffe was born in the late 1950s, Britain was trying to find its own version of the dangerously sexy Elvis . . . we gave the world Cliff Richard but by the time Mark was old enough to recognise pop songs on the radio, the UK was exploding into the world's most exciting place to be for a young music fan. In this, his eagerly awaited new book, Mark Radcliffe takes a record from each year of his life, using the song as a starting point from which to reach out and pull together a wonderfully entertaining catalogue of memories and asides about British culture. And, as one would expect from this unique and popular broadcaster, the tunes he lists are not the usual suspects. From The Kinks' 'See My Friends', through Slade's 'Coz I Luv You' to Kraftwerk's 'Europe Endless' and Joy Division's 'Atmosphere', Mark's selections bring forth a diverse collision of styles from eras uniquely defined by their musical genres and fashions. Bringing his choices right up to the present day, we see the inclusion of artists such as Richard Hawley, Elbow and Fleet Foxes. Mark's hugely entertaining and affectionate trawl through his favourite music of the past 50 years is guaranteed to surprise and delight his many fans.