Altri libri che potrebbero interessarti

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  The Humbugs of the World - An...

  P. T. Barnum

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  P. T. Barnum, best-known for his own use of hoaxes in his popular Barnum & Bailey Circus, found that the use of hoaxes was acceptable when the audience was getting the entertainment they paid for. When it came to religious hoaxes, fraud, and swindling, Barnum was avidly against it. He even went so far as to offer $500 to any medium who could prove that they actually could reach the dead. In this exposé of humbugs and the scams they perpetuate, he goes after religious quacks, witches and sorcerers, and other forms of frauds in all walks of life. He discusses some of the most notable scams of the time and reveals the perpetrators as humbugs. In addition to scams, he also discusses business affairs and his own opinions of the current events of his time.

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  Bruce Springsteen's Born in the USA

  Geoffrey Himes

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  When Bruce Springsteen went back on the road in 1984, he opened every show by shouting out, ""one, two, one, two, three, four,"" followed by the droning synth chords of ""Born in the U.S.A."" Max Weinberg hit his drums with a two-fisted physicality that cut through the swelling chords. With a rolled-up red kerchief around his head and heavy black boots under his faded jeans, Springsteen looked like the character of the song, and from the very first line (""Born down in a dead man's town"") he sang with the throat-scraping desperation of a man with his back against the wall. When he reached the crucial lines, though, the guitars and bass dropped out and Weinberg switched to just the hi-hat. Springsteen's voice grew a bit more private and reluctant as he sang, ""Nowhere to run. Nowhere to go."" It was as if he weren't sure if this were an admission of defeat or the drawing of a line in the sand. But when the band came crashing back at full strength—building a crescendo that fell apart in the cacophony of Springsteen's and Weinberg's wild soloing, paused and then came together again in the determined, marching riff—it was clear that the singer was ready to make a stand.

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  Art Works - How Organizers and...

  Ken Grossinger

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  Named one of The Progressive magazine's Favorite Books of the Year 
  An inside look at the organizers and artists on the front lines of political mobilization and social change 
  “Ken [Grossinger] is one of the smartest strategists I know.” —John Sweeney, AFL-CIO president, 1995–2009 
  An artist’s mural of George Floyd becomes an emblem of a renewed movement for racial equality. A documentary film injects fuel into a popular mobilization to oust a Central American dictator. Freedom songs course through the American civil rights movement. 
  When artists and organizers combine forces, new forms of political mobilization follow—which shape lasting social change. And yet few people appreciate how much deliberate strategy often propels this vital social change work. Behind the scenes, artists, organizers, political activists, and philanthropists have worked together to hone powerful strategies for achieving the world we want and the world we need. 
  In Art Works, noted movement leader Ken Grossinger chronicles these efforts for the first time, distilling lessons and insights from grassroots leaders and luminaries such as Ai Weiwei, Courtland Cox, Jackson Browne, Shepard Fairey, Jane Fonda, Elizabeth Alexander, Bill McKibben, JR, Jose Antonio Vargas, and more. Drawing from historical and present-day examples—including Black Lives Matter, Standing Rock, the Hip Hop Caucus, the Legacy Museum, and the Art for Justice Fund—Grossinger offers a rich tapestry of tactics and successes that speak directly to the challenges and needs of today’s activists and of these political times.

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  Supes Ain't Always Heroes -...

  Matthew Snyder, Lynn S. Zubernis

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  Go deeper inside the hit TV show The Boys and its characters with psychologists, media experts, filmmakers, and more—including the original comic series' cocreator and the actors behind Soldier Boy and Stormfront. 
   
   
   
  Supes Ain't Always Heroes offers a fresh look at The Boys, delving into the show's unflinching depiction of celebrity, politics, social media, corporate greed, racism, sexism, and more: 
   
   
   
  ● The true difference between Homelander and Billy Butcher—and who the show's biggest villain really is 
   
   
   
  ● What Soldier Boy's characterization says about how we define masculinity 
   
   
   
  ● How today's media landscape has contributed to The Boys' success 
   
   
   
  ● What the evolutions of Hughie, Starlight, A-Train, Mother's Milk, and other show standouts reflect about addiction, family, identity, and self-acceptance 
   
   
   
  PLUS: Exclusive interviews with The Boys comics cocreator Darick Robertson and actors Jensen Ackles, Jim Beaver, Aya Cash, and Nathan Mitchell provide a unique glimpse behind the scenes. Comments from editor interviews with more of the show's stars give further insight into their experiences in bringing these complex characters to life.

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  Franz Marc 1880-1916

  Franz Marc, Klaus H. Carl

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  Franz Marc (1880-1916) was a key figure in the German Expressionist movement of the early 20th century. Marc was a founding member of the expressionist group Der Blaue Reiter along with other great artists of the time: Wassily Kandinsky, August Macke, and Alexej von Jawlensky. A brilliant use of colour along with stark futurist and cubist styles create the distinct qualities that make Marc a master of modern art. Symbolising masculinity, femininity, and violence among his calm and bucolic animal subjects, Marc's unique and creative use of colour and meaning will forever have a firm place in art history.

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  Ahae Gangster Patron - Gangster...

  Bernard Hasquenoph

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  April 2014: A ship sinks in South Korea, killing nearly 300 people.
  2013: A Korean amateur photographer exhibits in Versailles.
  August 1987: 32 members of the Korean Odaeyang sect are found dead.
   
  The link between these facts? It was Bernard Hasquenoph who discovered it. Intrigued by the success of Ahae, the pseudonym of the amateur photographer, he leads the investigation and is the first to reveal the true identity of the Korean artist, billionaire and patron of the arts, entrepreneur and guru, with a vast and well-established network of influence. And the further he investigated, the more obscure and unbelievable the revelations became.
  Through the portrait of one man, we plunge into a mafia world with unexpected ramifications, such as international cultural patronage, which brings into question the value of art and the probity of those in charge of it.

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