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How have African American writers drawn on "bad" black men and black boys as creative touchstones for their evocative and vibrant art? This is the question posed by Howard Rambsy’s new book, which explores bad men as a central, recurring, and understudied figure in African American literature and music. By focusing on how various iterations of the bad black man figure serve as creative muse and inspiration for literary production, Rambsy puts a wide variety of contemporary African American literary and cultural works in conversation with creativity research for the first time. Employing concepts such as playfulness, productivity, divergent thinking, and problem finding, Rambsy examines the works of a wide range of writers—including Elizabeth Alexander, Amiri Baraka, Paul Beatty, Ta-Nehisi Coates, Tyehimba Jess, Trymaine Lee, Adrian Matejka, Aaron McGruder, Evie Shockley, and Kevin Young—who have drawn on notions of bad black men and boys to create innovative and challenging works in a variety of genres. Through groundbreaking readings, Rambsy demonstrates the fruitfulness of viewing black literary art through the lens of creativity research.
""California Badmen"" is a exploration of little-known Western frontier gunfighters. Billy Mulligan, Sam Temple, Peter Olsen, Joe Dye, Bob McFarlane and those responsible for the Rancheria killings are brought back through the pages and taking their stand in Californian history. The riotous lives of these unique collection of mean men with guns spill over the California frontier and rival the likes of ""Wild Bill"" Hickok, Billy the Kid, and the Earp Family.
Badmen, Bandits, and Folk Heroes is a comparative study of the literary and cinematic representation of Mexican American masculine identity from early twentieth-century adventure stories and movie Westerns through contemporary self-representations by Chicano/a writers and filmmakers. In this deeply compelling book, Juan J. Alonzo proposes a reconsideration of the early stereotypical depictions of Mexicans in fiction and film: rather than viewing stereotypes as unrelentingly negative, Alonzo presents them as part of a complex apparatus of identification and disavowal. Furthermore, Alonzo reassesses Chicano/a self-representation in literature and film, and argues that the Chicano/a expression of identity is characterized less by essentialism than by an acknowldgement of the contingent status of present-day identity formations. Alonzo opens his provocative study with a fresh look at the adventure stories of Stephen Crane and the silent Western movies of D. W. Griffith. He also investigates the conflation of the greaser, the bandit, and the Mexican revolutionary into one villainous figure in early Western movies and, more broadly, traces the development of the badman in Westerns. He newly interrogates the writings of Américo Paredes regarding the makeup of Mexican masculinity, and productively trains his analytic eye on the recent films of Jim Mendiola and the contemporary poetry of Evangelina Vigil. Throughout Badmen, Bandits, and Folk Heroes, Alonzo convincingly demonstrates how fiction and films that formerly appeared one-dimensional in their treatment of Mexicans and Mexican Americans actually offer surprisingly multifarious and ambivalent representations. At the same time, his valuation of indeterminacy, contingency, and hybridity in contemporary cultural production creates new possibilities for understanding identity formation.
These were unique, complex, personal and professional relationships between master director John Ford and his two favorite actors, John Wayne and Ward Bond. The book provides a biography of each and a detailed exploration of Ford's work as it was intertwined with the lives and work of both Wayne and Bond (whose biography here is the first ever published). The book reveals fascinating accounts of ingenuity, creativity, toil, perseverance, bravery, debauchery, futility, abuse, masochism, mayhem, violence, warfare, open- and closed-mindedness, control and chaos, brilliance and stupidity, rationality and insanity, friendship and a testing of its limits, love and hate--all committed by a "half-genius, half-Irish" cinematic visionary and his two surrogate sons: Three Bad Men.
Badmen, Bandits, and Folk Heroes is a comparative study of the literary and cinematic representation of Mexican American masculine identity from early twentieth-century adventure stories and movie Westerns through contemporary self-representations by Chicano/a writers and filmmakers. In this deeply compelling book, Juan J. Alonzo proposes a reconsideration of the early stereotypical depictions of Mexicans in fiction and film: rather than viewing stereotypes as unrelentingly negative, Alonzo presents them as part of a complex apparatus of identification and disavowal. Furthermore, Alonzo reassesses Chicano/a self-representation in literature and film, and argues that the Chicano/a expression of identity is characterized less by essentialism than by an acknowldgement of the contingent status of present-day identity formations. Alonzo opens his provocative study with a fresh look at the adventure stories of Stephen Crane and the silent Western movies of D. W. Griffith. He also investigates the conflation of the greaser, the bandit, and the Mexican revolutionary into one villainous figure in early Western movies and, more broadly, traces the development of the badman in Westerns. He newly interrogates the writings of AmŽrico Paredes regarding the makeup of Mexican masculinity, and productively trains his analytic eye on the recent films of Jim Mendiola and the contemporary poetry of Evangelina Vigil. Throughout Badmen, Bandits, and Folk Heroes, Alonzo convincingly demonstrates how fiction and films that formerly appeared one-dimensional in their treatment of Mexicans and Mexican Americans actually offer surprisingly multifarious and ambivalent representations. At the same time, his valuation of indeterminacy, contingency, and hybridity in contemporary cultural production creates new possibilities for understanding identity formation.
Presents twenty-one true stories and legends about outlaws in Texas history, including such famous and lesser-known figures as Bonnie and Clyde, Judge Roy Bean, John Wesley Hardin, the Yokums of the Big Thicket, and the Papworths of Erath County.
Ambushed in Afghanistan and betrayed by their own leaders—these elite Marines fought for their lives again, back home. A cross between A Few Good Men and American Sniper, this is the true story of an elite Marine special operations unit bombed by an IED and shot at during an Afghanistan ambush. The Marine Commandos were falsely accused of gunning down innocent Afghan civilians following the ambush. The unit’s leader, Maj. Fred Galvin, was summarily relieved of duty and his unit was booted from the combat zone. They were condemned by everyone, from the Afghan president to American generals. When Fox Company returned to America, Galvin and his captain were the targets of the first Court of Inquiry in the Marines in fifty years. “Fred Galvin is the real deal. His dramatic retelling of his experience as commander of Fox Company reads like a thriller, full of twists and turns, filled with unassuming heroes and deceitful villains.” — Rob Lorenz, Producer/Director, American Sniper, Flags of Our Fathers, Letters from Iwo Jima, Mystic River, The Marksman “Fred Galvin has written a real ‘page turner’ that demonstrates how politics permeates The Pentagon and posts abroad…I highly recommend this book.” — J.D. Hayworth, U.S. House of Representatives (Arizona), TV/Radio Host “This book is a must-read for every American who wants to know why, after twenty long years in Afghanistan, we did not win.” — Jessie Jane Duff, USMC, Analyst, CNN and FOX “A Few Bad Men is a must-read story of valor, betrayal, and keeping the Marines’ honor clean.” — Jed Babbin, USAF Judge Advocate, Deputy Under Secretary of Defense, Journalist, National Review, Washington Post “An incredible account and history of the fighting spirit of the ‘Marine Raiders’ under fire and the relentless fourteen-year campaign by their leader to clear their names.” — Maj. Gen. Paul Vallely, U.S. Army (Ret.), Deputy Commander, U.S. Pacific Command
A frightening and highly entertaining look into the hidden, corrupt, and dangerous world of online advertising where billions of dollars are being stolen; personal information about us is being collected and sold 24-hours a day; and important principles of a free society are being undermined.
Twenty-two biographical sketches of the frontier's most notorious badmen. Includes Billy the Kid, Butch Cassidy, Cole Younger, Doc Holliday, and others.