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Benny wants to build his own rocket and become an astronaut. With the help of his family he travels through space and goes on an adventure to see the planets in our solar system.Benny is the Space Bunny.
The accomplishments of seminal jazz trumpeter Bernard "Bunny" Berigan have secured his place in the annals of American music history. In his short lifetime (1908--1942), Berigan performed on more than six hundred recordings and served as a direct link between Louis Armstrong and later musicians such as Dizzy Gillespie, Clifford Brown, and Wynton Marsalis. Berigan lent his uninhibited jazz style to the big bands of Benny Goodman, Hal Kemp, and Tommy Dorsey, and he was in demand as a studio musician for vocalists Billie Holiday, Bing Crosby, and Mildred Bailey. In addition to playing for the music industry's giants, Berigan became one himself by forming his own band in 1937 and recording his most famous hit and theme song, "I Can't Get Started." In the first comprehensive biography of Berigan, Robert Dupuis draws on hundreds of interviews with family, friends, and colleagues to present a fascinating and entertaining look at the fast-paced career and personal life of this jazz great.
Sequel to the No. 1 Bestseller Benny & Omar Benny, the sports-mad, carefree lad whose adventures in Tunisia have convinced him that he can take on the world, suffers a severe blow to his pride when he meets Babe. He may be a wise guy, but she is at least three steps ahead of him. And he's on her territory. Benny is visiting his grandfather in the country for the summer holidays and finds his position as a 'townie' make him the object of much teasing by the natives. Babe is the village tomboy, given serious respect by the all the local tough guys. She runs a thriving business, rescuing the lost lures and flies of visiting fishermen and selling them at a tidy profit. Babe just might consider Benny as her business partner. But things become very complicated, and dangerous, when Furty Howlin also wants a slice of the action. And that's not the only problem for Benny. A disco reveals a transformed Babe– can they still be friends now that she is a real girl? Benny and Babe was shortlisted for the Reading Association of Ireland Award 2001.
When confronted with the truth of a possible eating disorder developing, we don't ship the person to the University of Truth to take some class to stop the issue. We are complex creatures in a perplexing world that continually detonate ideas and visuals to our fragile developing self. With today's technology in terms of images, the impression left on our self is not possible. We may not gravitate that way but in this society we challenge each other in so many ways. That means comparisons and measurements and science. And our self develops a belief as part of the budding self itself and embosses the piece as a core truth. Toss in clusters and groups and teams and collections of individuals and we have a separation of some type in some level of impressing power. We build our foundation of truth based on so many images because in general our minds deliver mental visuals so we can make sense of the thing in question. Eating disorders in essence are not about the food.
In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.
Intertextual encounters occur whenever an author or the author's text recognizes, references, alludes to, imitates, parodies, or otherwise elicits an audience member's familiarity with other texts. F. Scott Fitzgerald and Nathanael West use the fiction of Horatio Alger, Jr., as an intertext in their novels, The Great Gatsby and A Cool Million. Callie Khouri and Ridley Scott use the buddy-road-picture genre as an intertext for their Thelma and Louise. In all these cases, intertextual encounters take place between artists, between texts, between texts and audiences, between artists and audiences. Michael Dunne investigates works from the 1830s to the 1990s and from the canonical American novel to Bugs Bunny and Jerry Seinfeld.
Bennington Slipdale, III is ridiculously overqualified and underskilled. With the tsunami of the global pandemic threatening, right before the shut down of the Chicago Public Schools, Bennington abandons his AP Calculus position and flees for higher ground. Now he stands on unfamiliar turf, with jobs hard to find in the new covid-driven economy. Bennington, or preferably Benny, has no choice but to deliver boxes for the mega e-commerce empire of the universe. The problem is, Benny’s painfully slow, fumbles with the evil box scanning device oddly called a Rabbit, and is under constant threat of losing his job where “calculus doesn’t get boxes to stoops.” Everything he’s learned before now is of no use. To make things worse, Benny struggles with an acute fear of failure, or atychiphobia. Slinging boxes is his only chance to redeem himself and not just become another dime a dozen atychiphobe: convinced he was never good at anything and never will be. Will becoming a master box slinger of the wild, wild midwest conquer his fear?
A biography of Bunny Mellon, the style icon and American aristocrat who designed the White House Rose Garden for her friend JFK and served as a living witness to 20th Century American history, operating in the high-level arenas of politics, diplomacy, art and fashion. Bunny Mellon, who died in 2014 at age 103, was press-shy during her lifetime. With the co-operation of Bunny Mellon's family, author Meryl Gordon received access to thousands of pages of her letters, diaries and appointment calendars and has interviewed more than 175 people to capture the spirit of this talented American original.