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The Drive-In meaningfully contributes to the complex picture of outdoor cinema that has been central to American culture and to a history of US cinema based on diverse viewing experiences rather than a select number of films. Drive-in cinemas flourished in 1950s America, in some summer weeks to the extent that there were more cinemagoers outdoors than indoors. Often associated with teenagers interested in the drive-in as a 'passion pit' or a venue for exploitation films, accounts of the 1950s American drive-in tend to emphasise their popularity with families with young children, downplaying the importance of a film programme apparently limited to old, low-budget or independent films and characterising drive-in operators as industry outsiders. They retain a hold on the popular imagination. The Drive-In identifies the mix of generations in the drive-in audience as well as accounts that articulate individual experiences, from the drive-in as a dating venue to a segregated space. Through detailed analysis of the film industry trade press, local newspapers and a range of other primary sources including archival records on cinemas and cinema circuits in Arkansas, California, New York State and Texas, this book examines how drive-ins were integrated into local communities and the film industry and reveals the importance and range of drive-in programmes that were often close to that of their indoor neighbours.
Coming of age in a Saudi Arabia where they delight in small acts of rebellion against the Saudi cultural police, from secretly wearing Western clothing and listening to forbidden music to flirting and driving, best friends Leena and Mishie find themselves struggling against cultural restrictions that challenge their ambitions for college and independence.
The enemy may have changed, but the battle between good and evil burns hotter than ever in this scintillating new installment in Alexandra Ivy’s Guardians of Eternity series. There is only one thing more precious to vampire Tarak than his newfound freedom after five centuries of captivity, and that’s the promise of revenge. At last, he can destroy Riven, the merman who has drained his power in order to make himself king. But at the very moment when justice is a fang’s breadth away, Tarak’s quest is complicated by the beautiful mermaid princess who kept him sane and fed during his ordeal. Waverly hoped that once Tarak escaped, he’d return to his own kind and enjoy the rest of his immortal life. She also hoped she might one day stop dreaming about the darkly handsome vampire. Instead, Tarak’s return draws Waverly into an unlikely alliance—and a passion that eclipses all her fantasies. Hatred for Riven has sustained Tarak this long. But only Waverly’s love can give him the strength to claim eternity with her . . .
Using ancient black magic, a dangerous, vindictive maniac is made all-powerful by his ability to become invisible. Raping and murdering his way around the States, he is biding his time before fulfilling his one desire--to get even with the high school belle who rejected him years before.
Vols. 227-230, no. 2 include: Stuff and nonsense, v. 5-6, no. 8, Jan. 1929-Aug. 1930.
A brilliant and defiant celebration of driving as a unique pathway of human freedom, by "one of the most influential thinkers of our time" (Sunday Times) "Why We Drive weaves philosophers, thinkers, and scientific research with shade-tree mechanics and racers to defend our right to independence, making the case that freedom of motion is essential to who we are as a species. ... We hope you'll read it." —Road & Track Once we were drivers, the open road alive with autonomy, adventure, danger, trust, and speed. Today we are as likely to be in the back seat of an Uber as behind the wheel ourselves. Tech giants are hurling us toward a shiny, happy “self-driving” future, selling utopia but equally keen to advertise to a captive audience strapped into another expensive device. Are we destined, then, to become passengers, not drivers? Why We Drive reveals that much more may be at stake than we might think. Ten years ago, in the New York Times-bestselling Shop Class as Soulcraft, philosopher-mechanic Matthew B. Crawford—a University of Chicago PhD who owned his own motorcycle shop—made a revolutionary case for manual labor, one that ran headlong against the pretentions of white-collar office work. Now, using driving as a window through which to view the broader changes wrought by technology on all aspects of contemporary life, Crawford investigates the driver’s seat as one of the few remaining domains of skill, exploration, play—and freedom. Blending philosophy and hands-on storytelling, Crawford grounds the narrative in his own experience in the garage and behind the wheel, recounting his decade-long restoration of a vintage Volkswagen as well as his journeys to thriving automotive subcultures across the country. Crawford leads us on an irreverent but deeply considered inquiry into the power of faceless bureaucracies, the importance of questioning mindless rules, and the battle for democratic self-determination against the surveillance capitalists. A meditation on the competence of ordinary people, Why We Drive explores the genius of our everyday practices on the road, the rewards of “folk engineering,” and the existential value of occasionally being scared shitless. Witty and ingenious throughout, Why We Drive is a rebellious and daring celebration of the irrepressible human spirit.
The Rough Guide to Kenya is the ultimate guide to East Africa's best-known destination. Features include: a full-colour section introducing Kenya's highlights; practical advice on getting the most out of Kenya, from the well-known safari parks to the little known reserves, and the highlands, lakes and deserts to downtown Nairobi and the Indian Ocean; detailed reviews of accommodation and eating options to suit every taste and budget, including luxury lodges and local restaurants; candid coverage of Kenya's history, politics, culture and environment; and maps and plans for every region.