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In Beyond Blonde, Sophie’s world has exploded. Papa has left to try and get sober, and her first love, Luke, has left to marry the mother of his baby. Mama is functioning on auto-pilot, and even Sophie’s refuge in basketball is threatened, since the new assistant coach, David Wayne, seems to hate the sight of her. Life is further complicated by her sixteen-year-old body betraying her at every turn. Into this confusing breach step Sophie’s brilliant Blondes and the ever-audacious Aunties, helping her to battle back with heart and humour.
The unpredictable and hilarious final book in the acclaimed Blondes series: In Beyond Blonde sixteen-year-old Sophie Kandinsky’s world erupts: Papa leaves home to get sober; Mama retreats within herself; her first love, Luke, is forced to get married; and even her refuge in basketball is threatened. To make matters worse, her own body betrays her at every single turn! Luckily, Sophie’s adored Blondes and audacious Aunties are there to help her navigate the cascading catastrophes and shocking secrets with humour and heart. Set in the 1970s and featuring addictive, vibrant characters, Beyond Blonde is the powerful, page-turning conclusion of a highly original series.
The Devil Wears Prada meets Steel Magnolias in this fictionalized account of the real-life rise of Kathleen Flynn-Hui, star of the hot Manhattan Salon AKS. Welcome to Jean-Luc, New Yorks hottest salon of the minute, where high above Madison Avenue, Georgia Watkinsstar coloristtends to the hair of socialites, actresses, models and moguls.Georgia wasnt born to the Manhattan elite, but she was born to color hair; back in rural New Hampshire, her single mother struggled to pay rent on her own small-town beauty parlor and keep her family afloat. But Georgia wanted more. And so, after a stint at Wilfred Academy, Georgia landed a job at Jean-Luc and moved to New York City. Thrust into a glitzy, glittering over-the-top world, Georgia finds herself highlighting dogs hair to match that of their owners, making house calls to the Hamptons, and barely batting a well-groomed eyelash at a thousand dollar tip. A rising star in the salon, Georgia is far too busy for romance or even a day offuntil she finds that her quiet, handsome colleague Massimo has more to offer than styling pointers.But when Jean-Luc betrays them, Georgia finds her loyalty and her love are put to the test, and she must depend on the most unlikely sources to help her navigate the ugly side of the world of beauty.
Brimming with Steve Hiett's riotously colorful photographs that evoke the trends and styles of their eras, this retrospective volume features images--most of which have never been published in book form--from a career that spans five decades. Since the late 1960s Steve Hiett has been capturing the changing world of fashion through his distinctive, eye-catching photography. Arranged by decades, this collection of Hiett's work is filled with images that belie the photographer's nonchalance. Saturated with color, lighted by dazzling flash work, and often off-center, Hiett's photographs contain brilliantly composed worlds. They tell stories--and the stories change with time. Whether it's 1970s Miami, France in the 1980s, or New York at the end of the 20th century, Hiett creates an of-the-moment impression that feels neither contrived nor self-conscious. Of his illustrious career, Hiett has said "I don't think of myself as 'a photographer.' I think of myself as someone who uses the camera to create images that I see in my head." A brief introduction provides an insightful contrast to Hiett's description of himself. The beautifully reproduced images in this book are further testament to Steve Hiett's enduring imprint on the world of fashion photography.
In an alternate world in which Africans enslaved Europeans, Doris, an Englishwoman, is captured and taken to the New World, where the hardships she endures as a slave are offset by dreams of escape and home.
Despite the fact that they are often crucial to our understanding, the vague, ineffable elements of language use and communication have received much less attention from linguists than the more concrete, effable ones. This has left a range of important questions unanswered. How might we account for the communication of non-propositional phenomena such as moods, emotions and impressions? What type of cognitive response do these phenomena trigger, if not conceptual or propositional? Do creative metaphors and unknown words in second languages and other ‘pointers’ to ‘conceptual regions’ communicate concepts learned from language alone? How might the descriptive ineffability of interjections, free indirect speech etc. be accommodated within a theory of communication? What of those working on the aesthetics of artworks, music and literature? What can evolution tell us about ineffability? The papers in this volume address these fascinating questions head-on. They represent a range of different attempts to answer them and, in so doing, allow us to pose exciting new questions. The aim, to bring the ineffable firmly within the grasp of theoretical pragmatics.
Popular movies can enhance the study of history. A dominant form of entertainment throughout the 20th century, they can serve as nontraditional primary sources and offer remarkable opportunities to observe attitudes about social concerns, gender or racial issues, politics, and historical events that were current when the movies were made. This book is a topical guide for educators, providing detailed analysis of 35 movies, followed by discussion questions that will help students interpret how each movie's content and themes reflect the times when it was made. The book covers four main topics: the Great Depression, World War II, the early years of the Cold War, and the changing expectations and images of women in movies from 1930 to 1970. An historical overview chronicles how each topic was treated in movies from that time period. The movies should have wide appeal in grades 7 through 12 and can help students learn to think more critically about the images and messages that appear in popular media today.
After young Norma Jean is turned into a famous movie star by a Soviet agent, she is asked to repay her debt by providing top secret information about the president, in this re-imagination of the relationship between Marilyn Monroe and John F. Kennedy.
This book offers an innovative approach to understanding operetta, drawing attention to its malleability and resistance to boundaries. These shows have traversed (and continue to traverse) with ease the national borders which might superficially define them, or draw on features from many other genres without fundamentally changing in tone or approach. The chapters move from nineteenth-century London and Paris to twentieth-century North America, South America and Europe to present-day Australia. Some offer fresh understandings of familiar composers, such as Johann Strauss or Gilbert and Sullivan, while others examine works or composers that are less well-known. The chapter on Socialist operetta in Czechoslovakia in particular will almost certainly be a revelation to anyone from Western Europe or the US, where operetta is often understood to be a bourgeois phenomenon. As a summary of the current state of the field, this collection showcases the many possible pathways for future scholars who wish to explore it.
Gender and Action Films 2000 and Beyond: Transformations looks at Action Cinema from the old to the new, offering an exciting interrogation of the portrayal of gender in the new millennia. A necessity for academics, students and lovers of film and media and those interested in gender studies.