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Heavenly Blues is a fantastical, philosophical heist comic book story that sends its team of deceased thieves across Heaven and Hell. Written by Ben Kahn and illustrated by Bruno Hidalgo, published monthly by Scout Comics. The heist is on! All the plans are in motion, and the die is cast. The souls of the greatest thieves in Hell are teaming up to pull the ultimate heist on Heaven! Isaiah Jefferson, a bank robber betrayed by his own gang, is aiming for one last shot at greatness. Erin Foley died a pre-teen scam artist, and wants to lash out at the judgement system that damned her. When a suspicious angel comes offering a deal too good to be true, this unlikely duo will get the chance they’ve been waiting for. They’ll assemble a crew of broken souls, and gamble it all on a desperate fight against a terrifying Archangel lord. With nothing but their wits and their grit, this band of thieves will take on everything Heaven and Hell can throw at them to pull off the heist of an after-lifetime.
Millions of Americans have been thrilled, scared, titillated, and shocked by exploitation movies, low budget films with many scenes of sex, violence, and other potentially lurid elements. The term derives from the fact that promoters of such films exploit the contents in advertising that plays up the sexual or violent aspects of the films. This is the first comprehensive study of the American exploitation film to be published. It discusses five distinct genres: the teen movie, the sexploitation film, the martial arts movie, the blaxploitation film and the lawbreaker picture. Contained within these genres are many popular American film types, including beach movies, biker pictures, and women's prison movies. The study provides a history and sociopolitical analysis of each genre, focusing on significant films in those genres. It also discusses the economics of exploitation films and their place in the motion picture industry, the development of drive-in theaters, the significance of the teenage audience, and the effect of the videocassette. Finally, the book applies major film and cultural theories to establish an aesthetic for evaluating the exploitation film and to explore the relationship between film and audience.
Storming Heaven is a riveting history of LSD and its influence on American culture. Jay Stevens uses the "curious molecule" known as LSD as a kind of tracer bullet, illuminating one of postwar America's most improbable shadow-histories. His prodigiously researched narrative moves from Aldous Huxley's earnest attempts to "open the doors of perception" to Timothy Leary's surreal experiments at Millbrook; from the CIA's purchase of millions of doses to the thousands of flower children who turned on and burned out in Haight-Ashbury. Along the way, this brilliant, novelistic work of cultural history unites such figures as Allen Ginsberg, Cary Grant, G. Gordon Liddy, and Charles Manson. Storming Heaven irrefutably demonstrates LSD's pivotal role in the countercultural upheavals that shook America in the 1960s and changed the country forever.