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"From Shaft to Superfly, Foxy Brown to Cleopatra Jones, What It Is...What It Was! presents a vivid pictorial and oral history of the best movies to emerge from a singularly American film movement. The book explores this film explosion. Between 1970 and 1980 over 200 films with Black themes including family dramas, mysteries, horror films, comedies, and action films, were released by both major and independent studios. The book preserves cinema history with the first book to highlight the movie poster artwork while presenting the people who created this history on screen. With the increased use of photography, this period would be the last time that top artists would draw and paint the vibrant bold movie poster images that in themselves were classics. Groundbreaking producer-director-writer Melvin Van Peebles, actors Fred Williamson, Pam Grier, and William Marshall, composer Isaac Hayes, along with many other artists, talk about this body of cinema that has withstood the test of time and influenced American culture. The films are described as powerful, funky, sexy, exuberant, violent, hip, and just plain fun. They also became a target of debate as some coined the sweeping term "blaxploitation." Samuel L. Jackson, John Singleton, Reginald Hudlin, Ice-T, Keenen Ivory Wayans, Quentin Tarantino, and others offer insightful commentary into the history and impact of the films in their work."--back cover.
This is my story about my life and how i felt i had to conceal and not feel my feelings. You will go through my trials with me and feel how i felt. You will be able to live my life with me.I want my story told in hopes of helping someone else in the world. Alot of us think our lives are bad untill we see or hear about someone else and thier story. Everyone has as a story to tell but mine is different. I am battling a storm with in inside my self and i want to let go, but will i ever be able to?
This author has a desire and dream to write a memoir, and here it is, It Is what It Is. It is a story—true, sad, happy, stupid at times, but actually true!
The bird book for birders and nonbirders alike that will excite and inspire by providing a new and deeper understanding of what common, mostly backyard, birds are doing—and why: "Can birds smell?"; "Is this the same cardinal that was at my feeder last year?"; "Do robins 'hear' worms?" "The book's beauty mirrors the beauty of birds it describes so marvelously." —NPR In What It's Like to Be a Bird, David Sibley answers the most frequently asked questions about the birds we see most often. This special, large-format volume is geared as much to nonbirders as it is to the out-and-out obsessed, covering more than two hundred species and including more than 330 new illustrations by the author. While its focus is on familiar backyard birds—blue jays, nuthatches, chickadees—it also examines certain species that can be fairly easily observed, such as the seashore-dwelling Atlantic puffin. David Sibley's exacting artwork and wide-ranging expertise bring observed behaviors vividly to life. (For most species, the primary illustration is reproduced life-sized.) And while the text is aimed at adults—including fascinating new scientific research on the myriad ways birds have adapted to environmental changes—it is nontechnical, making it the perfect occasion for parents and grandparents to share their love of birds with young children, who will delight in the big, full-color illustrations of birds in action. Unlike any other book he has written, What It's Like to Be a Bird is poised to bring a whole new audience to David Sibley's world of birds.
"Deliciously drawn (with fragments of collage worked into each page), insightful and bubbling with delight in the process of artistic creation. A+" -Salon How do objects summon memories? What do real images feel like? For decades, these types of questions have permeated the pages of Lynda Barry's compositions, with words attracting pictures and conjuring places through a pen that first and foremost keeps on moving. What It Is demonstrates a tried-and-true creative method that is playful, powerful, and accessible to anyone with an inquisitive wish to write or to remember. Composed of completely new material, each page of Barry's first Drawn & Quarterly book is a full-color collage that is not only a gentle guide to this process but an invigorating example of exactly what it is: "The ordinary is extraordinary."
The strengths and failures of the American college, and why liberal education still matters As the commercialization of American higher education accelerates, more and more students are coming to college with the narrow aim of obtaining a preprofessional credential. The traditional four-year college experience—an exploratory time for students to discover their passions and test ideas and values with the help of teachers and peers—is in danger of becoming a thing of the past. In College, prominent cultural critic Andrew Delbanco offers a trenchant defense of such an education, and warns that it is becoming a privilege reserved for the relatively rich. In describing what a true college education should be, he demonstrates why making it available to as many young people as possible remains central to America's democratic promise. In a brisk and vivid historical narrative, Delbanco explains how the idea of college arose in the colonial period from the Puritan idea of the gathered church, how it struggled to survive in the nineteenth century in the shadow of the new research universities, and how, in the twentieth century, it slowly opened its doors to women, minorities, and students from low-income families. He describes the unique strengths of America’s colleges in our era of globalization and, while recognizing the growing centrality of science, technology, and vocational subjects in the curriculum, he mounts a vigorous defense of a broadly humanistic education for all. Acknowledging the serious financial, intellectual, and ethical challenges that all colleges face today, Delbanco considers what is at stake in the urgent effort to protect these venerable institutions for future generations.
Even if you think you don't need any help with your life, I am sure there is someone in your orbit that you love that does. By understanding the principles and information in this book, you can help them. And I believe almost everyone has someone they wish to help. It is frustrating when you want to help but don't know how. That might not be enough reason for you to want to buy this book. So let's go into what you learn from it. We all are governed by the rules of the spirit world. I call these rules AVP--the Alternate Viewpoint System. You will not only learn how the spirit world operates but what to expect when you get there. I think that piece of information would be valuable since fear of death is really fear of the unknown. This book was my task from before my previous life, as Elizabeth Reilly. Yes, my veil was lifted in 1989. I had a need to know, you see. So that brings us to the most important obstacle to using AVP. The entire system is predicated on the FACT that we have all lived before. That's why I couldn't proceed until Sharon Holt did her job. Yes, that was a planned event. When you accept the fact that you have lived before, you can also accept that you are in the proper place to learn lessons--the real reason we are here. That means you don't need to be jealous, envious, covetous, or do anything harmful against anyone. If you read this book, you will know how to fight temptation and desire. You will learn to purge you past of negative traits. Then, of course, you will learn how to purge the negative out of your heart and replace it with love, kindness, humility, and forgiveness, vital for a pure heart and required to get into heaven!
"Between 1962 and 1971, the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) of the Di Tella Institute in Buenos Aires became the central hub of Latin American avant-garde music. With the support of the Rockefeller Foundation and the wealthy Di Tella family, CLAEM offered two-year fellowships to some of the most recognized young composers of the region to undertake graduate studies in a unique privileged setting under the direction of Alberto Ginastera and with permanent and visiting faculty that included Gerardo Gandini, Francisco Kröpfl, Mario Davidovsky, Iannis Xenakis, Luigi Nono, Aaron Copland, Luigi Dallapiccola, Bruno Maderna, Riccardo Malipiero, Olivier Messiaen, Roger Sessions, and Earle Brown. In Elite Art Worlds, author Eduardo Herrera combines oral histories, ethnographic research, and archival sources to reveal CLAEM as a meeting point of US and Argentine philanthropy, local experiences in transnational currents of artistic experimentation and innovation, and regional discourses of musical Latin Americanism. The story of CLAEM shows how musical avant-gardes were articulated, embodied, resignified, and institutionalized in Latin America, how composers during the 1960s engaged with discourses of Latin Americanism as professional strategy, identification marker, and musical style, and sheds light into the role of art in the legitimation and construction of elite status and identity. By looking at CLAEM as both an artistic and a philanthropic project, Herrera illuminates the relationships between foreign policy, corporate interests, and funding for the arts concerning Latin America and the U.S. in the mid-twentieth century"--
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Brazil is a rapidly emerging country. Brazilian theology, namely the Theology of Liberation, has become well known in the 1970s and 1980s. The politically active Base Ecclesial Communities and the progressive posture of the Roman Catholic Church contrasted with a steadily growing number of evangelicals, mostly aligned with the military regime but attractive precisely to the poor. After democratic transition in the mid-1980s, the context changed considerably. Democracy, growing religious pluralism and mobility, a vibrant civil society, the political ascension of the Worker's Party and growing wealth, albeit within a continuously wide social gap, are some of the elements that show the need of a new approach to theology. It must be a theology that is both critical and constructive, resisting and cooperative, a theology that is able to give orientation to the churches, valuing and encouraging their contribution in society while avoiding attempts of imposition. The Churches and Democracy in Brazil, the fruit of years of interdisciplinary study of the Brazilian context and its main churches and theology, makes its case for an ecumenically articulated public theology. It seeks inspiration mainly in Luther and Lutheran theology, emphasizing human dignity, freedom, trust, the disposition to serve, and the ability to endure the ambiguities of reality, as well as a fresh interpretation of the doctrine of the two regiments. These are the fundamental elements of what makes human beings full members of the body politic: citizenship, their right to have rights and to be able to effectively live them, together with their corresponding duties, in a move of growing political participation conscious of their religious motivation in view of the commonweal.