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Now a major film! New York Times bestselling author and “one of America’s top cultural critics” (Entertainment Weekly) Chuck Klosterman’s debut novel brilliantly captures the charm and dread of small-town life. Somewhere in rural North Dakota, there is a fictional town called Owl. They don’t have cable. They don’t really have pop culture, but they do have grain prices and alcoholism. People work hard and then they die. But that’s not nearly as awful as it sounds; in fact, sometimes it’s perfect. Mitch Hrlicka lives in Owl. He plays high school football and worries about his weirdness, or lack thereof. Julia Rabia just moved to Owl. A history teacher, she gets free booze and falls in love with a self-loathing bison farmer. Widower and local conversationalist Horace Jones has resided in Owl for seventy-three years. They all know each other completely, except that they’ve never met. But when a deadly blizzard—based on an actual storm that occurred in 1984—hits the area, their lives are derailed in unexpected and powerful ways. An unpretentious, darkly comedic story of how it feels to exist in a community where local mythology and violent reality are pretty much the same thing, Downtown Owl is “a satisfying character study and strikes a perfect balance between the funny and the profound” (Publishers Weekly).
Land use and development patterns are the result of a complex interaction of demographic trends, economic circumstances, and social attitudes. Technological advancements in areas such as transportation and construction, and the availability and cost of key natural resources, including land, fresh water, and energy, also have a profound impact on urban spatial patterns. Consequently, the determinants of urban spatial form are dramatically different today from the forces that acted to shape American cities in the past.In order for land use controls to be effective, regulations on the use of land must keep abreast of changes in the factors affecting the demand for land. Zoning ordinances, subdivision regulations, and building codes have drawn criticism in recent years from land use planners, developers, environmentalists, and others involved in or concerned with the land use planning process. The myriad problems associated with the rapid growth and expansion of suburbia and, more recently, of exurbia, have been answered with traditional land regulatory mechanisms that have had only mixed success.How have controls been adapted to meet the demands of increasingly complex development patterns? How successful have these modifications been in achieving more efficient spatial configurations and less costly building practices? These issues are the subject of the readings that have been gathered together by James H. Carr and Edward E. Duensing. Beginning with factors affecting land use demand, this volume presents an analysis of current state-of-the-art land use controls, reviews the shortcomings of the current land regulatory system, and suggests certain modifications to improve urban spatial development patterns. The concluding chapters discuss land use issues for future consideration.
David Gere, who came of age as a dance critic at the height of the AIDS epidemic, offers the first book to examine in depth the interplay of AIDS and choreography in the United States, specifically in relation to gay men. The time he writes about is one of extremes. A life-threatening medical syndrome is spreading, its transmission linked to sex. Blame is settling on gay men. What is possible in such a highly charged moment, when art and politics coincide? Gere expands the definition of choreography to analyze not only theatrical dances but also the protests conceived by ACT-UP and the NAMES Project AIDS quilt. These exist on a continuum in which dance, protest, and wrenching emotional expression have become essentially indistinguishable. Gere offers a portrait of gay male choreographers struggling to cope with AIDS and its meanings.
From their heyday in the 1950s and 1960s, B movies declined in popularity through the 1970s. As the big Hollywood studios began to make genre films with sky-high budgets, independent producers of low-budget movies could not compete in theaters. The sale of American International Pictures in 1979 and New World Pictures in 1983 marked the end of an era. The emergence of home video in the 1980s marked the beginning of a new phase, as dozens of B movies were produced each year for the small screen, many becoming cult classics of science fiction, horror and fantasy. Through numerous interviews with producers, directors, photographers and actors, this book sheds light on an overlooked corner of film history with behind-the-scenes stories of 28 low-budget favorites from the 1980s.