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Thank You, Anarchy is an up-close, inside account of Occupy Wall Street’s first year in New York City, written by one of the first reporters to cover the phenomenon. Nathan Schneider chronicles the origins and explosive development of the Occupy movement through the eyes of the organizers who tried to give shape to an uprising always just beyond their control. Capturing the voices, encounters, and beliefs that powered the movement, Schneider brings to life the General Assembly meetings, the chaotic marches, the split-second decisions, and the moments of doubt as Occupy swelled from a hashtag online into a global phenomenon. A compelling study of the spirit that drove this watershed movement, Thank You, Anarchy vividly documents how the Occupy experience opened new social and political possibilities and registered a chilling indictment of the status quo. It was the movement’s most radical impulses, this account shows, that shook millions out of a failed tedium and into imagining, and fighting for, a better kind of future.
Set between the third and fourth episodes of season four of the groundbreaking television drama Sons of Anarchy, from the mind of Executive Producer Kurt Sutter... With half of the club recently released from Stockton State Penitentiary, and the Galindo drug cartel bringing down heat at every turn, the MC already has its hands full. Yet Jax Teller the V.P. of SAMCRO has another problem to deal with. He just learned that his Irish half-sister Trinity has been in the U.S. for months entangled with Russian BRATVA gangsters. Now that she's abruptly gone missing, he's sure the brewing mafia war is connected to her disappearance. Jax heads to Nevada with Chibs and Opie to search for her and seek revenge. Trinity may be half-Irish, but she's also half-Teller and where Teller's go, trouble follows.
Mina knew being the Queen of Appalachia wouldn't be easy, but she didn't expect so many things to go wrong all at once. After spending the first six months of her reign preparing to unveil vampires to humans, chaos erupts when the events don't go as planned. She's overwhelmed with the fallout, and it's made worse when the witches demand her help in tracking down a deadly threat. The half-human, half-vampire thought being stuck between two worlds was her biggest problem, but it's nothing compared to the challenges ahead.
Mina Byron wants to be just like every other high school senior, but as one of the only half-human, half-vampires in existence, she's far from normal. After having the first eighteen years of her life dictated by whatever is best for the vampires around her, she wants to embrace her humanity. When her uncle, the vampire King of Appalachia, agrees to send her to a private high school and integrate into the culture of the living and breathing, it's not without sacrifice on her part. As she attempts to find herself, love, and friendship in the human world, she has to reconcile the future he has planned for her in the vampire one.
Bearded bomb-throwers, self-indulgent nihilists, dangerous subversives.these characteristic clichés of anarchists in the popular imagination are often reproduced in the cinema. In Film and the Anarchist Imagination, the first comprehensive survey of anarchism in film, Richard Porton deconstructs such stereotypes while offering an authoritative account of films featuring anarchist characters and motifs. From the early cinema of Griffith and René Clair, to the work of Godard, Lina Wertmüller, Lizzie Borden and Ken Loach, Porton analyzes portrayals of anarchism in film, presenting commentaries and critiques of such classics as Zéro de Conduite, Tout Va Bien, and Love and Anarchy. In addition, he provides an excellent guide to the complex traditions of anarchist thought, from Bakunin and Kropotkin to Emma Goldman and Murray Bookchin, disclosing a rich historical legacy that encompasses the Paris Commune, the Haymarket martyrs, the anarcho-syndicalists of the Spanish Civil War, as well as more familiar contemporary avatars like the Situationists and the enragés of May 1968.
The United States has always imagined that its identity as a nation is insulated from violent interventions abroad, as if a line between domestic and foreign affairs could be neatly drawn. Yet this book argues that such a distinction, so obviously impracticable in our own global era, has been illusory at least since the war with Mexico in the mid-nineteenth century and the later wars against Spain, Cuba, and the Philippines. In this book, Amy Kaplan shows how U.S. imperialism--from "Manifest Destiny" to the "American Century"--has profoundly shaped key elements of American culture at home, and how the struggle for power over foreign peoples and places has disrupted the quest for domestic order. The neatly ordered kitchen in Catherine Beecher's household manual may seem remote from the battlefields of Mexico in 1846, just as Mark Twain's Mississippi may seem distant from Honolulu in 1866, or W. E. B. Du Bois's reports of the East St. Louis Race Riot from the colonization of Africa in 1917. But, as this book reveals, such apparently disparate locations are cast into jarring proximity by imperial expansion. In literature, journalism, film, political speeches, and legal documents, Kaplan traces the undeniable connections between American efforts to quell anarchy abroad and the eruption of such anarchy at the heart of the empire.
The story of the birth of Punk, with a capital P, in the only country where it was a mainstream movement: the UK, told entirely by eye-witnesses whose words, then and now, have been held up to the light of hindsight.