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The Rock 'N' Roll Exterminator: A Hip and Happening Guide to Getting Rid of Rats, Mice, Bugs, and Other Annoying Creatures is a fun, practical, and easy-to-read guide to getting rid of pests in your home. It's more than just a how-to guide: it's a humorous yet useful look at the simple reality of both city and rural living. The Rock 'N' Roll Exterminator features real-life horror stories and pest tales. You'll laugh. You'll cry. You'll never look at an open box of cereal the same way again. Includes strategies for getting rid of: Mice Rats Bedbugs Cockroaches and more!
The Group is a book that talks to people who are successful in an economy that they do not believe in. Aimed at those for whom it is fashionable to be knowing, it tells the story of Khaled, an arch-cynic for whom everyone is a fake or a loser. The only problem is Khaled has done very little himself that he can be proud of and is beginning to bore himself. Faced with the prospect of drifting through life in obscurity he dreams up a satirical scam to reveal how easily people can be manipulated, and how thin their dreams and aspirations are. But rather than escape The Group, his scam only serves to show how hollow he has become, and how he needs to completely recalibrate his own life. The Group is a dark and wickedly funny book, a modern media satire about people who tell lies and people who believe them.
Bob Dillon can't get a break. A down-on-his-luck exterminator, all he wants is his own truck with a big fiberglass bug on top -- and success with his radical new, environmentally friendly pest-killing technique. So Bob decides to advertise. Unfortunately, one of his flyers falls into the wrong hands. Marcel, a shady Frenchman, needs an assassin to handle a million-dollar hit, and he figures that Bob Dillon is his man. Through no fault -- or participation -- of his own, this unwitting pest controller from Queens has become a major player in the dangerous world of contract murder. And now Bob's running for his life through the wormiest sections of the Big Apple -- one step ahead of a Bolivian executioner, a homicidal transvestite dwarf, meatheaded CIA agents, cabbies packing serious heat ... and the world's number-one hit man, who might just turn out to be the best friend Bob's got.
Drooling fanatic, n. 1. One who drools in the presence of beloved rock stars. 2. Any of a genus of rock-and-roll wannabes/geeks who walk around with songs constantly ringing in their ears, own more than 3,000 albums, and fall in love with at least one record per week. With a life that’s spanned the phonographic era and the digital age, Steve Almond lives to Rawk. Like you, he’s secretly longed to live the life of a rock star, complete with insane talent, famous friends, and hotel rooms to be trashed. Also like you, he’s content (sort of) to live the life of a rabid fan, one who has converted his unrequited desires into a (sort of) noble obsession. Rock and Roll Will Save Your Life traces Almond’s passion from his earliest (and most wretched) rock criticism to his eventual discovery of a music-crazed soul mate and their subsequent production of two little superfans. Along the way, Almond reflects on the delusional power of songs, the awkward mating habits of drooling fanatics, and why Depression Songs actually make us feel so much better. The book also includes: • sometimes drunken interviews with America’s finest songwriters • a recap of the author’s terrifying visit to Graceland while stoned • a vigorous and credibility-shattering endorsement of Styx’s Paradise Theater • recommendations you will often choose to ignore • a reluctant exegesis of the Toto song “Africa” • obnoxious lists sure to piss off rock critics But wait, there’s more. Readers will also be able to listen to a special free mix designed by the author, available online at www.stevenalmond.com, for the express purpose of eliciting your drool. For those about to rock—we salute you!
Finding work is easy. Staying alive is a little bit harder. When Russ Wesley finds an unusual artifact in his grandfather’s collection of rare antiquities, the last thing he expects is for it to draw the attention of a ferocious alien from a distant planet. Equally surprising is the adventurous team of intergalactic exterminators dispatched to deal with the alien threat. They’re a little wild, and a little reckless. Worse yet, they’re so impressed with Russ’s marksmanship that they insist he join their squad . . . whether he wants to or not.
Text and Drugs and Rock'n'Roll explores the interaction between two of the most powerful socio-cultural movements in the post-war years - the literary forces of the Beat Generation and the musical energies of rock and its attendant culture. Simon Warner examines the interweaving strands, seeded by the poet/novelists Jack Kerouac, Allen Ginsberg, William Burroughs and others in the 1940s and 1950s, and cultivated by most of the major rock figures who emerged after 1960 - Bob Dylan, the Beatles, Bowie, the Clash and Kurt Cobain, to name just a few. This fascinating cultural history delves into a wide range of issues: Was rock culture the natural heir to the activities of the Beats? Were the hippies the Beats of the 1960s? What attitude did the Beat writers have towards musical forms and particularly rock music? How did literary works shape the consciousness of leading rock music-makers and their followers? Why did Beat literature retain its cultural potency with later rock musicians who rejected hippie values? How did rock musicians use the material of Beat literature in their own work? How did Beat figures become embroiled in the process of rock creativity? These questions are addressed through a number of approaches - the influence of drugs, the relevance of politics, the effect of religious and spiritual pursuits, the rise of the counter-culture, the issue of sub-cultures and their construction, and so on. The result is a highly readable history of the innumerable links between two of the most revolutionary artistic movements of the last 60 years.
Lost Joy collects the writing that first brought Camden Joy wide attention in the mid-90s, when he wheatpasted his “manifestoes” around New York, excoriating the music industry and celebrating unsung geniuses of rock and roll. Joy’s voice—heartfelt, mocking, lyrical, razor-sharp—earned comparisons to the likes of Allen Ginsberg, Patti Smith, and Nick Hornby. Rooted in DIY zine culture, his rants prefigure the unfettered public expression of personal views that would explode with the rise of the Internet, and enact in words what Banksy would later achieve in art. Joy’s groundbreaking early fiction, in which his characters often invoke musicians and songs, is also included here. These haunting stories explore the many ways in which we use music to communicate our feelings and make sense of our memories.
He came from Outer Space... It was the greatest invention in the history of pop music – the rock god who came from the stars – which struck a young David Bowie like a lightning bolt from the heavens. When Ziggy the glam alien messiah fell to Earth, he transformed Bowie from a prodigy to a superstar who changed the face of music forever. But who was Ziggy Stardust? And where did he really come from? In a work of supreme pop archaeology, Simon Goddard unearths every influence that brought Ziggy to life – from HG Wells to Holst, Kabuki to Kubrick, and Elvis to Iggy. Ziggyology documents the epic drama of the Starman’s short but eventful time on Planet Earth... and why Bowie eventually had to kill him.
Percussion is an attempt—in the author’s words—to make sense of "senseless beating," to grasp how rhythm makes sense in music and society. Both a scholar and a former professional drummer, John Mowitt forges a striking encounter between cultural studies and new musicology that seeks to lay out the "percussive field" through which beating—specifically the backbeat that defines early rock-and-roll—comes to matter for raced, urban subjects. For Mowitt, percussion is both an experience of embodiment—making contact in and on the skin—and a provocation for critical theory itself. In delimiting the percussive field, he plays drumming off against the musicological account of the beat, the sociological account of shock and the psychoanalytical account of fantasy. In the process he touches on such topics as the separation of slaves and drums in the era of the slave trade, the migration of rural blacks to urban centers of the North, the practice and politics of "rough music," the links between interpellation and possession, the general strike, beating fantasies, and the concept of the "skin ego." Percussion makes a fresh and provocative contribution to cultural studies, new musicology, the history of the body and critical race theory. It will be of interest to students of cultural studies and critical theory as well as readers with a serious interest in the history of music, rock-and-roll and drumming.