Der Waschtag sei keine Pflicht. Den mögen meine Socken nicht. Meine Socken sind dann einfach fort, besuchen diesen und jenen Ort, drehen hier und da ihre Runden. Einmal im Monat sind sie verschwunden. Eine gereimte, bilinguale Bildergeschichte von bunten Socken und den Monaten im Jahr. Dieses Buch mit seinem Wimmelbild-Charakter führt dich auf der Suche nach den verschwundenen Socken durch die Ereignisse des Jahres und lässt dich zweisprachig zählen. Der Reim der Geschichte verleitet bereits jüngere Zuhörer zum Nachsprechen sowohl der deutschen als auch der englischen Sätze. Die jeweiligen Ausmalseiten fördern u.a. die Feinmotorik. Und eines ist klar: Gewaschen sind sie alle am Ende vom Jahr. Oder etwa nicht?

Renowned songwriter, singer, and wife of Waylon Jennings writes an intimate, enormously entertaining memoir of American music, of life with Waylon and the Outlaws, and of faith lost and found. The daughter of a Pentecostal evangelist and a race-car driver, Jessi Colter played piano and sang in church before leaving Arizona to tour with rock-n-roll pioneer Duane Eddy, whom she married. Colter became a successful recording artist, appearing on American Bandstand and befriending stars such as the Everly Brothers and Chet Atkins, while her songs were recorded by Nancy Sinatra, Dottie West, and others. Her marriage to Eddy didn’t last, however, and in 1969 she married the electrifying Waylon Jennings. Together, they made their home in Nashville which, in the 1970s, was ground zero for roots music, drawing Bob Dylan, Johnny Cash, Willie Nelson, Kris Kristofferson, Shel Silverstein, and others to the Nashville Sound. And Jessi was at the center of it all, the only woman on the landmark Wanted: The Outlaws album, therecord that launched the Outlaw Country genre and was the first country album to go platinum. She also tasted personal commercial success with the #1-single “I’m Not Lisa.” But offstage, life was a challenge, as Waylon pursued his addictions and battled his demons. Having drifted from the church as a young woman, Jessi returned to her faith and found in it a source of strength in the turmoil of living with Waylon. In the 1980s, Waylon helped launch the super group The Highwaymen with Willie Nelson, Johnny Cash, and Kris Kristofferson, and the hits kept rolling, as did Waylon’s reckless living. Amid it all, Jessi faithfully prayed for her husband until finally, at Thanksgiving 2001, Waylon found Jesus, just months before he died. An Outlaw and a Lady is a powerful story of American music, of love in the midst of heartache, and of faith that sustains.

The Türckische Cammer once owned by the Electors of Saxony is one of the most important collections of its kind worldwide. Unlike the so-called 'Turkish Booty' of the late 17th century, the Electors amassed an exotic collection over several centuries that had little to do with the looting engaged in by Saxon troops on campaigns against the Ottoman Empire. Much more important for this collection, which goes back to the 16th century, were diplomatic presents, an active acquisitions policy and works executed on commission. With the re-opening of the Türckische Cammer after a lapse of nearly seventy years, Dresden has gained another world-class museum to complement the Gemäldegalerie Alte Meister and the Green Vault. In a survey of the collection, which is, of course, much larger, the catalogue showcases fifty choice pieces from the Ottoman period, featuring costumes, showy weapons and exquisite oriental equestrian accoutrements.

"A superb collection, as exciting, in many ways, as the works it chronicles."--Akira Mizuta Lippit, author of Atomic Light (Shadow Optics)

Sweet Sweat, the only novel by Belgian artist Justine Frank, is unusual, to say the least—a blend of feminism, pornography, Judaism, and art, written in French in 1931. Its heroine is a Jewish girl named Rachel, born in the South of France, who has an outstanding talent for debauchery and crime. She takes up with the sybaritic Count Urdukas and sets out with him on an odyssey of pleasure and corruption marked by bizarre events in which horror and humor mingle. This comprehensive new edition of Frank's novel includes an essay and an extensive biography by Israeli American writer and artist Roee Rosen and a timeline tracing key moments in Frank's life, providing a definitive analysis of this once-scandalous novel and its historical and cultural contexts. [As he hovered] over the skinny body, his nostrils were filled with the aroma of horror-sweat that poured from Rachel. He was swept by the scent. His breathing became a guttural purr and his eyes glazed over. Oh, shrewd liqueur of tropical fruits! Ah, venomous crème de cassis! Hurrah, distilled, tyrannical sweetness, tainted neither by a salty tint nor sour hint! Never had the Count been caught by such a fire as was ignited by this sweetness... a carnivorous perfume, as seismic as epilepsy... A smut potion worthy of the sacred nostrils of the Pope! —Justine Frank, Sweet Sweat, 1931 Roee Rosen's paintings, films, and writings have become known for their historical and theological consciousness, novelistic imagination, and psychological ambition. His work addresses the representation of history, the political economy of memory, and the politics of identity, often exploring the tension between trauma, horror, humor, and truth. Rosen was born in Rehovot, Israel, in 1963, and received degrees in visual art from the School of Visual Arts and Hunter College, both in New York. He now lives in Israel, where he teaches art and art history at Bezalel Academy of Art and at Beit Berl College. In 1997 Rosen's controversial exhibition “Live and Die as Eva Braun” at The Israel Museum, Jerusalem, was aggressively attacked by Israeli politicians. It won critical praise, however, for its new approach to the representation of the memory of the Holocaust. Rosen's projects include the exhibition “Justine Frank (1900–1943): A Retrospective” (2009) and the films Two Women and a Man (2005) and The Confessions of Roee Rosen (2008). He has authored the books A Different Face (Shva, 2000), Lucy (Shadurian, 2000), Sweet Sweat (Babel, 2001), and Ziona™ (Keter, 2007). Copublished with Extra City

A philosophical manual of media power for the network age. Evil Media develops a philosophy of media power that extends the concept of media beyond its tried and trusted use in the games of meaning, symbolism, and truth. It addresses the gray zones in which media exist as corporate work systems, algorithms and data structures, twenty-first century self-improvement manuals, and pharmaceutical techniques. Evil Media invites the reader to explore and understand the abstract infrastructure of the present day. From search engines to flirting strategies, from the value of institutional stupidity to the malicious minutiae of databases, this book shows how the devil is in the details. The title takes the imperative “Don't be evil” and asks, what would be done any differently in contemporary computational and networked media were that maxim reversed. Media here are about much more and much less than symbols, stories, information, or communication: media do things. They incite and provoke, twist and bend, leak and manage. In a series of provocative stratagems designed to be used, Evil Media sets its reader an ethical challenge: either remain a transparent intermediary in the networks and chains of communicative power or become oneself an active, transformative medium.

(Piano/Vocal/Guitar Artist Songbook). This stark, beautiful, and simple album features Cash's acoustic guitar playing songs directly out of his mother's old hymnal. Our folio includes all 15 songs: I Shall Not Be Moved * I'll Fly Away * If We Never Meet Again * In the Sweet by and By * Just As I Am * Softly and Tenderly * When the Roll Is Called up Yonder * and more.

X93;Truth is concrete” collects 100 strategies by artists, activists and theorists, mapping the broad field of engaged art and artistic activism today. Additional essays focus on the philosophy, structures and modalities behind the many fights to make this world a better place.