Why should America try to be more like countries that are worse in nearly every way? Europe has been declining under the weight of its antiquated institutions, economic fatigue, moral anemia and cultural surrender. Yet American politicians, technocrats, academics, and pundits argue, with increasing popularity, that Americans should look across the Atlantic for solutions to the nation’s problems, including on issues like health care, the welfare state, immigration, and a bloated bureaucracy. In Eurotrash, David Harsanyi argues we are looking in the wrong place. By every economic and societal measure, the United States is more tolerant than Europe. It is more welcoming of immigrants, but also far more successful at assimilating them. Minorities do far better in United States. Our economy is dominant. Only one European company appears in top 10 corporate powerhouses in the world and only seven in the top 50. Americans make up nearly half of the list. Americans are far more charitable and happier than Europeans. Our slightly lower life expectancy and our slightly higher infant mortality rate are not a result of substandard care, but a statistical misunderstanding based on the fact we treat every life as one worth saving. In this biting, fast-moving, and well-researched polemic, Harsanyi debunks prevailing notions about European supremacy and makes an unapologetic case for American exceptionalism, offering insight and reasoned arguments to counter current policy prescriptions.

Whether defined by comic excesses, cult horrors, or surreal vampire experimentations, trash and exploitation cinema represents the alternative face of European film. Although extremely popular with post-war audiences, these historically significant traditions of 'Eurotrash' have often been ridiculed or ignored by an established film criticism eager to define 'legitimate' European cinema as either avant-garde or socially realist. Alternative Europe: Eurotrash and Exploitation Cinema Since 1945 investigates these previously under-explored national traditions of film culture, with essays and festival reports uncovering the social and cultural trends and tensions within a wide range of European exploitation movies. The volume considers such engaging and challenging topics as Russian, Belgian and Italian horror cinema, Gothic musclemen movies, Nazi 'sexploitation' cycles, German erotic cinema and 1970s European 'rogue cop' thrillers. Alternative Europe also includes interviews with trash directors and icons such as Brian Yuzna, J'rg Buttgereit and Giovanni Lombardo Radice.

"Irvine Welsh's scintillating, disturbing, and altogether outrageous collection of stories—the basis for the 1998 cult movie directed by Paul McGuigan"--

“What are you working on?” “An anthology of blogs.” “I didn’t know you had a blog.” “I don’t. It’s an anthology of other people’s blogs.” “How do you find good blogs?” “I read. I surf. I look at blog contests. I follow links. I ask people about the blogs they like.” “Is a good blog hard to find?” “Yes. Very.” A Book of Blogs? WTF!! Sarah Boxer, a former New York Times reporter and critic, travels through the blogosphere (more than 80 million blogs — and counting) and finds some masterpieces along the way. Among the bloggers in the anthology are: two fashion critics mocking the inexplicable “fugliness” of celebrities a Marine Corps lieutenant stationed in Fallujah in 2006 a 19-year old student in Singapore cheerfully pining for her ex an illustrator’s tiny saga of a rodent and his ball of crap Odysseus’s sidekick telling his side of the Iliad and Odyssey Revealing and deceptive, grand and niggling, worldly and parochial, these blogs comprise a snapshot of life on the wild, wild Web.

What's wrong with Europe? Ignoring the fact that the EU is a grotesque, officious money sucking totalitarian machine that devours national sovereignty and pukes out unwanted, unwelcome and intrusive legislation, there's a whole variety of other reasons including: Shops that open at 10am and close at 4pm - with a two-hour lunch break in between. Oompah bands. Restaurant staff with the manners of a gibbon and the sense of urgency of a sloth. Parisians. Police forces who are the bastard offspring of the Gestapo and the Stasi. The whole concept of 'mañana. 'National costumes that are as preposterous as they are pointless. Polish spelling. Drivers who view speed limits as targets rather than warnings. Yodelling. Bouzouki music. Street signs that are a homage to small typography rather than an actual guide to your location. Donkey abuse. Women who act under the misguided idea that armpit hair is remotely sexy. The 24hr clock. Using a comma as a decimal point. Father Abraham and the Smurfs. Eurodisco. Eurozone. Eurotrash. Eurovision. Anything else preceded by the word 'Euro' (apart from Euro sceptic). The Cheeky Girls. This is less of a guidebook and more of a warning...

Tracing the history of economic sanctions from the blockades of World War I to the policing of colonial empires and the interwar confrontation with fascism, Nicholas Mulder combines political, economic, legal, and military history to reveal how a coercive wartime tool was adopted as an instrument of peacekeeping by the League of Nations.This timely study casts an overdue light on why sanctions are widely considered a form of war, and why their unintended consequences are so tremendous.

While largely unknown today, Danish writer Jens Peter Jacobsen was the leading prose writer in Scandinavia in the late nineteenth century. Despite his untimely death from tuberculosis at the age of thirty-eight, Jacobsen became a cult figure to an entire generation and continues to occupy an important place in Scandinavian cultural history. In this book, Morten Høi Jensen gives a moving account of Jacobsen's life, work, and death.--Adapted from book jacket.

This volume explores the lower reaches of cinema and its paradoxical appeal. It looks at films from the B-movies of the 1930s to the mockbusters of today, and from the New York underground to the genre variations of Turkey's Yesilçam studios (and their YouTube afterlife). Critically examining the reasons for studying, denigrating, or celebrating the detritus of film history, it also considers the place of a trash aesthetic within and beyond 1960s American avant-garde and looks at the cult of trash in the fanzines of the 1980s. It draws on debates about cult, paracinema, and camp, arguing that trash cinema exists in relation to these but brings with it a particular history that includes the ordinary as well as the strange. Trash Cinema places these debates, and the strand of self-proclaimed low culture that emerged in the second half of the twentieth century, within a historical and international perspective. It focuses on American cinema history but addresses Eurotrash reception as well as the related field of garbology, examining trash cinema as a distinct but fluid category.

As a RAF Chinook crewman, Mick Fry’s exposure to Afghanistan spanned over 10 years and countless deployments, from watching 9/11 unfold in Australia, leaving the deck of HMS Ocean off the coast of Pakistan under the cover of darkness all the way through numerous fighting seasons and the chaos of Helmand Province. The Chinook helicopter was the workhorse of the British Military operations in Afghanistan, and the crews from RAF Odiham were confronted by their own mortality on an almost daily basis as they worked tirelessly and skillfully to support the troops on the ground. Whether it was taking part in air assault missions against a determined enemy, or extracting casualties from the battlefield under fire, and in a life or death race against time, Mick witnessed both the best and worst of humanity on a daily basis. His story is both gripping and confronting. It takes the reader on a journey through combat operations in both Iraq and Afghanistan. The Author paints a gritty picture of repeated operational deployments, balancing harrowing scenes and the ever present threat of death with the humor and camaraderie of comrades and the exhilaration of surviving Taliban RPG’s and AK47 fire.