Uproarious advice and never-before-seen color photos from drag queen extraordinaire Bianca Del Rio The cheeky, larger-than-life drag queen and outrageous comic—"The Joan Rivers of the Drag World," (New York Times)—who isn’t afraid to shock or offend brings her trademark acerbic wit and sharp commentary to the page in an illustrated collection of advice. When it comes to insult comics, Bianca Del Rio is in a class by herself. Fierce, funny, and fabulous—a would-be love child sired by John Waters and birthed by Joan Rivers—Bianca sandblasted her name in the annals of pop culture on RuPaul’s Drag Race. Thanks to her snarky frankness, impeccable comedic timing, and politically incorrect humor, she became the show’s breakout star, winning its sixth season. In Blame It On Bianca Del Rio, Bianca shares her opinions loudly and proudly, offering raucous, hilarious, no-holds-barred commentary on the everyday annoyances, big and small, that color her world, and make it a living, albeit amusing, hell for anyone who inhabits it. A collection of biting advice filled with vibrant photos from Bianca’s twisted universe, Blame It On Bianca Del Rio will shock you and keep you laughing. But be warned: it is not for the faint of heart!

"'Would you like to be a Hero?' It's what many dream of, and what one young girl is offered when she is woken by a mysterious stranger with a television for a head. In the middle of the night, she is whisked away into a world of fantastical metaphor, where emotions take physical form and the inanimate comes alive. Surrounded by a cast of whimsical characters and unnamed dangers, and guided by the stranger RGB, who has terrifying secrets of his own, she must find it within herself to choose her own path amid the destiny that has been chosen for her." --

This book is a collection of the 2004, 2005 and 2006 annual reports as well as some additional statistics on 2007 compiled by Moscow’s SOVA Center for Information and Analysis. The reports are devoted to such issues as political nationalism; hate crimes; the use of police, administrative, political and social tools to counteract xenophobic violence; and the Russian authorities’ abuse of laws designed to counteract extremism, i.e. their cynical exploitation of this legislation for their own political purposes. Already in the middle of this decade, all of these problems were known to pose a certain threat to Russian society. In spite of the considerable public attention they received since then, only few effective measures have been taken and, thus, the situation is getting worse: The level of racist violence is increasing further and the spectrum of ultra-nationalist groups is consolidating. Moreover, representatives of the political elite have started to adopt cryptic and, sometimes, overtly xenophobic rhetoric. At the same time, the government’s current office holders actively utilize anti-extremist legislation to unlawfully restrict not only ultra-nationalist groups, but also the rights and liberties of other non-governmental and political organizations.

Saying No to Hate grounds readers in the history of antisemitism in America, emphasizing the strategies Jews have used to address threats and thereby preparing us to recognize, understand, and confront hatred today.

Centered on the musical experiences of homosexual men in St. Petersburg and Moscow, this ground-breaking study examines how post-Soviet popular music both informs and plays off of a corporeal understanding of Russian male homosexuality. Drawing upon ethnography, musical analysis, and phenomenological theory, Stephen Amico offers an expert technical analysis of Russian rock, pop, and estrada music, dovetailing into an illuminating discussion of homosexual men's physical and bodily perceptions of music. He also outlines how popular music performers use song lyrics, drag, physical movements, images of women, sexualized male bodies, and other tools and tropes to implicitly or explicitly express sexual orientation through performance. Finally, Amico uncovers how such performances help homosexual Russian men to create their own social spaces and selves, in meaningful relation to others with whom they share a "nontraditional orientation."

The Complete Hate is a three-volume set that includes the original 1990-1998 30-issue run, the nine subsequent Hate Annuals, and tons of other Hate-related comics, illustrations, and ephemera created for books, magazines, comics, toys, and other merchandise. Bagge combined his cartoony drawing style with uncomfortably real Gen X characters, and the comic books resonated with readers. Book One (Hate 1-15), focuses on young Buddy Bradley's travails in early 1990s Seattle. Book Two focuses on Buddy and his girlfriend Lisa Leavenworth's move back to Buddy's native New Jersey (and a switch from black-and-white to full color). Book Three features the final arc of Bagge's magnum opus, as Buddy and Lisa become parents (and buy a garbage dump).

They call California the Granola State — a place where every inhabitant is a fruit, a flake, or a nut. They don’t get any fruitier, flakier, or nuttier than the deviants, crackpots, and losers profiled in “California Fruits, Flakes, and Nuts.” A freewheeling catalog of misfits, eccentrics, creeps, criminals, and failed dreamers, “California Fruits, Flakes, and Nuts” profiles 45 bizarre personalities who exemplify the Golden State’s well-deserved reputation for nonconformity. “California Fruits, Flakes and Nuts” tells the history that gets cleaned out of respectable history books. In these pages, Gold Rush pioneers are revealed as murderous madmen; Hollywood celebrities are shown to be drug-addled sex maniacs; early hippies are just 1950s weirdos; and even seemingly ordinary Californians have a talent for freakish, crazy, and criminal behavior. From frontier lunatic Grizzly Adams (whose head was one massive wound after multiple bear attacks) to “I Love Lucy” star William Frawley (a racist, misogynist, foul-mouthed drunk) to legendarily awful film director Ed Wood and many more nutjobs and oddballs , “California Fruits, Flakes, and Nuts” is a side-splitting look at the people who made California the strangest place on earth.

This book examines Russia's 2013 anti-gay laws and their implications for the Sochi 2014 Olympics. Lenskyj argues that Putin's Russia and the International Olympic Committee wield power in similar ways, as evident in undemocratic governance, fraudulent voting processes, hypocrisy and absence of accountability.

More than any other people on earth, we Americans are free to say and write what we think. The press can air the secrets of government, the corporate boardroom, or the bedroom with little fear of punishment or penalty. This extraordinary freedom results not from America’s culture of tolerance, but from fourteen words in the constitution: the free expression clauses of the First Amendment.InFreedom for the Thought That We Hate, two-time Pulitzer Prize-winner Anthony Lewis describes how our free-speech rights were created in five distinct areas—political speech, artistic expression, libel, commercial speech, and unusual forms of expression such as T-shirts and campaign spending. It is a story of hard choices, heroic judges, and the fascinating and eccentric defendants who forced the legal system to come face to face with one of America’s great founding ideas.

In the United States, people are deeply divided along lines of race, class, political party, gender, sexuality, and religion. Many believe that historical grievances must eventually be left behind in the interest of progress toward a more just and unified society. But too much in American history is unforgivable and cannot be forgotten. How then can we imagine a way to live together that does not expect people to let go of their entrenched resentments? Living with Hate in American Politics and Religion offers an innovative argument for the power of playfulness in popular culture to make our capacity for coexistence imaginable. Jeffrey Israel explores how people from different backgrounds can pursue justice together, even as they play with their divisive grudges, prejudices, and desires in their cultural lives. Israel calls on us to distinguish between what belongs in a raucous “domain of play” and what belongs in the domain of the political. He builds on the thought of John Rawls and Martha Nussbaum to defend the liberal tradition against challenges posed by Frantz Fanon from the left and Leo Strauss from the right. In provocative readings of Lenny Bruce’s stand-up comedy, Philip Roth’s Portnoy’s Complaint, and Norman Lear’s All in the Family, Israel argues that postwar Jewish American popular culture offers potent and fruitful examples of playing with fraught emotions. Living with Hate in American Politics and Religion is a powerful vision of what it means to live with others without forgiving or forgetting.