For more than twenty years, film critic, teacher, activist, and fan Thomas Waugh has been writing about queer movies. As a member of the Jump Cut collective and contributor to the Toronto-based gay newspaper the Body Politic, he emerged in the late 1970s as a pioneer in gay film theory and criticism, and over the next two decades solidified his reputation as one of the most important and influential gay film critics. The Fruit Machine—a collection of Waugh’s reviews and articles originally published in gay community tabloids, academic journals, and anthologies—charts the emergence and maturation of Waugh’s critical sensibilities while lending an important historical perspective to the growth of film theory and criticism as well as queer moviemaking. In this wide-ranging anthology Waugh touches on some of the great films of the gay canon, from Taxi zum Klo to Kiss of the Spider Woman. He also discusses obscure guilty pleasures like Born a Man . . . Let Me Die a Woman, unexpectedly rich movies like Porky’s and Caligula, filmmakers such as Fassbinder and Eisenstein, and film personalities from Montgomery Clift to Patty Duke. Emerging from the gay liberation movement of the 1970s, Waugh traverses crises from censorship to AIDS, tackling mainstream potboilers along with art movies, documentaries, and avant-garde erotic videos. In these personal perspectives on the evolving cinematic landscape, his words oscillate from anger and passion to wry wit and irony. With fifty-nine rare film stills and personal photographs and an introduction by celebrated gay filmmaker John Greyson, this volume demonstrates that the movie camera has been the fruit machine par excellence.

From the 1950s to the late 1990s, agents of the state spied on, interrogated, and harassed gays and lesbians in Canada, employing social ideologies and other practices to construct their targets as threats to society. Based on official security documents and interviews with gays, lesbians, civil servants, and high-ranking officials, this path-breaking book discloses acts of state repression and forms of resistance that raise questions about just whose national security was being protected. Passionate and personalized, this account of how the state used the ideology of national security to wage war on its own people offers ways of understanding, and resisting, contemporary conflicts such as the "war on terror."

Summary: "This book provides a fascinating insight to the vibrant street style of the "Sapeurs", the elegant and immaculately dressed dandies from the heart of the Congo. The Sapeurs today belong to 'Le SAPE' (Societe des Ambianceurs et des Personnes Élégantes, or the Society of Tastemakers and Elegant people) - one of the world's most exclusive clubs. Members have their own code of honour, codes of professional conduct and strict notions of morality. It is a world within a world within a city. Designer brands of suits and accessories are of the utmost importance to Sapeurs - Pierre Cardin, Roberto Cavalli, Dior, Fendi, Gaultier, Gucci, Issey Miyake, Prada, Yves Saint Laurent, Versace, Yohji Yamamoto - are their patron saints. Unlike some US hip-hop gangs who are dressed in similar fine threads, there is no bloodshed here - here your clothes do all the fighting for you, otherwise you are not fit to be called a Sapeur. The result is a unique and inspiring style, that has captured the imagination of people all over the world - the sapeurs are now truly the kings of elegance"-- Publisher's web site.

Marching To The Freedom Dream presents American photojournalist Dan Budniks significant body of work documenting three seminal marches of the civil rights movement. It is published to coincide with the 50th anniversary of the Civil Rights Act of 1964, and precedes the 50th anniversaries of the Selma-Montgomery March and the Voting Rights Act in 2015. An introduction to the book is written by prolific civil rights activist, Harry Belafonte.

Would you believe that RCMP operatives used to spy on Tupperware parties? In the 1950s and ’60s they did. They also monitored high school students, gays and lesbians, trade unionists, left-wing political groups, feminists, consumer’s associations, Black activists, First Nations people, and Quebec sovereigntists. The establishment of a tenacious Canadian security state came as no accident. On the contrary, the highest levels of government and the police, along with non-governmental interests and institutions, were involved in a concerted campaign. The security state grouped ordinary Canadians into dozens of political stereotypes and labelled them as threats. Whose National Security? probes the security state’s ideologies and hidden agendas, and sheds light on threats to democracy that persist to the present day. The contributors’ varied approaches open up avenues for reconceptualizing the nature of spying.

Prepare to have your conception of truth rocked to its very foundation. It is the year 2004. Violent crime is the number one political issue in America. Now, the Swift and Sure Anti-Crime Bill guarantees a previously convicted violent criminal one fair trial, one quick appeal, then immediate execution. To prevent abuse of the law, a machine must be built that detects lies with 100 percent accuracy. Once perfected, the Truth Machine will change the face of the world. Yet the race to finish the Truth Machine forces one man to commit a shocking act of treachery, burdening him with a dark secret that collides with everything he believes in. Now he must conceal the truth from his own creation . . . or face his execution. By turns optimistic and chilling--and always profound--The Truth Machine is nothing less than a history of the future, a spellbinding chronicle that resonates with insight, wisdom . . . and astounding possibility. "PROFOUND." --Associated Press

Mark Griffiths has carried out extensive research into why some adolescents get hooked on gambling, how they gamble and what can be done about it. In this book he provides an overview of adolescent gambling worldwide.

"Nick Waplington: Alexander McQueen", Tate Britain exhibition 10 March - 17 May 2015. This major exhibition is the result of a unique collaboration between the artist Nick Waplington (b 1965) and the acclaimed fashion designer Alexander McQueen (1969-2010). In 2009, Waplington was given unprecedented access to McQueen's idiosyncratic creative journey as he prepared his final Autumn/Winter collection, Horn of Plenty. McQueen conceived the Horn of Plenty collection as an iconoclastic retrospective of his career in fashion, reusing silhouettes and fabrics from his earlier collections, and creating a catwalk set out of discarded elements from the sets of his past shows. Their collaboration reveals a raw side of the fashion world, juxtaposing Waplington's candid images of McQueen's intense and theatrical working process with rigorously produced photographs of recycling plants and landfills, creating a powerful commentary on destruction and creative renewal".--Tate website.