More poems from that raconteur of ribaldry, Arthur Foot III! Yes, Arthur Foot III: poet, artist, bon-vivant and the decidedly male half of Britain's premier Steampunk/Music-Hall/Comedy/Poetry double act The Cogkneys is proud to present his second book of comic poetry, Ribald For Your Pleasure II: Poetic Boogaloo. A collection of yet more rollicking, innuendo-laden verse from the author of 'Trousers', 'Oh! Those Naughty Tentacles' and 'My Fabulous Erection'. Featuring poems about smut, booze and, er, other stuff, this slender yet inviting tome will titillate, amuse and edify. 6" x 9", perfect binding, cream interior paper (60# weight), black and white interior ink, white exterior paper (100# weight), full-colour exterior ink.

Together at last, the three comically terrifying stories featuring Arthur Foot III and Tilly Maydme; Cogkneys vs Zombies, The Shadow over Camber Sands & Curse of the Wamphyr!

Oliver Olson, generically-themed official city superhero of Milwaukee, has finally become more comfortable with his job. After defeating a supervillain in his first few weeks on the job, Oliver is settling into the routine of protecting his city. But now there's a giant blue monster who wants a word. All Oliver wants is a cape.

Presents biographies of twenty-four rock groupies in their own words, including Tura Satana, Miss Mercy, Cynthia Plaster Caster, and Miss B.

What is the essence of black dance in America? To answer that question, Brenda Dixon Gottschild maps an unorthodox 'geography', the geography of the black dancing body, to show the central place black dance has in American culture. From the feet to the butt, to hair to skin/face, and beyond to the soul/spirit, Brenda Dixon Gottschild talks to some of the greatest choreographers of our day including Garth Fagan, Francesca Harper, Meredith Monk, Brenda Buffalino, Doug Elkins, Ralph Lemon, Fernando Bujones, Bill T. Jones, Trisha Brown, Jawole Zollar, Bebe Miller, Sean Curran and Shelly Washington to look at the evolution of black dance and it's importance to American culture. This is a groundbreaking piece of work by one of the foremost African-American dance critics of our day.

"Mr. S: My Life with Frank Sinatra, by former valet-aide George Jacobs with an oh-so-able assist by William Stadiem, has at least five quotable and shocking remarks about the famous on every page. The fifteen years Jacobs toiled for Frank produces a classic of its genre -- a gold-star gossip-lover's dream.... "The rest is showbiz history as it was, and only Ava Gardner, Humphrey Bogart, and Betty Bacall are spared. Marilyn Monroe, Judy Garland, Juliet Prowse, Noel Coward, Cole Porter, Mia Farrow, Elvis Presley, Swifty Lazar, Dean Martin, Peggy Lee, Sammy Davis Jr., Marlene Dietrich, Greta Garbo, Jimmy van Heusen, Edie Goetz, Peter Lawford, and all of the Kennedys come in for heaping portions of 'deep dish,' served hot. Sordid, trashy, funny, and so rat-a-tat with its smart inside info and hip instant analysis that some of it seems too good to be true....

The Funk Era and Beyond is the first scholarly collection to discuss the significance of funk music in America. Contributors employ a multitude of methodologies to examine this unique musical genre's relationship to African American culture and to music, literature, and visual art as a whole.

Examines social and cultural phenomena through the lens of different television shows We all have opinions about the television shows we watch, but television criticism is about much more than simply evaluating the merits of a particular show and deeming it ‘good’ or ‘bad.’ Rather, criticism uses the close examination of a television program to explore that program’s cultural significance, creative strategies, and its place in a broader social context. How to Watch Television brings together forty original essays from today’s leading scholars on television culture, writing about the programs they care (and think) the most about. Each essay focuses on a particular television show, demonstrating one way to read the program and, through it, our media culture. The essays model how to practice media criticism in accessible language, providing critical insights through analysis—suggesting a way of looking at TV that students and interested viewers might emulate. The contributors discuss a wide range of television programs past and present, covering many formats and genres, spanning fiction and non-fiction, broadcast and cable, providing a broad representation of the programs that are likely to be covered in a media studies course. While the book primarily focuses on American television, important programs with international origins and transnational circulation are also covered. Addressing television series from the medium’s earliest days to contemporary online transformations of television, How to Watch Television is designed to engender classroom discussion among television critics of all backgrounds.

Microphone Fiends, a collection of original essays and interviews, brings together some of the best known scholars, critics, journalists and performers to focus on the contemporary scene. It includes theoretical discussions of musical history along with social commentaries about genres like disco, metal and rap music, and case histories of specific movements like the Riot Grrls, funk clubbing in Rio de Janeiro, and the British rave scene.