"Wholly riveting." --New York Times Book Review "Justine Bateman was famous before selfies replaced autographs, and bags of fan mail gave way to Twitter shitstorms. And here's the good news: she took notes along the way. Justine steps through the looking glass of her own celebrity, shatters it, and pieces together, beyond the shards and splinters, a reflection of her true self. The transformation is breathtaking. Revelatory and raucous, fascinating and frightening, Fame is a hell of a ride." --Michael J. Fox, actor, author of A Funny Thing Happened on the Way to the Future "In a new book, Fame: The Hijacking of Reality, the two-time Emmy nominee takes a raw look at the culture of celebrity, reflecting on her stardom at its dizzying peak--and the 'disconcerting' feeling as it began to fade." --People Magazine A Book Soup (Los Angeles, CA) best seller, October 15–21, 2018 "As the title Fame: The Hijacking of Reality more than implies, this is a book about the complicated aspects of all things fame." --Vanity Fair "Bateman digs into the out-of-control nature of being famous, its psychological aftermath and why we all can't get enough of it." --New York Post "The Family Ties alum has written the rawest, bleakest book on fame you're ever likely to read. Bateman's close-up of the celeb experience features vivid encounters with misogyny, painful meditations on aging in Hollywood, and no shortage of theses on social media's wrath." --Entertainment Weekly "Bateman addresses the reader directly, pouring out her thoughts in a rapid-fire, conversational style. (Hunter S. Thompson is saluted in the acknowledgments.)...But her jittery delivery suits the material--the manic sugar high of celebrity and its inevitable crash. Bateman takes the reader through her entire fame cycle, from TV megastar, whose first movie role was alongside Julia Roberts, to her quieter life today as a filmmaker. She is as relentless with herself as she is with others." --Washington Post "While Bateman's new book Fame: The Hijacking of Reality (out now) touches on the former teen starlet's experience in the public eye, it's not a memoir. Far from it, in fact--it's instead an intense meditation on the nature of fame, and a glimpse into the repercussions it has on both the individual experiencing it and the society that keeps the concept alive." --Entertainment Weekly "Bateman takes an unsentimental look at the nature of celebrity worship in her first book, Fame: The Hijacking of Reality." --LA Weekly Entertainment shows, magazines, websites, and other channels continuously report the latest sightings, heartbreaks, and triumphs of the famous to a seemingly insatiable public. Millions of people go to enormous lengths to achieve Fame. Fame is woven into our lives in ways that may have been unimaginable in years past. And yet, is Fame even real? Contrary to tangible realities, Fame is one of those "realities" that we, as a society, have made. Why is that and what is it about Fame that drives us to spend so much time, money, and focus to create the framework that maintains its health? Mining decades of experience, writer, director, producer, and actress Justine Bateman writes a visceral, intimate look at the experience of Fame. Combining the internal reality-shift of the famous, theories on the public's behavior at each stage of a famous person's career, and the experiences of other famous performers, Bateman takes the reader inside and outside the emotions of Fame. The book includes twenty-four color photographs to highlight her analysis.
A ground-breaking account of the scientists and architects who pioneered acoustics in twentieth-century Britain. On a winter’s night in 1951, shortly after Evensong, the interior of St Paul’s Cathedral echoed with gunfire. This was no act of violence but a scientific demonstration of new techniques in acoustic measurement. It aimed to address a surprising question: could a building be a musical instrument? Pistols in St Paul’s tells the fascinating story of the scientists, architects and musicians who set out to answer this question. Beginning at the turn of the century, their innovative experiments, which took place at sites ranging from Herbert Baker’s Assembly Chamber in Delhi to Abbey Road Studios and a disused munitions factory near Perivale, would come to define the field of ‘architectural acoustics’. They culminated in 1951 with the opening of the Royal Festival Hall – the first building to be designed for musical tone. Deeply researched and richly illustrated, Pistols in St Paul’s brings to light a scientific quest spanning half a century, one that demonstrates the power of international cooperation in the darkest of times.
Performing Animality provides theoretical and creative interventions into the presence of the animal and ideas of animality in performance. Animals have always played a part in human performance practices. Maintaining a crucial role in many communities' cultural traditions, animal-human encounters have been key in the development of performance. Similarly, performance including both living animals and/or representations of animals provides the context for encounters in which issues of power, human subjectivity and otherness are explored. Crucially, however, the inclusion of animals in performance also offers an opportunity to investigate ethical and moral assumptions about human and non-human animals. This book offers a historical and theoretical exploration of animal presence in performance by looking at the concept of animality and how it has developed in theatre and performance practices from the eighteenth century to today. Furthermore, it points to shifts in political, cultural, and ethical animal-human relations emerging within the context of animality and performance.
"In The Defoliation of America, Amy M. Hay profiles the attitudes, understandings, and motivations of grassroots activists who rose to fight the use of phenoxy herbicides (commonly known as the Agent Orange chemicals) in various aspects of American life during the post-WWII era. First introduced in 1946, these chemicals mimic hormones in broadleaf plants, causing them to, essentially, grow to death while grass, grains, and other monocots remain unaffected. By the 1950s, millions of pounds of chemicals were produced annually for use in brush control, weed eradication, other agricultural applications, and forest management. The herbicides allowed suburban lawns to take root and become iconic symbols of success in American life. The production and application of phenoxy defoliants continued to skyrocket in subsequent years, encouraged by market forces and unimpeded by regulatory oversight. By the late 1950s, however, pockets of skepticism and resistance had begun to appear. The trend picked up steam after 1962, when Rachel Carson's Silent Spring directed mainstream attention to the harm modern chemicals were causing in the natural world. But it wasn't until the Vietnam War, when nearly 40 million gallons of Agent Orange and related herbicides were sprayed to clear the canopy and destroy crops in Southeast Asia, that the long-term damage associated with this group of chemicals began to attract widespread attention and alarm. Using a wide array of sources and an interdisciplinary approach, The Defoliation of America is organized in three parts. Part 1 (1945-70) examines the development, use, and responses to the new chemicals used to control weeds and remove jungle growth. As the herbicides became militarized, critics increasingly expressed concerns about defoliation in protests over US imperialism in Southeast Asia. Part 2 (1965-85) profiles three different women who, influenced by Rachel Carson, challenged the uses of the herbicides in the American West, affecting US chemical policy and regulations in the process. Part 3 (1970-95) revisits the impact and legacies of defoliant use after the Vietnam War. From countercultural containment and Nixon's declaration of the "War on Drugs" to the toxic effects on American and Vietnamese veterans, civilians, and their children, it became increasingly obvious that American herbicides damaged far more than forest canopies. With sensitivity to the role gender played in these various protests, Hay's study of the scientists, health and environmental activists, and veterans who fought US chemical regulatory policies and practices reveals the mechanisms, obligations, and constraints of state and scientific authority in midcentury America. Hay also shows how these disparate and mostly forgotten citizen groups challenged the political consensus and were able to shift government and industry narratives of chemical safety"--