This is your chance to let your crayons dance on paper! Coloring, like dancing, is an art form that encourages self-expression. However, coloring is a brain-boosting activity that also train both regions of the brain to work together. As a result, you get a mash-up of logic and creativity reflected in the following pages. Begin coloring today!
This "2nd Edition" release is a BLACK & WHITE version and clocks in at a whopping 525 pages. This extravagant hip-hop odyssey is jam-packed with Breakin' goodness and also comes with a fantastic Foreward by Breakin' 2 Director, Sam Firstenberg.The Story Of Breakin' From The Streets To Electric Boogaloo uncovers the complete backstory on the making of the Breakin' films. It explores the casting process, reveals intriguing behind the scenes stories, unearths missing songs from the soundtracks, takes a close look at what the critics & fans had to say and digs deep to find out what happened to the stars beyond Breakin'. On top of all this, the book addresses hip-hop's origins, pays tribute to the individuals who influenced the culture and documents the evolution of Cannon Films. The Story of Breakin' also shines the spotlight on the ultimate dance-off; when Breakin' & Beat Street went head to head to become the first mainstream breakdancing movie. It's all here; hip-hop history, breakdance documentaries, landmark dance flicks, influential music videos, movie analysis, celebrity quotes, rare trivia, newspaper clippings, memorabilia, personal recollections, the magic behind Turbo's broom dance and of course, how Breakin' 2's cheeky subtitle, "Electric Boogaloo" has now become an affectionate label for sequels. Yes, authors Tony & Doug Pichaloff have done their absolute best to make this read, the ultimate head-spin from the totally awesome 80's.
The Solarpunk Coloring Book is a comic book for adults that you color for yourself, a science-fiction 3D graphic novel. It contains over 100 pages (8.5x11") to color, and 30 images are stereoscopic 3D which can be viewed without 3D glasses. Chapter 1 explains several ways to view the 3D images before and after you color them. Following chapters tell five adult stories of couples in the near and distant future full of romance, adventure, and wonder. The Millennial generation and beyond learn to live with changing climates, scarce resources, no job security and no fossil fuels. All they have is their education, the sun, wind, and sea, the latest technology, and perhaps an army of helper robots. It is a book of future fiction; or is it future fact?
American art of the 1980s is as misunderstood as it is notorious. Critics of the time feared that market hype and self-promotion threatened the integrity of art. They lashed out at contemporary art, questioning the validity of particular media and methods and dividing the art into opposing camps. While controversies have since subsided, critics still view art of the 1980s as a stylistic battlefield. Alison Pearlman rejects this picture, which is truer of the period's criticism than of its art. Pearlman reassesses the works and careers of six artists who became critics' biggest targets. In each of three chapters, she pairs two artists the critics viewed as emblematic of a given trend: Julian Schnabel and David Salle in association with Neo-Expressionism; Jean-Michel Basquiat and Keith Haring vis-à-vis Graffiti Art; and Peter Halley and Jeff Koons in relation to Simulationism. Pearlman shows how all these artists shared important but unrecognized influences and approaches: a crucial and overwhelming inheritance of 1960s and 1970s Conceptualism, a Warholian understanding of public identity, and a deliberate and nuanced use of past styles and media. Through in-depth discussions of works, from Haring's body-paintings of Grace Jones to Schnabel's movie Basquiat, Pearlman demonstrates how these artists' interests exemplified a broader, generational shift unrecognized by critics. She sees this shift as starting not in the 1980s but in the mid-1970s, when key developments in artistic style, art-world structures, and consumer culture converged to radically alter the course of American art. Unpackaging Art of the 1980s offers an innovative approach to one of the most significant yet least understood episodes in twentieth-century art.
Following the overwhelming success of "The Cosby Show" in the 1980s, an unprecedented shift took place in television history: white executives turned to black dollars as a way of salvaging network profits lost in the war against video cassettes and cable T.V. Not only were African-American viewers watching disproportionately more network television than the general population but, as Nielsen finally realized, they preferred black shows. As a result, African-American producers, writers, directors, and stars were given an unusual degree of creative control over shows such as "The Fresh Prince of Bel Air," "Roc," "Living Single," and "New York Undercover". What emerged were radical representations of African-American memory and experience. Offering a fascinating examination of the explosion of black television programming in the 1980s and 1990s, this book provides, for the first time ever, an interpretation of black TV based in both journalism and critical theory. Locating a persistent black nationalist desire--a yearning for home and community--in the shows produced by and for African-Americans in this period, Kristal Brent Zook shows how the Fox hip-hop sitcom both reinforced and rebelled against earlier black sitcoms from the sixties and seventies. Incorporating interviews with such prominent executives, producers, and stars as Keenen Ivory Wayans, Sinbad, Quincy Jones, Robert Townsend, Charles Dutton, Yvette Lee Bowser, and Ralph Farquhar, this study looks at both production and reception among African-American viewers, providing nuanced readings of the shows themselves as well as the sociopolitical contexts in which they emerged. While black TV during this period may seem trivial or buffoonish to some, Color by Fox reveals its deep-rooted ties to African-American protest literature and autobiography, and a desire for social transformation.
From the first synchronized sound films of the late 1920s through the end of World War II, African American music and dance styles were ubiquitous in films. Black performers, however, were marginalized, mostly limited to appearing in "specialty acts" and various types of short films, whereas stardom was reserved for Whites. Jumping the Color Line discusses vernacular jazz dance in film as a focal point of American race relations. Looking at intersections of race, gender, and class, the book examines how the racialized and gendered body in film performs, challenges, and negotiates identities and stereotypes. Arguing for the transformative and subversive potential of jazz dance performance onscreen, the six chapters address a variety of films and performers, including many that have received little attention to date. Topics include Hollywood's first Black female star (Nina Mae McKinney), male tap dance "class acts" in Black-cast short films of the early 1930s, the film career of Black tap soloist Jeni LeGon, the role of dance in the Soundies jukebox shorts of the 1940s, cinematic images of the Lindy hop, and a series of teen films from the early 1940s that appealed primarily to young White fans of swing culture. With a majority of examples taken from marginal film forms, such as shorts and B movies, the book highlights their role in disseminating alternative images of racial and gender identities as embodied by dancers – images that were at least partly at odds with those typically found in major Hollywood productions.
From Nelson George, supervising producer and writer of the hit Netflix series, "The Get Down, Hip Hop America is the definitive account of the society-altering collision between black youth culture and the mass media.
Reading the World’s Stories is volume 5 in the Bridges to Understanding series of annotated international youth literature bibliographies sponsored by the United States Board on Books for Young People. USBBY is the United States chapter of the International Board on Books for Young People (IBBY), a Switzerland-based nonprofit whose mission is bring books and children together. The series promotes sharing international children’s books as a way to facilitate intercultural understanding and meet new literary voices. This volume follows Children’s Books from Other Countries (1998), The World though Children’s Books (2002), Crossing Boundaries with Children’s Books (2006), and Bridges to Understanding: Envisioning the World through Children’s Books (2011) and acts as a companion book to the earlier titles. Centered around the theme of the importance of stories, the guide is a resource for discovering more recent global books that fit many reading tastes and educational needs for readers aged 0-18 years. Essays by storyteller Anne Pellowski, author Beverley Naidoo, and academic Marianne Martens offer a variety of perspectives on international youth literature. This latest installment in the series covers books published from 2010-2014 and includes English-language imports as well as translations of children’s and young adult literature first published outside of the United States. These books are supplemented by a smaller number of culturally appropriate books from the US to help fill in gaps from underrepresented countries. The organization of the guide is geographic by region and country. All of the more than 800 entries are recommended, and many of the books have won awards or achieved other recognition in their home countries. Forty children’s book experts wrote the annotations. The entries are indexed by author, translator, illustrator, title, and subject. Back matter also includes international book awards, important organizations and research collections, and a selected directory of publishers known for publishing books from other countries.
This title explores linguistic landscape, which refers to the signs, directions, and other documentation that appear in the public space, and includes the interpretation of this 'visible language' in social, political, and economic contexts.
