Eddie Kidd had it all. Handsome, talented, and rich, his daring motorcycle exploits made him a household name across the country and gave him an extravagant and envied lifestyle. An then one day, disaster struck. One of Eddie's dare-devil jumps ended in a terrible collision. He nearly lost his life, and now he is consigned to a wheelchair. This is Eddie's inspirational story about the triumph of the human spirit over disability and tragedy.
Gwynne Dyer is cheering up. Sure, the past decade has had more than its share of stupid wars, obsessions about terrorism, denial about climate change, rapacious turbo-capitalism, and lies, lies, lies. But signs of progress actually do abound. While the world is far from perfect as we embark on a fresh decade, Dyer believes that the “sense of sliding out of control towards ten different kinds of disaster has gone.” When things go wrong it’s always easy to pin blame—but singling out the forces that lead to positive change can be trickier. In this illuminating collection of columns from the last five years, Gwynne Dyer ferrets out the signs of hope—without overlooking the issues that remain seemingly intractable. Mining the events of recent history, Dyer contextualizes the recent past and anticipates what the future might have in store. This journalist’s beat is global: from Africa to South America, from Europe to the Middle East, and any other region with a political pulse. Acerbic and iconoclastic, Dyer has never been afraid to call ’em like he sees ’em—and we are all the better for his trademark candour and the breadth of his knowledge and expertise. For anyone seeking to understand the larger forces that shape our society and our world, Crawling from the Wreckage makes for necessary reading.
Gwynne Dyer is cheering up. Sure, the past decade has had more than its share of stupid wars, obsessions about terrorism, denial about climate change, rapacious turbo-capitalism, and lies, lies, lies. But signs of progress actually do abound. While the world is far from perfect as we embark on a fresh decade, Dyer believes that the "sense of sliding out of control towards ten different kinds of disaster has gone." When things go wrong it’s always easy to pin blame—but singling out the forces that lead to positive change can be trickier. In this illuminating collection of columns from the last five years, Gwynne Dyer ferrets out the signs of hope—without overlooking the issues that remain seemingly intractable. Mining the events of recent history, Dyer contextualizes the recent past and anticipates what the future might have in store. This journalist’s beat is global: from Africa to South America, from Europe to the Middle East, and any other region with a political pulse. Acerbic and iconoclastic, Dyer has never been afraid to call ’em like he sees ’em—and we are all the better for his trademark candour and the breadth of his knowledge and expertise. For anyone seeking to understand the larger forces that shape our society and our world, Crawling from the Wreckage makes for necessary reading.
For the world's strangest heroes, staving off the annihilation of free will or the reformatting of the universe into an artistic statement is all in a day's work -- not to mention the everyday assassination attempts and visits from Satan.
One of the most innovative comics ever, Doom Patrol - a super-team comprised of freaks, misfits, and madmen - took the superhero world into a new age of strangeness! Meet Robotman, trapped inside his robot body; Negative Man, possessed by an alien energy being; monkey-faced Dorothy Spinner, who can bring her imaginary friends to life, and Crazy Jane, with over forty different super-powered split personalities. Triumph and tragedy await them as they take on the fearsome, reality-altering Scissormen... but how do you fight against fictional enemies? The astonishing US debut of writer Grant Morrison (Final Crisis), with artists including Richard Case (Shade), Doom Patrol is an comics classic! Warning: Adults Only!
The groundbreaking series from Grant Morrison that led American comics in a wholly unexpected direction. Originally conceived in the 1960s by the visionary team of writer Arnold Drake and artist Bruno Premiani, the Doom Patrol was reborn a generation later through Grant Morrison’s singular imagination. Though they are super-powered beings, and though their foes are bent on world domination, convention ends there. Shunned as freaks and outcasts, and tempered by loss and insanity, this band of misfits faces threats so mystifying in nature and so corrupted in motive that reality itself threatens to fall apart around them-but it’s still all in a day’s work for the Doom Patrol. Written by Grant Morrison and featuring art by Richard Case, John Nyberg, Doug Braithwaite, Scott Hanna and Carlos Garzón, DOOM PATROL BOOK ONE collects issues #19-34 and includes introductions by Morrison and editor Tom Peyer.
Friedman proposes that an ambitious national strategy, which he calls 'Code-Green', is not only what we need to save the planet from overheating - it is what we need to make us all healthier, richer, more innovative, more productive, and more secure.
Any and all songs are capable of being remixed. But not all remixes are treated equally. Rock This Way examines transformative musical works—cover songs, remixes, mash-ups, parodies, and soundalike songs—to discover what contemporary American culture sees as legitimate when it comes to making music that builds upon other songs. Through examples of how popular discussion talked about such songs between 2009 and 2018, Mel Stanfill uses a combination of discourse analysis and digital humanities methods to interrogate our broader understanding of transformative works and where they converge at the legal, economic, and cultural ownership levels. Rock This Way provides a new way of thinking about what it means to re-create and borrow music, how the racial identity of both the reusing artist and the reused artist matters, and the ways in which the law polices artists and their works. Ultimately, Stanfill demonstrates that the extent to which a work is seen as having new expression or meaning is contingent upon notions of creativity, legitimacy, and law, all of which are shaped by white supremacy.
