Leo often felt that he was in the wrong place at the wrong time. On June 4, 1994, he was in a white Ford Bronco on Highway 405 outside of Los Angeles. Every law enforcement officer within one hundred miles was looking for a white Bronco and a fugitive named O. J. Simpson. And so Leo did what any Vietnam veteran suffering from post-traumatic stress disorder would do: he ditched the beer, threw the joint out the window, and panicked. He steered off the freeway and into the unsuspecting life of an angel. The ride that had started in a Los Angeles suburb tripped through Southeast Asia, New England, the Florida Keys, New York City, and Palm Springs and finally ran out of steam in Hawaii, and along the way, Leo found his life and his love.
In 2006, HarperCollins announced the publication of a book in which O.J. Simpson told how he hypothetically would have committed the murders of Ron Goldman and Nicole Brown Simpson, a crime for which he was found not guilty. In response to public outrage, the book was never published. Here is the original manuscript of the book.
GIs returning after World War II created an entirely new automotive market niche when they bought surplus Jeeps and began exploring the rugged backcountry of the American West. This burgeoning market segment, which eventually became known as sport utility vehicles (SUVs), numbered about 40,000 units per year with offerings from Jeep, Scout, Toyota, and Land Rover. In 1966, Ford entered the fray with its Bronco, offering increased refinement, more power, and an innovative coil-spring front suspension. The Bronco caught on quickly and soon established a reputation as a solid backcountry performer. In Baja, the legendary accomplishments of racers such as Parnelli Jones, Rod Hall, and Bill Stroppe further cemented the bobtail’s reputation for toughness. Ford moved upstream with the introduction of the larger Bronco for 1978, witnessing a huge increase in sales for the second-generation trucks. The Twin Traction Beam front end was introduced in the third generation, and further refinements including more aerodynamic styling, greater luxury, and more powerful fuel-injected engines came on board in the generations that followed. Through it all, the Bronco retained its reputation as a tough, versatile, and comfortable rig, both on and off the paved road. With the reintroduction of the Bronco for 2020, Ford is producing a vehicle for a whole new generation of enthusiasts that looks to bring modern styling and performance to the market while building on the 30-year heritage of the first five generations of the Bronco so dearly loved by their owners. From the development process and details of the first trucks through the 1996 models, author Todd Zuercher shares technical details, rarely seen photos, and highlights of significant models along with the stories of those people whose lives have been intertwined with the Bronco for many years. This book will have new information for everyone and will be a must-have for longtime enthusiasts and new owners alike! p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial; color: #000000}
NEW YORK TIMES BESTSELLER • Heisman Trophy winner, multi-sport athlete, special needs advocate, and positive role model Tim Tebow encourages children to embrace their unique qualities in his first book for children, a winning tale based on his sweet pup, Bronco. Bronco received an invitation to a party, but he can’t find the puzzle piece everyone is supposed to bring. During his search, he encounters a variety of friends with their own set of worries: a flightless bird, an allergic goat, and a clumsy bunny. The animals team up to find both Bronco's puzzle piece and the party, arriving to discover that the party is in their honor! This sweet story of animals with different challenges and abilities is core to Tim Tebow’s message to fans and friends of any age who have special needs. Getting invited to the party is exciting—but bringing your own particular gifts makes it more fun for everyone. Tim Tebow wants everyone to know that's how God sees them: special, unique, and essential to the party.
Take a glimpse into the mind of the modern consumer A decade of swift and stunning change has profoundly affected the psychology of how, when, and why we shop and buy. In Decoding the New Consumer Mind, award-winning consumer psychologist Kit Yarrow shares surprising insights about the new motivations and behaviors of shoppers, taking marketers where they need to be today: into the deeply psychological and often unconscious relationships that people have with products, retailers, marketing communications, and brands. Drawing on hundreds of consumer interviews and shop-alongs, Yarrow reveals the trends that define our transformed behavior. For example, when we shop we show greater emotionality, hunting for more intense experiences and seeking relief and distraction online. A profound sense of isolation and individualism shapes the way we express ourselves and connect with brands and retailers. Neurological research even suggests that our brains are rewired, altering what we crave, how we think, and where our attention goes. Decoding the New Consumer Mind provides marketers with practical ways to tap into this new consumer psychology, and Yarrow shows how to combine technology and innovation to enhance brand image; win love and loyalty through authenticity and integrity; put the consumer’s needs and preferences front and center; and deliver the most emotionally intense, yet uncomplicated, experience possible. Armed with Yarrow’s strategies, marketers will be able to connect more effectively with consumers—driving profit and success across the organization.
In the Year of Simpson, the country was caught in the throes of the biggest story ever. No other single news event in our history could match the sheer scope and intensity of coverage given to the O. J. Simpson murder case. But the media did not just report the Simpson case, they were instrumental in creating it—a spectacle of such stupendous proportions that it hijacked American culture. In this critical expos^D'e of American media, Thaler presents a riveting narrative about the men and women who gave us the story of the century. It is a sprawling tale of the media grappling with their role as news-reporting entities; seduced by the values of entertainment and tabloidism; and faced with increased competition, fragmented audiences, and frantic pressure to keep both eyes on the bottom line. The Simpson story is one of exploitation, of media overkill and outright pandering, of huge profitmaking, all of which undermined the trial and fueled tremendous public cynicism about the way in which justice—and the media—work in this country. For more than a year, America was held captive to the great murder story. In Thaler's analysis, the media, more than any other single participant, altered the workings of the Simpson courtroom and the outcome of one of the most celebrated trials in America's history. From the first coverage of the murders to the final days of the trial of the century, the media were not only telling us what had become of justice in this country, but also what had become of them. This is that story.
FOX's musical drama Empire has been hailed as the savior of broadcast television, drawing 15 million viewers a week. A "hip-hopera" inspired by Shakespeare's King Lear and 1980s prime-time soap Dynasty, the series is at the forefront of a black popular culture Renaissance--yet has stirred controversy in the black community. Is Empire shifting paradigms or promoting pernicious stereotypes? Examining the evolution and potency of black images in popular culture, the author explores Empire's place in a diverse body of literature and media, data and discussions on respectability.
A powerful examination of the unsettling history of photography and its fraught relationship to global antiblackness. Since photography’s invention, black life has been presented as fraught, short, agonizingly filled with violence, and indifferent to intervention: living death—mortevivum—in a series of still frames that refuse a complex humanity. In Mortevivum, Kimberly Juanita Brown shows us how the visual logic of documentary photography and the cultural legacy of empire have come together to produce the understanding that blackness and suffering—and death—are inextricable. Brown traces this idea from the earliest images of the enslaved to the latest newspaper photographs of black bodies, from the United States and South Africa to Haiti and Rwanda, documenting the enduring, pernicious connection between photography and a global history of antiblackness. Photography's history, inextricably linked to colonialism and white supremacy, is a catalog of othering, surveillance, and the violence of objectification. In the genocide in Rwanda, for instance, photographs after the fact tell viewers that blackness comes with a corresponding violence that no human intervention can abate. In Haiti, the first black republic in the Western Hemisphere, photographic “evidence” of its sovereign failure suggests that the formerly enslaved cannot overthrow their masters and survive to tell the tale. And in South Africa and the United States, a loop of racial violence reminds black subjects of their lower-class status mandated via the state. Illustrating the global nature of antiblackness that pervades photographic archives of the present and the past, Mortevivum reveals how we live in a repetition of imagery signaling who lives and who dies on a gelatin silver print—on a page in a book, on the cover of newspaper, and in the memory of millions.
With its focus on gender, power, race, sexuality, and violence, Othello is an important site for new critical approaches to the study of Shakespeare's works. Both criticism and culture are represented in this collection of recent essays which provides readers with examples of feminist, new-historicist, cultural materialist, deconstructive, and post-colonial perspectives on Othello. With discussions of recent stage and screen productions, and analysis of the use of the play in such contemporary events as the O.J. Simpson murder trial, this compelling critical volume presents a wide variety of ways of understanding the continuing significance of Shakespeare's play both in his own time and in ours.
Shakespeare, The Movie brings together an impressive line-up of contributors to consider how Shakespeare has been adapted on film, TV, and video, and explores the impact of this popularization on the canonical status of Shakespeare. Taking a fresh look at the Bard an his place in the movies, Shakespeare, The Movie includes a selection of what is presently available in filmic format to the Shakespeare student or scholar, ranging across BBC television productions, filmed theatre productions, and full screen adaptations by Kenneth Branagh and Franco Zeffirelli. Films discussed include: * Amy Heckerling's Clueless * Gus van Sant's My Own Private Idaho * Branagh's Henry V * Baz Luhrman's William Shakespeare's Romeo and Juliet * John McTiernan's Last Action Hero * Peter Greenaway's Prospero's Books * Zeffirelli's Hamlet.
