I’ve gone back and repurchased a lot of the CDs I sold off—which, thanks to the bargain bin at Half-Price Books, has actually been a fairly inexpensive proposition—and reacquainted myself with groups that I once adored before they died off, broke up, or settled into respectable but uninspired careers. My goal is to rediscover what I saw in these bands when I was a teenager, and figure out why the music went from enlightening to deadening so rapidly, from the bucolic early years of Lollapalooza to the apocalyptic assault of Woodstock ’99. Because as easy as it is now to take potshots at the mumbly, histrionic sounds of the ’90s, this is music that meant a great deal to me and many others at the time. Out of respect for my teenaged self, I’m giving it an honest re-examination.Each installment of Whatever Happened To Alternative Nation? will be tied to a year, starting with 1990—which I’m packaging with this introduction, since it’s really a prologue year—and proceed chronologically up through 1999. However, this isn’t intended to be a definitive history of grunge; I won’t be writing about every single Seattle band, or even most Seattle bands. A lot of it won’t even be about grunge; I also plan on looking at the feel-good bro tunes of Sublime, and the ironic arena-rock posturing of Urge Overkill, among other groups, and how they fit in with the overall narrative of ’90s alt-rock’s rise and fall. I promise I’ll completely overlook at least one of your favorite bands; please don’t take it personally. As a general rule, I’m interested in discussing ’90s bands that were played regularly on MTV and on the radio, even in a small city like my hometown of Appleton, Wisconsin, because this was the last time (as of now, anyway) that rock music acted as the engine under the hood of American pop culture. Inevitably, this series will reflect what I liked and cared about back then, which fortunately matches up with what millions of other teenaged residents of Alternative Nation liked and cared about. More than an exercise in nostalgia—or, worse, an excuse to pick on bands that haven’t aged all that well—I hope to give those who deserve it their due, and maybe figure out how something that seemed so promising at the time went so wrong." - excerpt from Whatever Happened To Alternative Nation?

    And as the air raid sirens sound over London, the frightened animals are sent to be put down.Buster, Tiger and Rose make a daring escape but with danger at every turn, can the trio make it across the country as it prepares for battle - and cheat death for the second time?

    First published in Germany in 1925, it presents unforgettable images from the tense and dynamic Weimar period, rendered in 100 woodcuts of remarkable force and beauty.A pacifist during World War I, Belgian-born Frans Masereel (1889-1972) sympathized with the struggles of the working classes and strived to make his art accessible to ordinary people. His evocative woodcuts convey scenes of work and leisure, wealth and deprivation, and joy and loneliness. Banned by the Nazis, Masereel's works were championed in Communist countries; however, the artist steered clear of political affiliations. His clarity of vision transcends any propagandist use of the images, which stand as timeless indictments of oppression and injustice.Thomas Mann described Masereel's works as "so strangely compelling, so deeply felt, so rich in ideas that one never tires of looking at them." Epic and unflinching in its scope, The City continues to influence modern fine and graphic art, while recapturing the mood of a vanished era.

    Warring nations came together to honour tradition and celebrate their shared humanity, proclaiming an unofficial ceasefire as they swapped food, sung carols, and even played football matches against one another. It is one of those very rare moments during the bloody twentieth century which provide a glimmer of light. It is in some ways the great overlooked moment of the past century – moving, hopeful and filled with possibility. But how was it viewed at the time? And why did it never successfully happen again? What risks did the men in the trenches run, how did it come about, and did it change their view of the enemy? The Christmas Truce has become a symbol of hope for human beings working together in desperate situations. But historians have argued ever since about its significance, ranging from those who believe it was an irrelevance to those for whom it was a moment of enormous significance – and part of that argument is the question of when - and why - the truce officially ended. This book is designed to tell the story of the truce to a wider audience, as a compelling narrative, stitching together first-hand accounts of the soldiers who lived through it. A hundred years on, it is still a moment that resonates with audiences around the world.

    Jack Slade and Sam Healey, flying partners during World War II, establish a bush pilot business in Alaska after the war. When their C-47 Dakota is forced down on a glacier by a wolverine in the cargo deck that breaks out of its cage, they discover a valley that offers the realization each man's dreams. To Jack Slade, itOCOs the ideal place to homestead, raise a family, and live simply as a professional hunting and fishing guide; to Healey, the pool of crude oil he locates under the glacial ice promises the wealth he always wanted. In scenes that range from AlaskaOCOs coastal fishing ports to the high, fierce wastelands of the interior, we watch each man lay the plans for their individual goals?and ultimately come into fatal conflict. Along the way, they meet a wide, colorful variety of Alaskan types, including Charlie Blue, a Tlingit Indian, shaman, and seer; Norman Ormandy, the tough saloonkeeper of Gurry Bay; and Malec Mummad-Afi, a wealthy exiled Iranian oil king and sheep hunter.

    Stated first edition, 1966. Originally published in 1946 and again by Nase Vojsko in 1959. Written by two former prisoners at Auschwitz. Illustrated throughout with maps, plans, photos, with drawings by Dinas Gottliebova another prisoner. Plans are mostly work of Vera Foltynova and Jiri Kolin, also prisoners. Photographs supplied by the Extraordinary State commission, the Auschwitz museum and the State Jewish Museum in Prague and the authors.

    Krauss uses the analytical tools of semiology, structuralism, and poststructuralism to reveal new meanings in the visual arts and to critique the way other prominent practitioners of art and literary history write about art. In two sections, "Modernist Myths" and "Toward Postmodernism," her essays range from the problem of the grid in painting and the unity of Giacometti's sculpture to the works of Jackson Pollock, Sol Lewitt, and Richard Serra, and observations about major trends in contemporary literary criticism.

    Researched and written during the quarantine of 2020.