The book follows the author's death-defying 200-mile journey in his antique Thomas Crapper bath - not just across the Channel, but around Kent - right up to the tremendous reception and huge media attention which awaited him under Tower Bridge. Tim met the Queen, and his bath now resides in the National Maritime Museum of Great Britain.

    But some debates can never be settled no matter how much you run up your bar tab arguing with your friends. Well, it’s time to answer your questions once and for all: • Could an average guy start in the WNBA?• Would sumo wrestlers make great NFL linemen?• How easy is it for pro athletes to get laid? • How good are pro golfers at miniature golf?• Do pro athletes really play drunk or high?• How would a fan hit against a major league pitcher?To settle more than thirty of sports’ greatest (and most ridiculous) debates, Todd Gallagher has teamed up with coaches, general managers, and athletes—including LeBron James, Mike Tyson, Dwyane Wade, Johan Santana, Eddie George, Jose Canseco, and many others. But Gallagher didn’t just ask questions. He put these debates to the test—literally. He sent an all-midget lineup up against a pro baseball team. He swam freestyle against a doggie-paddling Olympic gold medalist. He recruited America's #1 darts player to test that uncanny accuracy in beer pong. And, yes, he stuck a frying pan in tennis star Andy Roddick’s hands and went to battle.The results are hilarious and enlightening. Best of all, once you have the answers you’ll be able to shut up the next loudmouth who tries to debate you at the bar.

    He addresses the scope of Modern Art, from its founding days as Abstract Expressionism through its transformations to Pop, Op, Minimal, and Conceptual. This is Tom Wolfe "at his most clever, amusing, and irreverent" (San Francisco Chronicle).

    For almost seventeen years, The Daily Show with Jon Stewart brilliantly redefined the borders between television comedy, political satire, and opinionated news coverage. It launched the careers of some of today's most significant comedians, highlighted the hypocrisies of the powerful, and garnered 23 Emmys. Now the show's behind-the-scenes gags, controversies, and camaraderie will be chronicled by the players themselves, from legendary host Jon Stewart to the star cast members and writers-including Samantha Bee, Stephen Colbert, John Oliver, Steve Carell, Lewis Black, Jessica Williams, John Hodgman, and Larry Wilmore-plus some of The Daily Show's most prominent guests and adversaries: John and Cindy McCain, Glenn Beck, Tucker Carlson, and many more.This oral history takes the reader behind the curtain for all the show's highlights, from its origins as Comedy Central's underdog late-night program hosted by Craig Kilborn to Jon Stewart's long reign to Trevor Noah's succession, rising from a scrappy jester in the 24-hour political news cycle to become part of the beating heart of politics-a trusted source for not only comedy but also commentary, with a reputation for calling bullshit and an ability to effect real change in the world. Through years of incisive election coverage, Jon Stewart's emotional monologue in the wake of 9/11, his infamous confrontation on Crossfire, passionate debates with President Obama and Hillary Clinton, feuds with Bill O'Reilly and Fox, the Indecisions, Mess O'Potamia, and provocative takes on Wall Street and racism, The Daily Show has been a cultural touchstone. Now, for the first time, the people behind the show's seminal moments come together to share their memories of the last-minute rewrites, improvisations, pranks, romances, blow-ups, and moments of Zen both on and off the set of one of America's most groundbreaking shows.

     To find out the secret behind this turn of character, Tuvia Tenenbom, a Jew born in Israel, presented himself as a Jordanian and was able to gain entry into many refugee camps. Living in squalid conditions in airless rooms, and with barely edible food, the refugees begged Tuvia to help them get out of the camps. When not with the refugees, Tuvia traveled through the land and mingled with the local people who shared with him that they, the Germans, were the kindest people in Europe, far superior to the "inhumane” Jews. Tuvia Tenenbom's provocative re-enactment of the refugee reality in the middle of Europe, coupled with the rising anti-Semitism of the people who proclaim themselves to be kind, exposes the hypocrisy of the "Refugees Welcome" mantra chiming throughout the Western world. • • • Praise for Tuvia Tenenbom’s previous work: "Irresistibly fascinating, emotionally explosive ... seductive and engaging." The New York Times "Highly engaging and emotional, eminently readable, brutally honest.” Publishers Weekly “A Falstaffian reporter . . . Illuminating and alarming." The Wall Street Journal "Tenenbom’s hodgepodge of politics, zealotry and literary genres is fresh and audacious." The Village Voice "Hugely entertaining, terribly funny, sarcastic, engaging, powerful, accusatory, judgmental, good!" National Review

    Seuss was drawing biting cartoons for adults that expressed his fierce opposition to anti-Semitism and fascism. An editorial cartoonist from 1941 to 1943 for PM magazine, a left-wing daily New York newspaper, Dr. Seuss launched a battle against dictatorial rule abroad and America First (an isolationist organization that argued against U.S. entry into World War II) with more than 400 cartoons urging the United States to fight against Adolf Hitler and his cohorts in fascism, Benito Mussolini, Pierre Laval, and Japan (he never depicted General Tojo Hideki, the wartime prime minister, or Togo Shigenori, the foreign minister). Dr. Seuss Goes to War, by Richard H. Minear, includes 200 of these cartoons, demonstrating the active role Dr. Seuss played in shaping and reflecting how America responded to World War II as events unfolded.As one of America's leading historians of Japan during World War II, Minear also offers insightful commentary on the historical and political significance of this immense body of work that, until now, has not been seriously considered as part of Dr. Seuss's extraordinary legacy.Born to a German-American family in Springfield, Massachusetts, in 1904, Theodor Geisel began his cartooning career at Dartmouth College, where he contributed to the humor magazine. After a run-in with college authorities for bootlegging liquor, he had to use a pseudonym to get his work published, choosing his middle name, Seuss, and adding "Dr." several years later when he dropped out of graduate school at Oxford University in England. He had never planned on setting poison political pen to paper until he realized his deep hatred of Italian fascism. The first editorial cartoon he drew depicts the editor of the fascist paper Il Giornale d'Italia wearing a fez (part of Italy's fascist uniform) and banging away at a giant steam typewriter while a winged Mussolini holds up the free end of the banner of paper emerging from the roll. He submitted it to a friend at PM, an outspoken political magazine that was "against people who push other people around," and began his two-year career with the magazine before joining the U.S. Army as a documentary filmmaker in 1943.Dr. Seuss's first caricature of Hitler appears in the May 1941 cartoon, "The head eats, the rest gets milked," portraying the dictator as the proprietor of "Consolidated World Dairy," merging 11 conquered nations into one cow. Hitler went on to become one of the main caricatures in Seuss's work for the next two years, depicted alone, among his generals and other Germans, and with his allies Benito Mussolini and Pierre Laval. He is also drawn alongside "Japan," which Dr. Seuss portrays quite offensively, with slanted, bespectacled eyes and a sneering grin. While Dr. Seuss was outspoken against antiblack racism in the United States, he held a virulent disdain for the Japanese and rendered sinister and, at times, slanderous caricatures of their wartime actions even before the bombing of Pearl Harbor. But Dr. Seuss's aggression wasn't solely reserved for the fascists abroad. He was also loudly critical of America's initial apathy toward the war, skewering isolationists like America First advocate Charles Lindbergh, the Chicago Tribune's Colonel Robert McCormick, Eleanor Medill Patterson of the Washington Times-Herald, and Joseph Patterson of the New York Daily News, whom he considered as evil as Hitler. He encouraged Americans to buy war savings bonds and stamps and to do everything they could to ensure victory over fascism.Minear provides historical background in Dr. Seuss Goes to War that not only serves to contextualize these cartoons but also deftly explains the highly problematic anti-Japanese and anticommunist stances held by both Dr. Seuss and PM magazine, which contradicted the leftist sentiments to which they both eagerly adhered. As Minear notes, Dr. Seuss eventually softened his feelings toward communism as Russia and the United States were united on the Allied front, but his stereotypical portrayals of Japanese and Japanese-Americans grew increasingly and undeniably racist as the war raged on, reflecting the troubling public opinion of American citizens. Minear does not attempt to ignore or redeem Dr. Seuss's hypocrisy; rather, he shows how these cartoons evoke the mood and the issues of the era. After Dr. Seuss left PM magazine, he never drew another editorial cartoon, though we find in these cartoons the genesis of his later characters Yertle the dictating turtle and the Cat in the Hat, who bears a striking resemblance to Uncle Sam. Dr. Seuss Goes to War is an astonishing collection of work that many of his devoted fans have not been able to see until now. But this book is also a comprehensive, thoughtfully researched, and exciting history lesson of the Second World War, by a writer who loves Dr. Seuss as much as those who grow up with his books do.

    Why should he or anyone else care what became of his corpse? In The Work of the Dead, acclaimed cultural historian Thomas Laqueur examines why humanity has universally rejected Diogenes’s argument. No culture has been indifferent to mortal remains. Even in our supposedly disenchanted scientific age, the dead body still matters—for individuals, communities, and nations. A remarkably ambitious history, The Work of the Dead offers a compelling and richly detailed account of how and why the living have cared for the dead, from antiquity to the twentieth century.The book draws on a vast range of sources—from mortuary archaeology, medical tracts, letters, songs, poems, and novels to painting and landscapes in order to recover the work that the dead do for the living: making human communities that connect the past and the future. Laqueur shows how the churchyard became the dominant resting place of the dead during the Middle Ages and why the cemetery largely supplanted it during the modern period. He traces how and why since the nineteenth century we have come to gather the names of the dead on great lists and memorials and why being buried without a name has become so disturbing. And finally, he tells how modern cremation, begun as a fantasy of stripping death of its history, ultimately failed—and how even the ashes of the victims of the Holocaust have been preserved in culture.A fascinating chronicle of how we shape the dead and are in turn shaped by them, this is a landmark work of cultural history.

    This is completely contrary to the Founding Fathers’ original vision of America; it was designed by them to be a secular democratic republic built on evidence-based Enlightenment values, emphatically not religious faith.Indeed, the Founders purposefully intended that a high, strong “wall of separation” keep church and state apart in the new nation, while allowing individual religious freedom untrammeled by government—and vice versa. But Christians with theocratic dreams keep trying to breach the wall. Through their efforts, God is now in evidence everywhere in the country—on our money, in our schools, even in high-level-government officials’ speeches. Freedom of — and from — religion is the American promise to all its people whatever their belief—or disbelief. This is how the Founding Fathers wanted it to be, not the undemocratic theocracy zealous evangelicals are trying to force on American society.

     This sumptuous hardcover edition, with a foreword by George Lucas, features over 250 pieces of artwork, including all of Drew's most iconic movie images, as well as other highlights from his career, including album, book and comic book covers, stamps, trading cards, promotional artwork and very personal original works. The book comes right up to date, including exclusive San Diego Comic-Con poster art produced for The Walking Dead (2010) and Cowboys & Aliens (2011), with text by his wife Dylan, providing an intimate look at the man and his legacy. The definitive collection of Struzan's work; this is an absolute must-have for any movie buff and an unrivalled slice of both art and cinema history.

    Why else would you be looking at this book? If you have ever wanted to see behind the front lines of retail, this is the book for you. If you want to validate your own experiences in retail, this is the book for you. If you just want to laugh at humorous things from funny people, this is the book for you. Packed full of true short stories from working in one of these super stores, only one conclusion can be reached in the end: Wal-Mart is the craziest place on Earth!

    Apple products, indie music, food co-ops, and vintage T-shirts make them weak in the knees. They believe they’re unique, yet somehow they’re all exactly the same, talking about how they “get” Sarah Silverman’s “subversive” comedy and Wes Anderson’s “droll” films. They’re also down with diversity and up on all the best microbrews, breakfast spots, foreign cinema, and authentic sushi. They’re organic, ironic, and do not own TVs. You know who they are: They’re white people. And they’re here, and you’re gonna have to deal. Fortunately, here’s a book that investigates, explains, and offers advice for finding social success with the Caucasian persuasion. So kick back on your IKEA couch and lose yourself in the ultimate guide to the unbearable whiteness of being.

    His book, You’re Not Helping… is a collection of short comedy articles that guide you through his delightful, inventive, and often nonsensical take on everything from attention-seeking dolphins to home invasions by the The Barenaked Ladies. You’re Not Helping… blends both humor and heart in what literary critics around the world are describing as “technically a book.” Join the 10s of readers worldwide enchanted by Ryan’s unique brand of wit.Ryan Patricks lives in San Francisco via Philadelphia. He is an aspiring comedy writer and once saw John Cusack at a Jamba Juice. You can follow him on Twitter @Ryan_Patricks or you can choose not to, it’s totally up to you.

    Before the invention of photography, artists played an essential role in medical science, recording human anatomy in startlingly direct and often moving images. Over 400 years, beginning with Vesalius, they charted the main systems of the body, made precise studies of living organs, documented embryonic development, and described pathologies. Human Anatomy includes portfolios of the work of 19 great anatomical artists, with concise biographies, and culminates with the Visible Human Project, which uses digital tools to visualize the human body.Praise for Human Anatomy:"From Leonardo da Vinci's exquisite pen-and-ink drawings of the human skeleton to the digital Visible Human Project in its three-dimensional glory, this fascinating book . . . documents more than 500 years of anatomical illustration in living color." -Scientific American

    Julian Berrendero's victory in the 1941 Vuelta a Espana was an extraordinary exercise in sporting redemption: the Spanish cyclist had just spent 18 months in Franco's concentration camps, punishment for expressing Republican sympathies during the civil war. Seventy nine years later, perennially over-ambitious cyclo-adventurer Tim Moore developed a fascination with Berrendero's story, and having borrowed an old road bike with the great man's name plastered all over it, set off to retrace the 4,409km route of his 1941 triumph - in the midst of a global pandemic. What follows is a tale of brutal heat and lonely roads, of glory, humiliation, and then a bit more humiliation. Along the way Tim recounts the civil war's still-vivid tragedies, and finds the gregarious but impressively responsible locals torn between welcoming their nation's only foreign visitor, and bundling him and his filthy bike into a vat of antiviral gel.'Bill Bryson on two wheels' Independent

    Her razor-sharp wit combines with her acute powers of observation to produce social and political commentary that will have you in stitches even as it informs and provokes you to think seriously about the topics she discusses. In Best White, Davis offers advice on life’s tricky issues; discusses the perils of being a ‘Best White’; laments the fact that society does not have a universally adopted form of greeting, such as the high five; explores the intricacies of social media and internet dating; considers the future of reading and tackles a range of controversial topics in between.