Rockwell senior, who said he depicted life “as I would like it to be,” chronicled iconic visions of American life: the Thanksgiving turkey, soda fountains, ice skating on the pond, and small-town boys playing baseball-not to mention the beginning of the civil rights movement. Now, the best-selling collection of Rockwell’s most beloved illustrations, organized by decade, is available in a refreshed edition. With more than 150 images-oil paintings, watercolors, and rare black-and-white sketches--this is an uncommonly faithful Rockwell treasury. The original edition has sold nearly 200,000 copies.

    

    Longtime sports columnist Bryan Burwell has written the first comprehensive biography of this living legend, whose incredible football knowledge, down-home sensibilities, and tireless work ethic made him arguably the most popular sports analyst in any sport. As a coach, he has the highest winning percentage in history, and he led the Oakland Raiders to a 1979 Super Bowl Championship. He followed that up by becoming the most beloved and popular football announcer in the country, and in the third stage of his public life, the Hall of Fame coach became known to new generations of fans through his eponymous line of groundbreaking video games, which are among the bestselling titles of all time."

    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.

    Collected here for the first time is an anthology of pieces artist Tracey Emin wrote for The Independent newspaper in London-a weekly column that ran to great acclaim between 2005 and 2009-that touch on everything from the themes behind her work to her process, inspirations, and her alternately humorous and profound observations of daily life. Moving from diatribes on contemporary art and culture to confessional pieces chronicling her travels abroad and reflecting on her private life in London, the columns bring together elements of essay and diary that present a unique perspective on life and the work of the queen of the Young British Artists. Edited and introduced by the artist, and illustrated with forty reproductions of photographs that recall the original format of the columns, Tracey Emin: My Life in a Column makes a giant of the art world at once more familiar and more profound.

    One of the UK’s most exciting up-and-coming hip-hop artists, Scroobius Pip, is a master of the spoken word lyric.From his childhood musings in the school playground to his feelings on the rat race, Pip has selected from his online fan collective artistic collaborations that bring the power of his lyrics to the printed page, creating an innovative multimedia collection of modern poetry.

     Working alongside skilled photographers, Rockwell acted as director, carefully orchestrating models, selecting props, and choosing locations for the photographs -- works of art in their own right -- that served as the basis of his iconic images. Readers will be surprised to find that many of his most memorable characters -- the girl at the mirror, the young couple on prom night, the family on vacation -- were friends and neighbors who served as his amateur models. In this groundbreaking book, author and historian Ron Schick delves into the archive of nearly 20,000 photographs housed at the Norman Rockwell Museum. Featuring reproductions of Rockwell's black-and-white photographs and related full-color artworks, along with an incisive narrative and quotes from Rockwell models and family members, this book will intrigue anyone interested in photography, art, and Americana.

    by Evan Dorkin The first-ever collection from the acclaimed humor anthology Dork, "Who's Laughing Now?" features 112 pages of densely-packed comic book craziness from Dork #1-5, all wrapped up in a sweet little package co-designed by Dorkin and his partner-in-crime, Sarah Dyer!

    These artists, including Harry Grant Dart, Milt Gross, Charles M. Payne, Harry Hershfield and Charles Forbell, foreshadowed and influenced the comics medium of today.

    Each volume in the collection contains about 100 illustrations.

    Widely considered to be some of his best work ever. Weirdo was a magazine-sized comics anthology created by Robert Crumb in 1981, which ran for 28 issues. It served as a "low art" counterpoint to its contemporary highbrow Raw. Early issues of Weirdo reflect Crumb's interests at the time: outsider art, fumetti, Church of the SubGenius-type anti-propaganda and assorted "weirdness." The incredibly varied stories include TV Blues, Life of Boswell, People Make me Nervous, The Old Songs are the Best Songs, Uncle Bob's Mid-Life Crisis, Kraft Ebbing's' Psycopathia Sexualis, Goldilocks, The Life of Philip K Dick, and many more. Also within are several photo strip stories featuring Crumb himself and various of his trademark well-built women including his wife Aline Kominsky-Crumb in tales such as Get in Shape and Unfaithful Husband.

    Because of his studies of the Eskimos, his discoveries of land, the application of new ideas and new methods of exploration, Stefansson was considered the foremost polar explorer of his day, and one of the few great explorers of all time. During a period of three or four years Mr. Stefansson has produced a creditable list of books about the Arctic. In some respects his service in publishing the results of his Northern studies has differed from that of earlier explorers. He has challenged our preconceptions about the Arctic. “Hunters of the Great North” gives details of Northern life such as have doubtless come within the experience of all Arctic explorers, but which are new to the average American reader. In short, it is an elementary text-book of the Arctic. Stefansson lived among the Eskimos of the Mackenzie River, studying their language and adopting their mode of life, and spending ten winters and thirteen summers in the polar regions. Among Stefannson's most famous discovery was that of a race of blond Eskimo on Coronation Gulf. Stefansson writes: "In the present book I have tried by means of diaries and memory to go back to the vivid impressions of my first year among the Eskimos for the story of what I saw and heard." In describing his confrontation with a polar bear, Stefansson writes: “I heard behind me a noise like the spitting of a cat or the hiss of a goose. I looked back and saw, about twenty feet away and almost above me, a polar bear. I had overestimated the bear's distance from shore, and had passed the spot where he lay. From his eye and attitude, as well as the story his trail told afterward there was no doubting his intentions: the hiss was merely his way of saying, "Watch me do it!" Or at least that is how I interpreted it; possibly the motive was chivalry, and the hiss was his way of saying Garde!” Contents I. PREPARATIONS FOR A LIFEWORK OF EXPLORATION II. DOWN THE MACKENZIE RIVER THROUGH 2000 MILES OF INDIAN COUNTRY III. FIRST IMPRESSIONS OF THE ESKIMOS IV. CAPTAIN KLINKENBERG—SEA WOLF AND DISCOVERER V. THE WHALING FLEET SAILS AWAY VI. LEARNING TO LIVE AS AN ESKIMO—ON A DIET OF FISH WITHOUT SALT VII. HOW AN ESKIMO SAILED THROUGH THE STORM VIII. AN AUTUMN JOURNEY THROUGH ARCTIC MOUNTAINS IX. THE SUN GOES AWAY FOR THE WINTER X. LOST IN THE MACKENZIE DELTA XI. AN ARCTIC CHRISTMAS WITH AN ENGLISH COUNTRY GENTLEMAN XII. THE LIFE AT TUKTUYAKTOK XIII. LEARNING TO BUILD A SNOWHOUSE AND TO BE COMFORTABLE IN ONE XIV. TRAVELS AFTER THE SUN CAME BACK XV. WE GO IN SEARCH OF OUR OWN EXPEDITION XVI. A SPRING JOURNEY IN AN ESKIMO SKIN BOAT XVII. A RACE OVER THE ARCTIC MOUNTAINS IN SUMMER XVIII. ON A RAFT DOWN THE PORCUPINE RIVER SHORT STORIES OF ADVENTURE I. HOW I LEARNED TO HUNT CARIBOU II. HOW I LEARNED TO HUNT SEALS III. HOW WE HUNT POLAR BEARS

    Yeah, right--there is no sense in both us dying"), discipline ("If you've got to get whupped, your father is the man. Mothers don't stop until you're bleeding to death"), money ("Before computers, checks were great...local ones took fourteen days to clear"), men and women ("If there were no women in the world, men would be naked, driving trucks, living in dirt"), underwear ("Women, do not buy your men bikini underpants"), love ("If you can get a car with no money down, you can get a boyfriend or girlfriend"), marriage ("There is no compromise, you either go to the basketball game or you go to a movie you hate"), divorce ("there are no Betty Ford clinics for strung-out lovers. You have to go cold turkey"), dieting ("I would be hanging out at McDonald's, tapping on the window: 'Don't throw out those fries!'"), parenting ("When they caught Jeffrey Dahmer, his mom was protective: 'He always had a healthy appetite...'"), technology, and much more.

    Now, to celebrate a decade of delighting opera fans and foes alike, musical historian and humorist David Barber has prepared a special revised and expanded edition of his hilarious bestselling history of opera. Chapters such as Serious Buffoonery, Teutonic Tunesmiths and, of course, Italian Sausage Machines display Barber's rapier wit and knack for knowing fascinating, if sometimes useless, information about music, musicians and the offbeat world they live in. This expanded edition includes new material ranging from Strauss to ragtime, opera to the Tenor Menace. From Italian castrati to German Ring-bearers, from Handel's fights with rival sopranos to Puccini's nicotine habit, the author of Bach, Beethoven and the Boys and Tenors, Tantrums and Trills delivers a funny yet informative, irreverent yet affectionate history of serious music's most serious art form as only he can - and as only he would dare to do.

    Will the “School Gyrls” collaboration with the Archies be a chart-topping hit or a resounding dud?