Barry's set of experiences with these legends of humour is unique, and will delight all who made PIGS CAN FLY a runaway porcine bestseller. In this completely new, organically grown book, old Baz recalls, reminisces, recounts and other words beginning with 'R', on a trip down Memory Lane, pausing only for tea and macaroons at the Stannah Stairlift Cafe. What memories - if only he can remember them. Currently 74, a third of his life has already passed and he invites you to enjoy this wonderfully funny account of it, a decorous orgy of nostalgia.

    The story of one of Liverpool’s greatest soccer goal scorers, from his beginnings as a rough-edged Welsh teenager thrust into the ranks of an already great team, to how he learned to grow as a player and a man.

    It was at such a time that, in a quaint village in south India, a young boy was found in deep meditation. He would say, ‘I have family everywhere. People are waiting for me.’ Nobody believed him then. Time revealed the destiny of the millions who came to him to discover themselves. Over the years, his sublime presence and pragmatic teachings would foster the values of joy, peace and love across the world. His transformative art of breathing, the Sudarshan Kriya, became a household practice, an alternative way of life that inspired people to seek self-realization. He became the guru who made the ethereal tangible, who brought about a profound shift in every sphere of human endeavour—from art to architecture, health care to rehabilitation, inner peace to outer dynamism. From a carefree child to a teenager often found in the company of saints, from a young meditation teacher to a revered spiritual Master, this book is an intimate and affectionate account of the life of Gurudev Sri Sri Ravi Shankar by his sister Bhanumathi Narasimhan, who witnessed his mystical life unfold up-close. Gurudev: On the Plateau of the Peak is an attempt to fit the ocean in a teacup, offering readers a sip of infinity.

    Titanic and the Making of James Cameron by former Hollywood Reporter journalist Paula Parisi recounts the making of this modern classic motion picture from conception to completion, offering a fascinating, detailed, behind-the-scenes look at its stars, including Kate Winslet and Leonardo DiCaprio, its crew, and its genius director. Republished in time to commemorate the centennial anniversary of the catastrophic sinking of the gargantuan ocean liner, Titanic and the Making of James Cameron is a must-read for Titanic fans and for true movie buffs everywhere.

    This volume collects four tales--"Into the Drift and Sway," "Doing Time in a Disposable Body," "Spiral" and the title story--interspersed with ink drawings by the artist. "Sometimes it gets dark in here behind these eyes I feel like the physical equivalent of a scream. The highway at night in the headlights of this speeding car speeding is the only motion that lets the heart unravel and in the wind of the road the two story framed houses appear one after the other like some cinematic stage set..." From these opening sentences of the book (in "Into the Drift and Sawy"), Wojnarowicz lets loose a salvo of explicit gay sexual reverie harshly lit by the New York cityscape: escapades in movie theaters and bus terminals, amid the ascent of AIDS and Wojnarowicz's own consciousness of the virus in himself and at large in the gay community.

     He awoke five days later with to learn of the catastrophic loss of his two friends and both of his legs. Recovering physically presented a great challenge, but the mental recovery was the toughest battle. For three and a half months he never left the hospital because he didn't want people to see his injured body. In One Step at a Time, Bleill shares the story of his own personal redemption and the many life-changing moments he encountered, from his enlistment to active duty in Fallujah, through two years of intensive rehabilitation, and ultimately to his job as the community spokesman for the Indianapolis Colts. Readers will be inspired by his undying enthusiasm, infectious joy, and sense of humor as he shares his message of going forward, one step at a time.

    An Indian boy by adoption, J. W. Schultz has told his paleface brothers many good Indian tales. "Apauk, Caller of Buffalo", was a lad in the land and the days of the great buffalo herds. Apauk. a Blackfoot boy. was taught when young the art of calling buffalo. A new type of the wooly, wild west Indian story appears in "Apauk, Caller of Buffalo." More thrilling than Action, the life story of the greatest of the Blackfeet medicine men, not only possesses an enthralling interest but gives the reader an authoritative historical picture of the life of the American Indian on the great western plains before the invasion of the white man. The biographer, James Wlllard Schultz, is an adopted member of the Blackfeet tribe and has lived the life of an Indian for forty years. Schultz writes: "ALTHOUGH I had known Apauk A—Flint Knife—for some time, it was not until the winter of 1879—80 that I became intimately acquainted with him. He was at that time the oldest member of the Piegan tribe of the Blackfeet Confederacy, and certainly looked it, for his once tall and powerful figure was shrunken and bent, and his skin had the appearance of wrinkled brown parchment. "In the fall of 1879, the late Joseph Kipp built a trading-post at the junction of the Judith River and Warm Spring Creek, near where the town of Lewistown, Montana, now stands, and as usual I passed the winter there with him. We had with us all the bands of the Piegans, and some of the bands of the Blood tribe, from Canada. The country was swarming with game, buffalo, elk, antelope, and deer, and the people hunted and were care-free and happy, as they had ever been up to that time. Camped beside our trading-post was old Hugh Monroe, or Rising Wolf, who had joined the Piegans in 1816, and it was through him that I came to know Apauk well enough to get the story of his remarkably adventurous and romantic youth. The two old men were great chums. Old as they were —Monroe was born in 1798, and Apauk was several years his senior—on pleasant days they mounted their horses and went hunting, and seldom failed to bring in game of some kind. And what a picturesque pair they were ! Both wore capotes ——hooded coats made from three-point Hudson Bay Company blankets—and leggins to match, and each carried an ancient Hudson Bay fuke, or flint-lock gun. They would have nothing to do with cap rifles, or the rim-fire cartridge, repeating weapons of modern make. Hundreds—yes, thousands of head of various game, many a savage grizzly, and a score or two of the enemy—— Sioux, Cree, Crow, Cheyenne, and Assiniboine, had they killed with the sputtering pieces, and they were their most cherished possessions. "Oh, that I could live over again those buffalo days! Those Winter evenings in Monroe’s or Apauk’s lodge, listening to their tales of the long ago! Nor was I the only interested listener: always there was a complete circle of guests around the cheerful fire; old men, to whom the tales brought memories of their own eventful days, and young men, who heard with intense interest of the adventures of their grandfathers, and of the “ calling of the buffalo,” which strange and wonderful method of obtaining at one swoop a whole tribe’s store of Winter food, they were never to witness. For the luring of whole herds of buffalo to their death had been Apauk’s sacred, honored, and danger-fraught avocation.

    Shot on a shoe-string budget of $175,000 in black-and-white 16mm, the film was made with Spike Lee's persistence and talent plus the help of family and friends. It grossed $8 million at the box office and proved to be a major hit with both critics and audiences. Now Spike Lee reveals how he did it, mapping out the entire creative and production processes-from early notebook jottings to film festival awards. Spike Lee's Gotta Have It is a unique document in film literature - it's funny, absorbing, and fresh as the hit film itself.

    With the exception of a few dance recordings, including “Is It All Over My Face?” and “Go Bang! #5,” Russell’s pioneering music was largely forgotten until 2004, when the posthumous release of two albums brought new attention to the artist. This revival of interest gained momentum with the issue of additional albums and the documentary film Wild Combination. Based on interviews with more than seventy of his collaborators, family members, and friends, Hold On to Your Dreams provides vital new information about this singular, eccentric musician and his role in the boundary-breaking downtown music scene.Tim Lawrence traces Russell’s odyssey from his hometown of Oskaloosa, Iowa, to countercultural San Francisco, and eventually to New York, where he lived from 1973 until his death from AIDS-related complications in 1992. Resisting definition while dreaming of commercial success, Russell wrote and performed new wave and disco as well as quirky rock, twisted folk, voice-cello dub, and hip-hop-inflected pop. “He was way ahead of other people in understanding that the walls between concert music and popular music and avant-garde music were illusory,” comments the composer Philip Glass. “He lived in a world in which those walls weren’t there.” Lawrence follows Russell across musical genres and through such vital downtown music spaces as the Kitchen, the Loft, the Gallery, the Paradise Garage, and the Experimental Intermedia Foundation. Along the way, he captures Russell’s openness to sound, his commitment to collaboration, and his uncompromising idealism.

    Broadway actress Sharon Wheatley reveals an authentic and personal look at the damaging physical and emotional effects of childhood obesity.

    I felt hollow and incomplete. To be totally free, I needed to understand why she behaved the way she did."Felicity grew up with her single mum and grandparents in a tiny house in Scarborough. Her dad lived nearby but she was never allowed to meet his family. It was the first secret of many. Another was her Gran's violence towards her, and the psychological abuse that blighted her childhood. All Felicity knew was that Gran's mother had gone to prison, and that her grandmother's suffering somehow excused everything. When Felicity researched her family history, she was led back to the shocking truth about her great-grandmother Emily Swann, a brutalised wife hung for murdering her husband. Emily's children were shamed, the family broken apart, the tragedy impacting on generations to come. Could Felicity finally break free of the damaging cycle, and lay the past to rest?

    It has been celebrated for its beauty and mystery, its realistic depiction of space travel and dazzling display of visual effects, the breathtaking scope of its story, which reaches across millions of years, and the thought-provoking depth of its meditation on evolution, technology and humanity's encounters with the unknown. 2001 has been described as the most expensive avant-garde movie ever made and as a psychedelic trip, a unique expression of the spirit of the 1960s and as a timeless masterpiece. Peter Krämer's insightful study explores the complex origins of the film, the unique shape it took and the extraordinary impact it made on contemporary audiences. Drawing on new research in the Stanley Kubrick Archive at the University of the Arts London, Krämer challenges many of the widely-held assumptions about the film. He argues that 2001 was Kubrick's attempt to counter the deep pessimism of his previous film, Dr Strangelove (1964), which culminates in the explosion of a nuclear 'doomsday' device, with a more hopeful vision of humanity's future, facilitated by the intervention of mysterious extra-terrestrial artifacts. This study traces the project's development from the first letter Kubrick wrote to his future collaborator Arthur C. Clarke in March 1964 all the way to the dramatic changes Kubrick made to the film shortly before its release by MGM in April 1968. Krämer shows that, despite – or, perhaps, because of – Kubrick's daring last-minute decision to turn the film itself into a mysterious artifact, 2001 was an instant success with both critics and general audiences, and has exerted enormous influence over Hollywood's output of science fiction movies ever since. The book argues that 2001 invites us to enjoy and contemplate its sounds and images over and over again, and, if we are so inclined, to take away from it an important message of hope.

    Now, at last, he's opening up the Stan Winston Studio to collaborate on the first-ever book to reveal all the behind-the-scenes secrets of his groundbreaking and hugely influential artistry and effects work. Featuring an extensive array of sketches, production art, and photographs straight from the studio archives, this is the book his fans have been waiting for!

    He was a singer by choice, an actor by compulsion, a filmmaker by conviction...a writer, music composer, lyricist and above all, a supreme impresario. He was known to be a miser, a madman and a troublemaker who could never be trusted. And then, there are those who knew him well who insist that he was as sober as a monk. So who was the real Kishore Kumar? This book attempts to provide an answer with a well-rounded picture of his personality and rare and lively pictures to supplement the text.