In this richly textured anthology, well-known scholar David Brackett brings together more than 100 readings from a wide range of sources and by writers who have played an integral part in the development of popular music criticism. Brackett includes articles from mainstream and specialized magazines, newspapers, and scholarly journals, as well as interviews and autobiographies of musicians and other music industry insiders. Organized into broad time periods, the chapters are divided into sections by genre, and these sections are organized chronologically. The chapter divisions parallel those found most frequently in textbooks on popular music. Representing a wide variety of time periods, styles, and genres--and including groundbreaking criticism on disco, hip-hop, rap, and techno--the selections introduce students to important social and cultural issues raised by the study of popular music. Topics covered include the role of race, class conflict, gender roles, regional differences in the reception of popular music, and the relative value of artistry versus commerce. Extensive editorial introductions and headnotes supply context for the selections, provide links between different eras and genres, clarify the issues raised by the documents, and explain their historical significance. The second edition of this captivating anthology features eleven new source readings and introductions, further reading and discography selections for each chapter, and a companion website containing student and instructor resources.

    It was an age ruled by ancient gods and wild beasts, where death lay only a spear-thrust away. But for the scattered tribes of Paleolithic Europe, hope lay in the shaman-warriors who stood between their people and the unknown. Tiger Lung follows the struggle of one of these shamans to keep his people--and himself--alive in an unknowably vast and hostile universe. Collecting the three-part Dark Horse Presents "Beneath the Ice" tale by Simon Roy (Prophet) and Jason Wordie, with two all-new adventures and bonus materials!

    Invisible Ink unfolds like a detective story, alternating between past and present, as Griffith recreates the quotidian habits of suburban Levittown and the professional and cultural life of mid-century Manhattan in the 1950s and ’60s as seen through his mother’s and his own then-teenage eyes. Griffith puts the pieces together and reveals a mother he never knew.

    . . ever. Since his first appearance in 1940’s Batman #1, the Joker stands alone as the most hated, feared, and loved villain in the DC Universe. Though his true origins may be unknown, the Clown Prince of Crime’s psychotic appearances in hundreds of comic books has shaped the way we look at Batman, comic books, and ourselves. Indeed, a hero is only as good as his nemesis, so the Joker’s heinous crimes, including murdering the second Robin and paralyzing Batgirl, have elevated Batman to the highest levels of crime-fighting, and we, the readers, to the finest levels of quality pop-culture entertainment.The Joker is the first retrospective chronicling one of the most groundbreaking and game-changing villains of all time, and contains images from his more than seventy years in comics by comic book artists and writers such as Bob Kane, Bill Finger, Jerry Robinson, Dick Sprang, Grant Morrison, Dave McKean, Neil Gaiman, Geoff Johns, Alan Moore, Brian Bolland, Brian Azzarello, Bruce Timm, and Paul Dini. Also included are images from his various film, television, animated, and video game incarnations, such as the timeless interpretations by Cesar Romero, Jack Nicholson, and Heath Ledger, who won his posthumous Oscar for his portrayal of the Joker in 2008’s The Dark Knight. This book is a must-have for fans and anyone who wants to die laughing.

    After the release of three startling, award-winning movies that have played around the world and been added to the permanent collection of the Museum of Modern Art, S. Craig Zahler wanted to return to his first artistic passion―illustration.With tools that he had developed as a director, screenwriter, cinematographer, novelist, and songwriter, he committed himself to writing, drawing, inking, and lettering his graphic novel debut, a full-length work of noir horror entitled, Forbidden Surgeries of the Hideous Dr. Divinus.Here’s the setup…Homeless people are disappearing in New Bastion, and occasionally, a dismantled corpse turns up in a dumpster. These crimes are left alone, until the day a comatose woman named Lillian Driscoll is kidnapped from the hospital. Her brothers―a grumpy detective named Leo and a slick mobster named Tommy―seek answers that lead them to darkness, arcane medicine, and pain.Fans of Bone Tomahawk (recently named best film of the decade by Conan O’Brien) will enjoy Zahler’s return to the supernatural, and the idiosyncratic, tough guy dialogue found in his crime pictures Dragged Across Concrete and Brawl in Cell Block 99 (both of which premiered at the Venice Film Festival) is also present in this starkly rendered, black-and-white graphic novel, a stylistic confluence of pre-code horror, vintage comic strip, and modern indie art styles.

    In this easy-to-navigate A to Z guide, the authors’ playful explanations draw on key artworks, artists, and events from around the globe, including how the lights going on and off won the Turner Prize, what makes the likes of Marina Abramovic and Ai Weiwei such great artists, and why Kanye West would trade his Grammys to be one.Packed with behind-the-scenes information and completely free of jargon, Who’s Afraid of Contemporary Art? is the perfect gallery companion and the go to guide for when the next big thing leaves you stumped.

    Sometimes a thief, sometimes a vigilante, sometimes neither, and sometimes both, the mercurial Catwoman gleefully defies classification. Her relentless independence across comic books, television, and film set her apart from the rest of the superhero world. When female characters were limited to little more than romantic roles, Catwoman used her feminine wiles to manipulate Batman and escape justice at every turn. When male villains dominated Gotham on the small screen, Catwoman entered the mix and outshone them all. When female-led comics were few and far between, Catwoman headlined her own series for over twenty years. True to her nature, Catwoman stole the show everywhere she appeared, regardless of the medium. But her unique path had its downsides as well. Her existence on the periphery of the superhero world made her expendable, and she was prone to lengthy absences. Her villainous origins also made her susceptible to sexualized and degrading depictions from her primarily male creators in ways that most conventional heroines didn't face. For good and ill, Catwoman serves as a stark counterpart to the typical evolution of the history of women in comics, and in popular culture generally. The standard tropes rarely applied to Catwoman; instead, her adventures have charted an inimitably varied journey of empowerment and exploitation. Exploring the many incarnations of this cultural icon offers a new perspective on the superhero genre and showcases the fierce resiliency that has made Catwoman a fan favorite for decades.

    For example, did you know that Arnie Levin is a seventy-three-year-old former Beatnik painter with a handlebar mustache and a back decorated by Japan’s foremost tattoo artists?Gehr’s book features fascinating biographical profiles of such artists as Gahan Wilson, Sam Gross, Roz Chast, Lee Lorenz, and Edward Koren. Along with a dozen such profiles, Gehr provides a brief history of The New Yorker cartoon itself, touching on the lives and work of earlier illustrating wits, including Charles Addams, James Thurber, and William Steig.

    In the 1960's, Kirby joined with Stan Lee to develop many of our best-known and most beloved superheroes, including the Fantastic Four, the Incredible Hulk, the X-Men, Thor, Iron Man, the Avengers, and the Silver Surfer. Ronin Ro chronicles Kirby's poverty-stricken origins in New York's Lower East Side, his early commercial triumphs and failures, his renowned partnership with Lee, and his revolutionary artistic innovations, tracing the comic book industry from its inauspicious beginnings to its sensational successes.

    Throughout the book, the authors show how the study of learning helps solve practical problems, such as improving study skills, improving relationships, raising children, and effectively stopping smoking. This book is both solidly based in research and engaging for the student. To help ensure that students understand the materials, the authors strategically include multiple opportunities for review and self-testing within the text.

    From the right-on 60s and 70s to the bitterness and disillusion of the 80s and ending with the futility of fighting the all powerful system, Crumba covers a variety of political attitudes while retaining his anti-Establishment opinions.

    Ward (1905–85), in employing the concept of the wordless pictorial narrative, acknowledged his predecessors the European artists Frans Masereel and Otto Nückel. Released the week of the 1929 stock market crash, Gods' Man was the first of six woodcut novels that Ward produced over the next eight years. It presents the artist's struggles in a world characterized by both innocence and corruptions and can be considered a forerunner of the contemporary graphic novel, popularized by artists such as Daniel Clowes. Although best known for his "novels in woodcuts," Ward was also a successful illustrator of children's books. In 1953 he won the Caldecott Medal for The Biggest Bear, which he both wrote and illustrated. His illustrations also appeared in numerous books that received the Newbery Medal. Ward's final work was the acclaimed wordless novel The Silver Pony (1973). Until now, Gods' Man has only been widely available in high-priced original editions. This top-quality, low-cost republication of Ward's masterpiece will be welcomed by collectors of his work as well as by readers new to his achievement.

    "This history of the birth of superhero comics highlights three pivotal figures. The story begins early in the last century, on the Lower East Side, where Harry Donenfeld rises from the streets to become the king of the 'smooshes'-soft-core magazines with titles like French Humor and Hot Tales. Later, two high school friends in Cleveland, Joe Shuster and Jerry Siegel, become avid fans of 'scientifiction,' the new kind of literature promoted by their favorite pulp magazines. The disparate worlds of the wise guy and the geeks collide in 1938, and the result is Action Comics #1, the debut of Superman. For Donenfeld, the comics were a way to sidestep the censors. For Shuster and Siegel, they were both a calling and an eventual source of misery: the pair waged a lifelong campaign for credit and appropriate compensation." -The New Yorker

    But Kyle Baker's comic book version of King David renders that classic confrontation in 17 wordless pages, comprising one of the freshest, most suspenseful and thrilling descriptions of its subject that you are likely to find. King David is a biblically accurate, freewheeling, color-saturated biography of the boy who rose to become king of Israel. David begins the book as a scruffyDennis-the-Menace-like kid and ends the book as a vain, hunky womanizer; King Saul is a glam-rock tyrant; his son Jonathan is a skinny punk rebel. (When he asks to borrow Saul's chariot and the king asks, "Where are you going, Jonathan?" he shoots back, "Out.") Many parents will deem the book's bloody battle scenes inappropriate for young readers. King David's candor, however, is a virtue. This is real religious literature: it describes David's relationship with God in a style that's fully alive for readers today. --Paul Power

    Working from news reports drawn from multiple international media, Jacobson and Col�n depict the critical events, decision makers, and consequences of America's "war on terror," and, most important, the context in which the war began, unfolded, and unraveled. The most demanding story they have ever tackled, After 9/11 is also the most tailor-made for their medium, capturing simultaneous events, geographic complexity, numerous participants, and a vast array of economic, statistical, and quantitative information--compellingly told through the sequential panel art narrative form unique to graphic books. Proving yet again that graphic novels best meet the challenge of giving the most information with the least amount of ink, Jacobson and Col�n answer with clarity and unforgettable imagery the question: How the hell did we end up where we are?