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Artist Joe Roberts has spent more than a decade honing a deeply unique and unapologetically hallucinogenic style of art. Collecting over 100 new and recent paintings, drawings and mixed-media works along with an introduction by Hamilton Morris (Hamilton's Pharmacopeia), We Ate the Acid is the latest product of Roberts' visionary journeys and a testament to his expansive, singular imagination.
A reissue of Joe Robert's 2015 release 'LSD Worldpeace.'
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American silent film comedies were dominated by sight gags, stunts and comic violence. With the advent of sound, comedies in the 1930s were a riot of runaway heiresses and fast-talking screwballs. It was more than a technological pivot--the first feature-length sound film, The Jazz Singer (1927), changed Hollywood. Lost in the discussion of that transition is the overlap between the two genres. Charlie Chaplin, Buster Keaton and Harold Lloyd kept slapstick alive well into the sound era. Screwball directors like Leo McCarey, Frank Capra and Ernst Lubitsch got their starts in silent comedy. From Chaplin's tramp to the witty repartee of His Girl Friday (1940), this book chronicles the rise of silent comedy and its evolution into screwball--two flavors of the same genre--through the works of Mack Sennett, Roscoe Arbuckle, Harry Langdon and others.
A “humbling, inspiring . . . deeply emotional” biography of the boxing legend who held the heavyweight world championship for more than eleven years (Kirkus Reviews, starred review). Known as the Brown Bomber, Joe Louis defended his heavyweight title an astonishing twenty-five times. Through the 1930s, he got more column inches of newspaper coverage than President Roosevelt. At a time when the boxing ring was the only venue where black and white could meet on equal terms, Louis embodied Black America’s hope for dignity and equality. And in 1938, his politically charged defeat of German boxer Max Schmeling made Louis a national hero on the world stage. Through meticulous research and fi...
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