Winston Smith, named for the protagonist of George Orwell's 1984, uses old school' cut and paste methods to create his collages of old Americana images juxtaposed into shocking pictures. Smith's work is often seen in Playboy, the New Yorker and on album covers for such diverse groups as Green Day and George Carlin. Dinosaurs poke their head into windows as 1950s suburban housewives take fresh-baked MX missiles out of the oven. Introduction by Carlo McCormick.'

This history of the punk movement in the United States shows how punk music, fashion, art, and attitude clashed with and ultimately influenced mainstream culture. Unlike other volumes on the punk era that focus on just the music—and primarily on British punk bands—Punks: A Guide to an American Subculture spans the full expanse of punk as it happened in the United States, from the late-1960s blast from Iggy Pop and the Stooges to the full explosion of punk in the mid 1970s to its next-generation resurgences and continuing aftershocks. Punks covers it all—not just music, but the punk influence on film, fashion, media, and language. Readers will see how punk spread virally, through fan-created magazines, record labels, clubs, and radio stations, as well as how mainstream America reacted, then absorbed aspects of punk culture. The book includes interviews with key members of the punk subculture, including new conversations with people who participated in the punk scene in the 1970s and 1980s.

First published in 2001.The standard work on its subject, this resource includes every traceable British entertainment film from the inception of the "silent cinema" to the present day. Now, this new edition includes a wholly original second volume devoted to non-fiction and documentary film--an area in which the British film industry has particularly excelled. All entries throughout this third edition have been revised, and coverage has been extended through 1994.Together, these two volumes provide a unique, authoritative source of information for historians, archivists, librarians, and film scholars.

The remarkable career of American actress Eve Arden (1908-1990) is thoroughly chronicled from her earliest stage work in 1926 (under her given name Eunice Quedens) to her final television role in a 1987 episode of Falcon Crest. Included are detailed descriptions and critical commentaries of the actress's 62 feature film appearances between 1929 and 1982, notably her Oscar-nominated performance as Joan Crawford's sardonic confidante in 1945's Mildred Pierce. Complete coverage is provided of Eve Arden's work in the popular radio and television series Our Miss Brooks, and her later costarring stint with Kaye Ballard in the two-season TV sitcom The Mothers-in-Law. Also listed are her many other radio and television appearances, as well as her theatrical roles in such Broadway productions as Ziegfeld Follies of 1936 and Let's Face It.

There is always a healthy interest in the actors who have played the role of the world's most famous detective, Sherlock Holmes. But Sir Arthur Conan Doyle also created the world's best known sidekick, Dr. John H. Watson. The men and women who played the role of stalwart ally is quite an eclectic gathering. Here is compiled a listing and discussion of some of the best known people who have played the part of Watson from the earliest days of silent film to the action heroes of the 21st century. All royalties from this book go towards the Undershaw Preservation Trust. Please visit facebook.com/saveundershaw and -like- to show your support.

First published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

‘Razor sharp research ... shows why every US citizen should be quaking in their boots’ Metro, Books of the Year ‘Bill Hicks with a press pass’ The List Award-winning guerrilla journalist Greg Palast has gone where most have been too scared to unearth the ugly truth about the haves and have-mores who rule our world ... America. Here he reports from behind enemy lines to reveal just how bad it’s got in a dangerous regime: how elections are bought and free speech comes at a price. How citizens are ruled by fear. And how our brave new globalized world means the poor get hammered, while corporations silently buy up the planet. It’s not pretty – but it’s all true ... ‘Palast is one of the few journalists writing who has both the anger and the wit to offer himself up as a persuasive – and more importantly, readable – voice of the left’ Observer ‘A rollercoaster ride from Baghdad to New Orleans and Osama bin Laden’s cave to the back rooms of the Pentagon’ Big Issue ‘Very funny ... For anyone who thinks that no-one from the US knows what’s going on, Palast is the perfect riposte’ Guardian

The Graphic Art of the Underground: A Countercultural History takes the reader on a dazzling journey through the visual art and design of alternative and youth cultures from the 1950s to the present day. Ian Lowey and Suzy Prince ’s compelling account draws upon the work of an array of artistic figures – many of whose lives have proved as colourful as their work– such as Ed ‘Big Daddy’ Roth, Kenny ‘Von Dutch’ Howard, Robert Williams, Robert Crumb, Martin Sharp, Jamie Reid, Linder Sterling, Gee Vaucher, Winston Smith, Barney Bubbles, Mark Ryden, Shag, Camille Rose Garcia, Marion Peck and Pete Fowler among numerous others.

Dead Kennedys routinely top both critic and fan polls as the greatest punk band of their generation. Their debut full-length, Fresh Fruit for Rotting Vegetables, in particular, is regularly voted among the top albums in the genre. Fresh Fruit offered a perfect hybrid of humor and polemic strapped to a musical chassis that was as tetchy and inventive as Jello Biafra’s withering broadsides. Those lyrics, cruel in their precision, were revelatory. But it wouldn’t have worked if the underlying sonics were not such an uproarious rush, the paraffin to Biafra’s naked flame. Dead Kennedys’ continuing influence is an extraordinary achievement for a band that had practically zero radio play and only released records on independent labels. They not only existed outside of the mainstream but were, as V. Vale of Search and Destroy noted, the first band of their stature to turn on and attack the music industry itself. The DKs set so much in motion. They were integral to the formulation of an alternative network that allowed bands on the first rung of the ladder to tour outside of their own backyard. They were instrumental in supporting the concept of all-ages shows and spurned the advances of corporate rock promoters and industry lapdogs. They legitimized the notion of an American punk band touring internationally while disseminating the true horror of their native country’s foreign policies, effectively serving as anti-ambassadors on their travels. The book uses dozens of first-hand interviews, photos, and original artwork to offer a new perspective on a group who would become mired in controversy almost from the get-go. It applauds the band’s key role in transforming punk rhetoric, both polemical and musical, into something genuinely threatening—and enormously funny. The author offers context in terms of both the global and local trajectory of punk and, while not flinching from the wildly differing takes individual band members have on the evolution of the band, attempts to be celebratory—if not uncritical.