»Ich hatte einen genauen Plan für meine Zukunft, doch dann stürzt Collin Statham in mein Leben und wirft meine kompletten Pläne durcheinander.« Audrey Atkinson hat für alles im Leben einen Plan. Ihr neustes Vorhaben - in den nächsten fünf Jahren den Mann fürs Leben finden und eine Familie gründen! Doch wie das mit dem Schicksal oft ist, hat es ganz andere Vorstellungen. In ihrem Fall ist das der anziehend wie gleichwohl arrogante Bürgermeisterkandidat Collin Statham. Nicht nur, dass Audrey es schaffen muss, ihm den Wahlsieg zu sichern, lässt Collin keine Möglichkeit unversucht sie in den Wahnsinn zu treiben. Trotz allem herrscht ein Prickeln zwischen ihnen, dessen sie sich nur schwer entziehen können. Allerdings gibt es da immer noch Audreys perfekten Zukunftsplan und Collin ist definitiv der falsche Kandidat, oder nicht?
Following the overwhelming success of "The Cosby Show" in the 1980s, an unprecedented shift took place in television history: white executives turned to black dollars as a way of salvaging network profits lost in the war against video cassettes and cable T.V. Not only were African-American viewers watching disproportionately more network television than the general population but, as Nielsen finally realized, they preferred black shows. As a result, African-American producers, writers, directors, and stars were given an unusual degree of creative control over shows such as "The Fresh Prince of Bel Air," "Roc," "Living Single," and "New York Undercover". What emerged were radical representations of African-American memory and experience. Offering a fascinating examination of the explosion of black television programming in the 1980s and 1990s, this book provides, for the first time ever, an interpretation of black TV based in both journalism and critical theory. Locating a persistent black nationalist desire--a yearning for home and community--in the shows produced by and for African-Americans in this period, Kristal Brent Zook shows how the Fox hip-hop sitcom both reinforced and rebelled against earlier black sitcoms from the sixties and seventies. Incorporating interviews with such prominent executives, producers, and stars as Keenen Ivory Wayans, Sinbad, Quincy Jones, Robert Townsend, Charles Dutton, Yvette Lee Bowser, and Ralph Farquhar, this study looks at both production and reception among African-American viewers, providing nuanced readings of the shows themselves as well as the sociopolitical contexts in which they emerged. While black TV during this period may seem trivial or buffoonish to some, Color by Fox reveals its deep-rooted ties to African-American protest literature and autobiography, and a desire for social transformation.
How wonderful that one of those exciting and innovative women artists of the 60s should be recovered and celebrated in this way.'– JULIE CHRISTIE 'Brings the British pop artist, Pauline Boty, into vivid focus' - VANITY FAIR Pauline Boty (1938 –1966) was a founding member of the British Pop Art movement and one of its very few women. She attended London’s Royal College of Art at a watershed moment when its students included David Hockney,Peter Blake, R.B. Kitaj and Allen Jones. Dying tragically young at the age of 28, she is now seen as central to British Pop Art and an icon of Sixties culture. As well as her work as an artist, she appeared on the stage, TV and in film (including alongside Michael Caine in Alfie) and was a regular contributor on BBC radio. She was photographed by David Bailey and other society photographers and became a key player in 1960s London’s golden age. Outspoken, provocative and charismatic, she refused to accept the oppositions between sexual woman and serious artist, between celebration and critique, between high and low culture. Observer and participant, feminist and hedonist, subject and object, Boty’s ‘double vision’ was decades ahead of its time, and prefigured a diversity of artists—everyone from Cindy Sherman to Madonna. Having been largely forgotten after her death, her reputation has been growing steadily since the rediscovery and exhibition of her works in the early 1990s. As well as cropping up regularly in various books, documentaries and newspaper articles since then, she features as a central character in Ali Smith’s novel Autumn (2016) and one of her works sold for $1.4m at auction in June 2022. After seeing her work at an auction in 2013, author Marc Kristal has spent almost ten years researching her life, interviewing the people who knew her and delving into archives and libraries. This is the definitive biography of her life and work, appealing to both those interested in art but in this creative period of British culture.
At five years old, Kristal Brent Zook sat on the steps of a Venice Beach, California, motel trying to make sense of her white father’s abandonment, which left her feeling unworthy of a man’s love and of white protection. Raised by her working-class African American mother and grandmother, Zook was taught not to count on anyone, especially men. Men leave. Men disappoint. In adulthood she became a feminist, activist, and “race woman” journalist in New York City. Despite her professional success, something was missing. Coming to terms with her identity was a constant challenge. The Girl in the Yellow Poncho is Zook’s coming-of-age tale about what it means to be biracial in America. Throughout, she grapples with in-betweenness while also facing childhood sexual assault, economic insecurity, and multigenerational alcoholism and substance abuse on both the Black and white sides of her family. Her story is one of strong Black women—herself, her cousin, her mother, and her grandmother—and the generational cycles of oppression and survival that seemingly defined their lives. Setting out on an inner journey that takes her across oceans and continents, Zook tells the story of a little girl who never gives up on love, even long after it seems to have been destroyed. In the end she triumphs, reconciling with her father and mother to create the family of her dreams through forgiveness and sheer force of will. A testament to the power of settling into one’s authentic identity, this book tells a story of a daughter’s lifelong yearning, a mother’s rediscovery of lost love, and the profound power of atonement and faith to heal a broken family.
The traditional roles of men and women in relationships are changing rapidly, and men are looking for ways to distinguish themselves as high-value partners in the current relationship landscape. STRONG: A Relationship Field Guide for the Modern Man distills the existing research on mental health and relationship science into the six essential green flags a modern woman is looking for in a man. In this book, you will find: • Self-regulation skills for healthy conflict • Tips for increasing your emotional connection • The types of sexual desire and tips on nurturing pleasure • The five love languages and how you and your partner may differ • The four positions of a constructive conversation • Tools for repair after conflict • The role of attachment styles and trauma in relationships . . . and so much more. STRONG provides the motivated modern man with immediately applicable tools and skills to step up his relational game and come out on top.
This groundbreaking book reports on almost three decades of excavations conducted on the Commonwealth Block – the area of central Melbourne bordered by Little Lonsdale, Lonsdale, Exhibition and Spring streets.
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