For years the legendary John Seigenthaler hosted A Word on Words on Nashville's public television station, WNPT. During the show's four-decade run (1972 to 2013), he interviewed some of the most interesting and most impor tant writers of our time. These in-depth exchanges revealed much about the writers who appeared on his show and gave a glimpse into their creative pro cesses. Seigenthaler was a deeply engaged reader and a generous interviewer, a true craftsman. Frye Gaillard and Pat Toomay have collected and transcribed some of the iconic interactions from the show. Featuring interviews with: Arna Bontemps * Marshall Chapman * Pat Conroy * Rodney Crowell * John Egerton * Jesse Hill Ford * Charles Fountain * William Price Fox * Kinky Friedman * Frye Gaillard * Nikki Giovanni * Doris Kearns Goodwin * David Halberstam * Waylon Jennings * John Lewis * David Maraniss * William Marshall * Jon Meacham * Ann Patchett * Alice Randall * Dori Sanders * John Seigenthaler Sr. * Marty Stuart * Pat Toomay

Adopting an innovative and theoretical approach, Greek Tragedy and the Digital is an original study of the encounter between Greek tragedy and digital media in contemporary performance. It challenges Greek tragedy conventions through the contemporary arsenal of sound masks, avatars, live code poetry, new media art and digital cognitive experimentations. These technological innovations in performances of Greek tragedy shed new light on contemporary transformations and adaptations of classical myths, while raising emerging questions about how augmented reality works within interactive and immersive environments. Drawing on cutting-edge productions and theoretical debates on performance and the digital, this collection considers issues including performativity, liveness, immersion, intermediality, aesthetics, technological fragmentation, conventions of the chorus, theatre as hypermedia and reception theory in relation to Greek tragedy. Case studies include Kzryztof Warlikowski, Jan Fabre, Romeo Castellucci, Katie Mitchell, Georges Lavaudant, The Wooster Group, Labex Arts-H2H, Akram Khan, Urland & Crew, Medea Electronique, Robert Wilson, Klaus Obermaier, Guy Cassiers, Luca di Fusco, Ivo Van Hove, Avra Sidiropoulou and Jay Scheib. This is an incisive, interdisciplinary study that serves as a practice model for conceptualizing the ways in which Greek tragedy encounters digital culture in contemporary performance.

The incredible, uncensored full story of the number one male porn star and legend, told in his own words. Here's the long and the short of it. Porn legend Ron Jeremy is known all over the world as a true icon of the porn industry, and as the most recognizable personality in the history of adult films. Ron Jeremy has been through every era of the industry's development and he has only grown in stature. And just like he does in his films, he delivers the goods in his book by dishing the dirt on over 20 years of Hollywood scandal, telling about the inner workings of the porn industry, and revealing a life filled with celebrities, gossip and international fame. Ron Jeremy is a born storyteller. In this uncensored memoir he tells the naked truth about his life, his career, and his adventures in Hollywood and around the world. He has also had a lot of success outside the XXX world, and he has stories on every major Hollywood celebrity. He does have a policy, however - "First you show me yours and then I'll show you mine. No exceptions." In addition to starring in over 1700 films, and directing 250 of them, Ron Jeremy has starred in the UK-based reality show The Farm, was on VH1 with The Surreal Life, has acted in mainstream films like Detroit Rock City, Orgazmo, Rodney Dangerfield's Meet Wally Sparks, and Rules of Attraction. He has appeared on Fox's The Family Guy, Just Shoot Me, The Weakest Link, and Nash Bridges. Ron had a hit single with DJ Polo ("Freak of the Week"), which spent 25 weeks on the Billboard charts. Pornstar, the documentary based on his life, met with huge critical acclaim.

Colonialism and Slavery in Performance brings together original archival research with recent critical perspectives to argue for the importance of theatrical culture to the understanding of the French Caribbean sugar colonies in the eighteenth century. Fifteen English-language essays from both established and emerging scholars apply insights and methodologies from performance studies and theatre history in order to propose a new understanding of Old Regime culture and identity as a trans-Atlantic continuum that includes the Antillean possessions whose slave labour provided enormous wealth to the metropole. Carefully documented studies of performances in Saint-Domingue, the most prosperous French colony, illustrate how the crucible of a brutally racialized colonial space gave rise to a new French identity by adapting many of the cherished theatrical traditions that colonists imported directly from the mainland, resulting in a Creole performance culture that reflected the strong influence of African practices brought to the islands by plantation slaves. Other essays focus on how European theatregoers reconciled the contradiction inherent in the eighteenth century's progressive embrace of human rights, with an increasing dependence on the economic spoils of slavery, thus illustrating how the stage served as a means to negotiate new tensions within "French" identity, in the metropole as well as in the colonies. In the final section of the volume, essays explore the place of performance in representations of the Old Regime Antilles, from the Haitian literary diaspora to contemporary performing artists from Martinique and Guadeloupe, as the stage remains central to understanding history and identity in France's former Atlantic slave colonies. Featuring contributions from Sean Anderson, Karine Benac-Giroux, Bernard Camier, Nadia Chonville, Laurent Dubois, Logan J. Connors, Beatrice Ferrier, Kaiama L. Glover, Jeffrey M. Leichman, Laurence Marie, Pascale Pellerin, Julia Prest, Catherine Ramond, Emily Sahakian, Pierre Saint-Amand, and Fredrik Thomasson.

"Appa, yip yip!" Show off your love and appreciation for the Aang's adorable and loyal sky bison with this "flying" Appa collectible figurine. - Unique "flying" figurine: 3-inch Appa figurine with translucent plastic support post and base to make it appear that he is flying above his cloud base - Includes sound feature: Figurine plays Appa's growl - Illustrated mini book included: Learn about your favorite characters with this 32-page, 2-1/2 x 3" mini book of quotes and full-color art from the show - Perfect gift for Avatar: The Last Airbender fans: Display on a shelf, desk, or bookcase and show off your love for Appa - Officially licensed: Authentic collectible from Avatar: The Last Airbender (c) Viacom International Inc. All Rights Reserved. Nickelodeon, Nickelodeon Avatar: The Last Airbender and all related titles, logos and characters are trademarks of Viacom International Inc.

This book is an annotated collection of English-language documents by foreigners writing about Japan's kabuki theatre in the half-century after the country was opened to the West in 1853. Using memoirs, travelogues, diaries, letters, and reference books, it contains all significant writing about kabuki by foreigners-resident or transient-during the Meiji period (1868-1912), well before the first substantial non-Japanese book on the subject was published. Its chronologically organized chapters contain detailed introductions. Twenty-seven authors, represented by edited versions of their essays, are supplemented by detailed summaries of thirty-five others. The author provides insights into how Western visitors-missionaries, scholars, diplomats, military officers, adventurers, globetrotters, and even a precocious teenage girl-responded to a world-class theatre that, apart from a tiny number of pre-Meiji encounters, had been hidden from the world at large for over two centuries. It reveals prejudices and misunderstandings, but also demonstrates the power of great theatre to bring together people of differing cultural backgrounds despite the barriers of language, artistic convention, and the very practice of theatergoing. And, in Ichikawa Danjuro IX, it presents an actor knowledgeable foreigners considered one of the finest in the world.

Let the spooky citizens of Halloween Town guide your tarot practice with this sumptuously illustrated tarot deck inspired by Tim Burton's classic animated film, The Nightmare Before Christmas. Disney's iconic holiday film The Nightmare Before Christmas is now an enchanting tarot set, offering a frightful-but-friendly take on the traditional 78-card deck. This set features all your favorite characters from Jack Skellington to Mr. Oogie Boogie to Sandy Claws himself in gorgeous original illustrations based on classic tarot iconography. Featuring both major and minor arcana, the set also comes with a helpful guidebook explaining each card's meaning, as well as simple spreads for easy readings. Packaged in a sturdy, decorative gift box, this hauntingly charming tarot deck is the perfect gift for the The Nightmare Before Christmas fan or tarot enthusiast in your life.

'The "Fever Pitch" of telly.' Scotland on Sunday 'Like Linus' blanket in Charlie Brown, like breast fixations among men in their fifties, television can become an embarrassing addiction.' But for most of us, sitting in our living rooms looking for an excuse not to talk to each other of a Thursday night, a million million miles away from moon landings and Cold War tension and Third World famine, it is this addiction to a queer little flickering box in the corner that has shaped our lives since the late 1950s.

Rewatching on the Point of the Cinematic Index offers a reassessment of the cinematic index as it sits at the intersection of film studies, trauma studies, and adaptation studies. Author Allen H. Redmon argues that far too often scholars imagine the cinematic index to be nothing more than an acknowledgment that the lens-based camera captures and brings to the screen a reality that existed before the camera. When cinema's indexicality is so narrowly defined, the entire nature of film is called into question the moment film no longer relies on a lens-based camera. The presence of digital technologies seemingly strips cinema of its indexical standing. This volume pushes for a broader understanding of the cinematic index by returning to the early discussions of the index in film studies and the more recent discussions of the index in other digital arts. Bolstered by the insights these discussions can offer, the volume looks to replace what might be best deemed a diminished concept of the cinematic index with a series of more complex cinematic indices, the impoverished index, the indefinite index, the intertextual index, and the imaginative index. The central argument of this book is that these more complex indices encourage spectators to enter a process of ongoing adaptation of the reality they see on the screen, and that it is on the point of these indices that the most significant instances of rewatching movies occur. Examining such films as John Lee Hancock's Saving Mr. Banks (2013); Richard Linklater's oeuvre; Paul Greengrass's United 93 (2006); Oliver Stone's World Trade Center (2006); Stephen Daldry's Extremely Loud and Incredibly Close (2011); and Christopher Nolan's Dunkirk (2017), Inception (2010), and Memento (2000), Redmon demonstrates that the cinematic index invites spectators to enter a process of ongoing adaptation.