In the 1920s and 1930s a uniquely Mexican American entertainment culture flourished across the southwestern United States. Spanish-language newspapers offered theater listings, coverage of favorite performers, cultural criticism, and serialized novels that thematized entertainment culture. Gabriel Navarro was a key figure in this milieu. "There Are No Hispanic Stars!" assembles the novellas and articles that represent his extensive body of film and cultural criticism. Covering a range of topics from the lives of Hollywood's well-known Mexican actors to the plight of Mexican extras and the formation of amateur film clubs, Navarro allowed his readers to participate in the construction of a Latina/o Hollywood. At the same time, he urged Hollywood not to overlook its Latina/o audiences. Together, these writings present a lively look at the film culture that emerged in the Southwest's Mexican immigrant community. The introduction situates Navarro's writing within the context of Mexican-oriented journalism and cultural politics of the era.

B is for Bow, C is for Cat and D is for Downward dog in this beautiful ABC book designed to teach very young children the basic concepts of yoga. Baby Loves is a new range of giftable preschool ABC books that taps into the trends that matter. Stunningly illustrated with a cut-to-white aesthetic, each pocket-sized book is a perfect introduction to a key topic for babies. 

There's the trend: "Plants have exploded in popularity," notes Apartment Therapy. And nylon.com declares: "Millennials are obsessed with houseplants," while the hashtags #crazyplantlady, #iloveplants, and #plantlife have more than 2 million tags on Instagram combined. And then there's the joy: For the plant-obsessed woman of any age, this little illustrated book celebrates the delightfully quirky habits that accompany botanical passion, even addiction. Like seeing every bare surface as a reason to buy a new succulent, fern, or pileum. Or, when planning a fabulous vacation, wondering: But who will water my plants? Throughout there are humorous quotes: "I don't need therapy, I talk to my plants." Sweet puns: "Aloe you vera much." A quiz: Are you a good plant mum? Plus, the telltale signs that you're a crazy plant lady: Even your office is a houseplant jungle. Author-illustrator Isabel Serna's charming art is as bright and vibrant as the pops of colour that plants bring to your home, her text clearly inspired by being a crazy plant lady herself-put it together, and here is a perfect present for housewarmings and a great add-on to a gift of a potted plant or ceramic planter

In the 1990s, American civil society got upended and reordered as many social, cultural, political, and economic institutions were changed forever. Pretty People examines a wide range of Hollywood icons who reflect how stardom in that decade was transformed as the nation itself was signaling significant changes to familiar ideas about gender, race, ethnicity, age, class, sexuality, and nationality. Banderas became bona fide movie stars who carried major films to amazing box-office success. Five of the decade's top ten films were opened by three women-Julia Roberts, Jodie Foster, and Whoopi Goldberg. "Chick flick" entered the lexicon as Leonardo DiCaprio became the "King of the World," ushering in the cult of the mega celebrity. Tom Hanks and Tom Cruise defined screen masculinity as stark contrasts between "the regular guy" and "the intense guy" while the roles of Michael Douglas exemplified the endangered "Average White Male." A fascinating composite portrait of 1990s Hollywood and its stars, this collection marks the changes to stardom and society at century's end.

In the 1920s, as American films came to dominate Mexico's cinemas, many of its cultural and political elites feared that this "Yanqui invasion" would turn Mexico into a cultural vassal of the United States. In Making Cinelandia, Laura Isabel Serna contends that Hollywood films were not simply tools of cultural imperialism. Instead, they offered Mexicans on both sides of the border an imaginative and crucial means of participating in global modernity, even as these films and their producers and distributors frequently displayed anti-Mexican bias. Before the Golden Age of Mexican cinema, Mexican audiences used their encounters with American films to construct a national film culture. Drawing on extensive archival research, Serna explores the popular experience of cinemagoing from the perspective of exhibitors, cinema workers, journalists, censors, and fans, showing how Mexican audiences actively engaged with American films to identify more deeply with Mexico.

In the 1920s, as American films came to dominate Mexico's cinemas, many of its cultural and political elites feared that this "Yanqui invasion" would turn Mexico into a cultural vassal of the United States. In Making Cinelandia, Laura Isabel Serna contends that Hollywood films were not simply tools of cultural imperialism. Instead, they offered Mexicans on both sides of the border an imaginative and crucial means of participating in global modernity, even as these films and their producers and distributors frequently displayed anti-Mexican bias. Before the Golden Age of Mexican cinema, Mexican audiences used their encounters with American films to construct a national film culture. Drawing on extensive archival research, Serna explores the popular experience of cinemagoing from the perspective of exhibitors, cinema workers, journalists, censors, and fans, showing how Mexican audiences actively engaged with American films to identify more deeply with Mexico.