From popular author Ame Dyckman and rising star Charles Santoso comes the laugh-out-loud story of a father desperate to destroy the dandelion marring his perfectly manicured lawn, and his daughter's fierce attempts to save it. When Daddy spots a solitary weed in his lawn, he's appalled (along with all of his neighborhood friends). But his daughter Sweetie has fallen in love with the beautiful flower, even going so far as to name it Charlotte. Racing against time and the mockery of his friends, Daddy has to find a way to get rid of the errant dandelion without breaking his little girl's heart.

Dandies: Fashion and Finesse in Art and Culture considers the visual languages, politics, and poetics of personal appearance. Dandyism has been most closely associated with influential caucasian Western men-about-town, epitomized by the 19th century style-setting of Oscar Wilde and by Tom Wolfe's white suits. The essays collected here, however, examine the spectacle and workings of dandyism to reveal that these were not the only dandies. On the contrary, art historians, literary and cultural historians, and anthropologists identify unrecognized dandies flourishing among early 19th century Native Americans, in Soviet Latvia, in Africa, throughout the African-American diaspora, among women, and in the art world. Moving beyond historical and fictional accounts of dandies, this volume juxtaposes theoretical models with evocative images and descriptions of clothing in order to link sartorial self-construction with artistic, social, and political self-invention. Taking into consideration the vast changes in thinking about identity in the academy, Dandies provides a compelling study of dandyism's destabilizing aesthetic enterprise. Contributors: Jennifer Blessing, Susan Fillin-Yeh, Rhonda Garelick, Joe Lucchesi, Kim Miller, Robert E. Moore, Richard J. Powell, Carter Ratcliffe, and Mark Allen Svede.

Dandy: All Hail to the King (Book Three in the Dandy Series.) Created by: Andreas Carlsson and Jazan Wild You got it all, DANDY. But someone else, another orphan who entered Krazy's Magical Nightclub, named Tommy "The Kidd" Kidston, wants your throne. He heard the melody soaring down the old alleyways and followed it out into the night too, but was it meant for his soul? Find out, as we journey back to a world of dreams. You are all invited into this wonder filled extravaganza! Welcome, One and All.. to a crazy world, where... If You Can Dream It... You Can Be It! "Dandy"™ "If You Can Dream It... You Can Be IT!" ™

A look at the phenomenon of the dandy from Regency England to the contemporary Congolese Sapeurs, with stops at Wodehouse, Wilde, Grant, and more The dandy is not just an elaborately or even well-dressed man, nor is he an exclusively English phenomenon. He is something far more universal and intriguing, and this study explores his cultural significance. It starts with Beau Brummell, acknowledged as the very first dandy, a man whose ancestors had been servants, yet who invented a new paradigm of courtesy, wit, independence, and elegance to lord over the aristocrats of England. Brummell died in exile, forgotten and impoverished—the best dandies often die in debt. But his image lived on, to haunt and inspire generations around the world, from the boulevards of Paris and St. Petersburg in the 1830s to the studios of Hollywood a century later. Byron, Disraeli, Bulwer, Pushkin, Chopin, Delacroix, Balzac, Baudelaire, Wilde, Proust, Boni de Castellane, Hugo von Hofmannstahl, Beerbohm, Noël Coward, Cary Grant, Fred Astaire, Vladimir Nabokov, Ortega y Gassett, Mikhael Bulgakov, Evelyn Waugh, Scott Fitzgerald, Tom Wolfe, Nick Foulkes—all were bedazzled by the image of the dandy.

Slaves to Fashion is a pioneering cultural history of the black dandy, from his emergence in Enlightenment England to his contemporary incarnations in the cosmopolitan art worlds of London and New York. It is populated by sartorial impresarios such as Julius Soubise, a freed slave who sometimes wore diamond-buckled, red-heeled shoes as he circulated through the social scene of eighteenth-century London, and Yinka Shonibare, a prominent Afro-British artist who not only styles himself as a fop but also creates ironic commentaries on black dandyism in his work. Interpreting performances and representations of black dandyism in particular cultural settings and literary and visual texts, Monica L. Miller emphasizes the importance of sartorial style to black identity formation in the Atlantic diaspora. Dandyism was initially imposed on black men in eighteenth-century England, as the Atlantic slave trade and an emerging culture of conspicuous consumption generated a vogue in dandified black servants. “Luxury slaves” tweaked and reworked their uniforms, and were soon known for their sartorial novelty and sometimes flamboyant personalities. Tracing the history of the black dandy forward to contemporary celebrity incarnations such as Andre 3000 and Sean Combs, Miller explains how black people became arbiters of style and how they have historically used the dandy’s signature tools—clothing, gesture, and wit—to break down limiting identity markers and propose new ways of fashioning political and social possibility in the black Atlantic world. With an aplomb worthy of her iconographic subject, she considers the black dandy in relation to nineteenth-century American literature and drama, W. E. B. Du Bois’s reflections on black masculinity and cultural nationalism, the modernist aesthetics of the Harlem Renaissance, and representations of black cosmopolitanism in contemporary visual art.