"It can’t be. Birds drink water, not whiskey. I know I’m tired and hungry so it must be a trick of the light,” Trevor Wilson said while relaxing after a hard day hiking up the Pacific Crest Trail. A small cup of the potent beverage, surrounded by wild rose pedals atop a granite outcropping and lit by the moon was being visited by creatures that only exist in the minds of writers and artists, Trevor thought: fairies. Trevor's encounter of the fairy kind led to another fey meeting, one that would see him and his small Chihuahua Tinkerbell rescue a woman's cat further down the trail. Accompanied by their new friend Link, the five embarked on an adventure that would change the humans' lives forever.

The Tiger Moth is one of the major aviation success stories in the history of British aviation. Developed by Geoffrey de Havilland and flown for the first time on October 26 1931, the biplane became the most important elementary trainer used by Commonwealth forces. More than 1,000 Tiger Moths were delivered before WWII, and subsequently around 4,000 were built in the UK with an extra 2,000 being manufactured in Canada, Australia and New Zealand. Following the end of WWII, pilots could buy and modify a Tiger Moth for recreational use or agricultural crop spraying and use it relatively cheaply. This, combined with its popularity within the aero club movement, provided employment for the Tiger Moths until the late fifties when the more modern closed cockpit aircraft began to force them into retirement. This new edition provides a comprehensive account of the aircraft's origins and its development as a trainer of Commonwealth pilots in times of peace and war. It also looks at some of the other roles which this versatile little aeroplane performed such as a crop duster, glider tug, aerial advertiser, bomber, coastal patrol plane and aerial ambulance. Technical narrative and drawings, handling ability and performance as seen through the eyes of the pilots combine to make The Tiger Moth Story the most comprehensive book of the aircraft.

The crooner Rudy Vallée's soft, intimate, and sensual vocal delivery simultaneously captivated millions of adoring fans and drew harsh criticism from those threatened by his sensitive masculinity. Although Vallée and other crooners reflected the gender fluidity of late-1920s popular culture, their challenge to the Depression era's more conservative masculine norms led cultural authorities to stigmatize them as gender and sexual deviants. In Real Men Don't Sing Allison McCracken outlines crooning's history from its origins in minstrelsy through its development as the microphone sound most associated with white recording artists, band singers, and radio stars. She charts early crooners’ rise and fall between 1925 and 1934, contrasting Rudy Vallée with Bing Crosby to demonstrate how attempts to contain crooners created and dictated standards of white masculinity for male singers. Unlike Vallée, Crosby survived the crooner backlash by adapting his voice and persona to adhere to white middle-class masculine norms. The effects of these norms are felt to this day, as critics continue to question the masculinity of youthful, romantic white male singers. Crooners, McCracken shows, not only were the first pop stars: their short-lived yet massive popularity fundamentally changed American culture.

From the concert stage to the dressing room, from the recording studio to the digital realm, SPIN surveys the modern musical landscape and the culture around it with authoritative reporting, provocative interviews, and a discerning critical ear. With dynamic photography, bold graphic design, and informed irreverence, the pages of SPIN pulsate with the energy of today's most innovative sounds. Whether covering what's new or what's next, SPIN is your monthly VIP pass to all that rocks.

Ali G: How many words does you know? Noam Chomsky: Normally, humans, by maturity, have tens of thousands of them. Ali G: What is some of 'em? —Da Ali G Show Did you know that both mammal and matter derive from baby talk? Have you noticed how wince makes you wince? Ever wonder why so many h-words have to do with breath? Roy Blount Jr. certainly has, and after forty years of making a living using words in every medium, print or electronic, except greeting cards, he still can't get over his ABCs. In Alphabet Juice, he celebrates the electricity, the juju, the sonic and kinetic energies, of letters and their combinations. Blount does not prescribe proper English. The franchise he claims is "over the counter." Three and a half centuries ago, Thomas Blount produced Blount's Glossographia, the first dictionary to explore derivations of English words. This Blount's Glossographia takes that pursuit to other levels, from Proto-Indo-European roots to your epiglottis. It rejects the standard linguistic notion that the connection between words and their meanings is "arbitrary." Even the word arbitrary is shown to be no more arbitrary, at its root, than go-to guy or crackerjack. From sources as venerable as the OED (in which Blount finds an inconsistency, at whisk) and as fresh as Urbandictionary.com (to which Blount has contributed the number-one definition of "alligator arm"), and especially from the author's own wide-ranging experience, Alphabet Juice derives an organic take on language that is unlike, and more fun than, any other.

Mapuche is the language of the Mapuche (or Araucanians), the native inhabitants of central Chile. The Mapuche language, also called Mapudungu, is spoken by about 400,000 people in Chile and 40,000 in Argentina. The Mapuche people, estimated at about one million, constitute the majority of the Chilean indigenous population. The history of the Mapuche is the story of passionate fighters who managed to stop the Inca's but succumbed to the Spanish invaders after two and a half century of warfare. The relationship of the Mapuche language with other Amerindian languages has not yet been established. Mapuche is a highly agglutinative language with a complex verbal morphology. This book offers a comprehensive and detailed description of the Mapuche language. It contains a grammar (phonology, morphology and syntax), a collection of texts (stories, conversations and songs) with morphological analyses and free translations, and a Mapuche-English dictionary with a large number of derivations and examples. The grammar is preceded by a socio-historical sketch of the Mapuche people and a brief discussion of previous studies of the Mapuche language. The material for the description was collected by the author with the help of five Mapuche speakers with attention to the dialectal differences between them. The abundance of thoroughly analysed examples makes for a lively decription of the language. The intricacy of the verbal morphology will arouse the interest not only of those who practice Amerindian linguistics but also of those who are interested in language theory and language typology.

When her lover, master vampire Aleksei Rachlav, offers his home as a safe haven for those paramortals who stand against Dracula's army, fighter and healer Gillian Key finds their relationship strained by the new clients he has brought to her and by the return of an old enemy. Original.