"The Superhuman Crew" brings together two visionary works of art--Ensor's masterpiece, "Christ's Entry intro Bussels in 1889" and Dylan's "Desolation Row"--in a surprising, thought-provoking format. 48 color illustrations.

Four thousand years ago the world’s first super human walked the earth. Possessing the strength of one hundred men, skin impervious to attack, and the ability to read minds, this immortal being used his power to conquer and enslave nations. Now plans are in motion that will transport this super human to the present, where he’ll usher in a new age of tyranny unlike anything the world has ever seen. Determined to stand against them, using powers they’ve only just begun to master, is a ragtag group of young heroes. For them this first test may be their greatest . . . and last. Watch a Video

THE SUPER HUMAN By: Wayne Castronovo The Super Human follows the adventures of a man born with special physical and mental abilities as he experiences life from birth to manhood.

See:

Redefines the great canon of American poetry from its origins in the 17th century right up to the present.

For more than three decades, a punk underground has repeatedly insisted that 'anyone can do it'. This underground punk movement has evolved via several micro-traditions, each offering distinct and novel presentations of what punk is, isn't, or should be. Underlying all these punk micro-traditions is a politics of empowerment that claims to be anarchistic in character, in the sense that it is contingent upon a spontaneous will to liberty (anyone can do it - in theory). How valid, though, is punk's faith in anarchistic empowerment? Exploring theories from Derrida and Marx, Anyone Can Do It: Empowerment, Tradition and the Punk Underground examines the cultural history and politics of punk. In its political resistance, punk bears an ideological relationship to the folk movement, but punk's faith in novelty and spontaneous liberty distinguish it from folk: where punk's traditions, from the 1970s onwards, have tended to search for an anarchistic 'new-sense', folk singers have more often been socialist/Marxist traditionalists, especially during the 1950s and 60s. Detailed case studies show the continuities and differences between four micro-traditions of punk: anarcho-punk, cutie/'C86', riot grrrl and math rock, thus surveying UK and US punk-related scenes of the 1980s, 1990s and beyond.

Why Are We Always Indoors? (...unless we're off to Barnard Castle) is a personal chronicle of the strangest and darkest football close season in modern history. Having studied politics at university, Paul Armstrong spent much of his career running BBC TV's Match of the Day, then wrote the memoir Why Are We Always On Last? which was published in 2019. In March 2020, he embarked on a journal of London lockdown life against the backdrop of the coronavirus pandemic. This eventually spanned the 105 days between MOTD's Premier League highlights being removed from the schedules and returning in June. Musings and anecdotes about sport, TV, music and life under lockdown became increasingly overshadowed by the mounting tragedy, and a sense of despair and anger at how the crisis was handled at the highest level. This was informed by a lifetime of studying and following politics and by a network of contacts from television and sport, and in various other affected walks of life. A first-hand account of a slice of living history, conveyed with dark humour and a sense of urgency and immediacy.