This Music Leaves Stains now presents the full story behind the Misfits and their ubiquitous, haunting skull logo, a story of unique talent, strange timing, clashing personalities, and incredible music that helped shape rock as we know it today. James Greene, Jr., maps this narrative from the band's birth at the tail end of the original punk movement through their messy dissolve at the dawn of the 1980s right on through the legal warring and inexplicable reunions that helped carry the band into the 21st century.

Music junkies of any stripe will surely find themselves engrossed in this saga that finally pieces together the full story of the greatest horror punk band that ever existed, though Misfits fans will truly marvel at the thorough and detailed approach James Greene, Jr. has taken in outlining the rise, fall, resurrection, and influence of New Jersey's most frightening musical assembly.

Rarely has a movie this expensive provided so many quotable lines. So wrote Roger Ebert in his review of Ghostbusters, the 1984 blockbuster that handed our paranormal fears over to some of the sharpest comic minds of the day. Ghostbusters instantly resonated with audiences thanks to eye-popping special effects and crackling wit; to date, it remains the highest-grossing horror comedy of all time. The film spawned an Emmy-nominated Saturday morning cartoon, a tentpole 1989 sequel, a contentious 2016 reboot, legions of merchandise, and one of the most dedicated fan bases in history. Ghostbusters also elevated its players to superstardom, something a few cast members found more daunting than the Stay Puft Marshmallow Man.

Now, for the first time, the entire history of the slime-soaked franchise is told in A Convenient Parallel Dimension: How Ghostbusters Slimed Us Forever. The cohesion of talent during the mid-'70s comedy revolution, the seat-of-their-pants creation of the first Ghostbusters, the explosive success that seemed to mandate a franchise, the five year struggle to make Ghostbusters II, the thirty-one-year struggle to make Ghostbusters III--it's all here, with incredible attention to detail. Thoroughly researched and engaging, A Convenient Parallel Dimension smashes long-held myths and half truths about the dynamics behind this cultural juggernaut and presents the real story, down to the last drop of ectoplasm.

This Music Leaves Stains now presents the full story behind the Misfits and their ubiquitous, haunting skull logo, a story of unique talent, strange timing, clashing personalities, and incredible music that helped shape rock as we know it today. James Greene, Jr., maps this narrative from the band's birth at the tail end of the original punk movement through their messy dissolve at the dawn of the 1980s right on through the legal warring and inexplicable reunions that helped carry the band into the 21st century.

Music junkies of any stripe will surely find themselves engrossed in this saga that finally pieces together the full story of the greatest horror punk band that ever existed, though Misfits fans will truly marvel at the thorough and detailed approach James Greene, Jr. has taken in outlining the rise, fall, resurrection, and influence of New Jersey's most frightening musical assembly.

The chaos of life seemed too much for the illusionist Tenn Peller. Everyone sees him as a trickster and a con artist, and when he finally fulfills his teacher's dying wish, his past creates a misunderstanding that causes everyone to see him as a freak. However, before he decides to live the rest of his life alone, he meets someone who fills his life with even more chaos, but this time it doesn't seem so bad. Will Tenn finally find happiness, or will the world's chaos ruin his life for good?

Brave Punk World immerses readers in these foreign scenes, describing the lifestyles and art of passionate, hard-charging groups who remain secret to the punk majority but who are just as crucial as the Ramones or the Sex Pistols. James Greene, Jr. explores Brazilian bands like Ulster who angrily protested and openly mocked their region's cruel dictatorship, Germans such as Slime who see many of their songs still banned to this day, the Algerian-by-way-of-France performers Carte de Séjour who had an alleged hand in inspiring the landmark Clash hit Rock The Casbah, and a galaxy of other punk groups from more exotic locales.

Punk diehards and travel enthusiasts with a taste for chaos will enjoy the country-by-country cultural explorations and wild stories offered within these pages.

In The Soldier's Two Bodies, James M. Greene investigates an overlooked genre of early American literature--the Revolutionary War veteran narrative--showing that it by turns both promotes and critiques a notion of military heroism as the source of U.S. sovereignty. Personal narratives by veterans of the American Revolution indicate that soldiers in the United States have been represented in two contrasting ways from the nation's first days: as heroic symbols of the body politic and as human beings whose sufferings are neglected by their country.

Published from 1779 through the late 1850s, narrative accounts of Revolutionary War veterans' past service called for recognition from contemporary audiences, inviting readers to understand the war as a moment of violence central to the founding of the nation. Yet, as Greene reveals, these calls for recognition at the same time underscored how many veterans felt overlooked and excluded from the sovereign power they fought to establish. Although such narratives stem from a discourse that supports centralized, continental nationalism, they disrupt stable notions of a unified American people by highlighting those left behind.

Greene discusses several well-known examples of the genre, including narratives from Ethan Allen, Joseph Plumb Martin, and Deborah Sampson, along with Herman Melville's fictional adaptation of the life of Israel Potter. Additional chapters focus on accounts of postwar frontier actions, including narratives collected by Hugh Henry Brackenridge that voice concerns over populist violence, along with stranger narratives like those of Isaac Hubbell and James Roberts, which register as fantastic imitations of the genre commenting on antebellum racial politics.

With attention to questions of historical context and political ideology, Greene charts the process by which veteran narratives promote exception, violence, and autonomy, while also encouraging restraint, sacrifice, and collectivity. Revolutionary War veteran narratives offer no easy solutions to the appropriation of veterans' lives within military nationalism and sovereign violence. But by bringing forward the paradox inherent in the figure of the U.S. soldier, the genre invites considerations of how to reimagine those representations.

Drawing attention to paradoxes presented by the memory of the American Revolution, The Soldier's Two Bodies locates the origins of a complicated history surrounding the representation of veterans in U.S. politics and culture.

This book submerges the author and reader within a contemporary mode and mindset to provide exploration and perspectives on ancient wisdoms and governance.

With great subtlety and eerie detail, the author provides descriptions of cities, along with several working definitions of motion, and possible critiques therein. From here examples and metaphors arise.

This book of essays presents actors within our historical and contemporary context, at the standpoint of the turn of a twenty-first century. We shall artistically and interpretively think of these societal actors, persons, ideas, authoritative activities, and otherwise as spectators. Being spectators ourselves, we shall add our own contemplation, imagination, and speculation. If we set back upon each other in this way, it is possible to pose some awkwardly fascinating philosophical positions, or at least posit a possibility of interaction between societal actors, spectators, and the thoughts that arise among these events.

This isn't an attempt to defame or dethrone any specific celebrity, politician, or leader, but to look at events and note where a philosophical threshold rises. The spectator--whoever and whatever he is--knowingly or not, enlightens us about something.

Examples in our popular culture provide spectatorships--a continual and reoccurring play we call history, having its own characters and actors.

There must be a positive spin to this autonomous development. Once we step back and view the broad, picturesque, panorama, it's all essentially human creations, constructions, and artificial machinations of norms, conceptions, rules, tools, and the like, right?

Where is it? What is it? Thinking about events, acting, characters, idiots, rights, truth and fate: The answers are found among Public, Persons, and Prerogatives. Ancient and modern ideas move and merge in this approach.

This book tackles the Atlantian myth from a very unique perspective. The author explores the deepest depths of ideas through introspection, textual, and social analysis.

Previously we found ourselves stuck in production, substitution, and proximal situations presenting dangers reflected in philosophies and arts such as fatalism, acquiescence, and guilt. At history's end no language exists other than the sheer animality of command. Opinions are now held under the guise of command and ordering the will. Productive logic results in negation--hence refresh, negation, refresh, negation, rinse, wash, repeat.

Opinions become heightened by antagonisms of gaming and competition. They are something we are at home with; therefore, they may not be easily dislodged. Opinions are something heavily guarded and defended. Is there a way through this? Perhaps thinking about the language of life? The primordial rise of opinions happened this way: We are mortal beings fated to err. It seems that if there is a purpose, it must be our purposive engagement with reality and with one another.

There's more going on than a highly competitive nature infesting every part of our societal characterizations. We've entered into a gaming scenario--to win, out duel, and out wit--where saying more or getting in the last word is equated with the last one standing. The antagonistic game play--to fight just for the reward of the fight--may actually assist in the disappearance of human language for its animalistic formations. It also appears difficult to relegate opinions to a method of interpretation at the moment. The opinion no longer assists us in opening up truth, nor lighting up perspective, worldview, vision, angles, or nuances. Opinion is the object of our entanglements with one another.This antagonism--the corporeal standing of object that incites us--makes us indifferent by invariably substituting, commanding, and willing each other about. Opinion as command makes things difficult. The opinion is a repetitious production of values dispensed daily. Since opinion produces and reproduces our ordered values we begin to examine it in a unique sociological and philosophical way.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.

This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.

Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.

We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.

This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.

Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.

We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The chaos of life seemed too much for the illusionist Tenn Peller. Everyone sees him as a trickster and a con artist, and when he finally fulfills his teacher's dying wish, his past creates a misunderstanding that causes everyone to see him as a freak. However, before he decides to live the rest of his life alone, he meets someone who fills his life with even more chaos, but this time it doesn't seem so bad. Will Tenn finally find happiness, or will the world's chaos ruin his life for good?