First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.
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Etsi kirjoja tekijän nimen, kirjan nimen tai ISBN:n perusteella.
1000 tulosta hakusanalla Ed Harris
First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.
Co-Ed Understanding Business Organisations
Routledge
2002
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First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.
Co-Ed Understanding Business Processes
Routledge
2004
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First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
Losing everything after spending five years in prison, con man Kip Largo finds his life taking an odd turn when Lauren Napier, wife of billionaire venture capitalist Ed Napier, asks him to help steal her husband's money, a job that Kip turns down, until his son shows up requesting his assistance in dealing with the Russian mafia. A first novel. Reprint.
A collection of tips and haze-filled experiences to assist in your Ganja-related activities. From beginners to experienced Tokers (or just those curious) this burnt offering provides knowledge, entertainment, and an opportunity to learn from the mistakes of others. Indulge.
Wanted: Ed Bereal
Whatcom Museum Foundation
2019
pokkari
Born in Riverside, California in 1937 and profoundly affected by World War II, Ed Bereal made significant contributions to assemblage and performance arts in Los Angeles during the early 1960s through 1980s. A consummate draftsman and object maker, Bereal found inspiration in such divergent sources as Norman Rockwell's illustrations and the tableaux of Ed Kienholz. His "political cartoons" are unique portraits of America filtered through the lens of an artist who lived through the 1965 Watts riots, founded the noted Black street theater Bodacious Buggerilla, and traveled to hot spots around the world as a film journalist. At the age of 82, Bereal distills a lifetime of experiences through an explosion of provocative imagery and narrative, sparking conversations about identity and racial inequity, violence and war, and political and corporate power.Whatcom Museum curator Amy Chaloupka presents an expansive overview of the artist's six-decade career in an introductory essay. Matthew Simms delves into Bereal's early journal sketches, particularly his self-portraits, from his time at Chouinard, where Bereal was a student of Irwin's. Malik Gaines, who was responsible for bringing Bereal's Bodacious Buggerilla theater troupe together for a reunion performance in 2012 as part of the Getty's Pacific Standard Time initiative, discusses the importance of Bereal's contributions to guerrilla theater arising in the Post-Watts atmosphere in Southern California. Vernon Damani Johnson concentrates on Bereal's politically charged paintings and installations, and particularly his motif of Miss America, tracing in his essay the trajectory of Bereal's powerful iconography across three decades and what it has to say in a Post-Ferguson era.
"Inc.'ed: Public Appearances" marks the first print version of the online comic strip, "Inc.'ed Online" (www.incedonline.com), which follows the story of a unique married couple, their friends and family. Matt & Meg Wulf are "funny animals" who play "funny animal" characters for a living. Matt as a greeting card mascot and Meg in a supporting role in a daily newspaper comic strip.
When the short-term life of a Long Island family man intersects with the corrupt life of a misunderstood scientist in league with Lucifer, they go head-to-head with Death and the Powers of Darkness in a struggle for safety and existence. "Dead Ed" is a cut-to-the-chase supernatural fantasy that puts a spin on the zombie genre.
"IT'LL BE FUN," SHE SAID . . . Famous last words before Rebecca, Jerome, and Caleb plunge blindly into an ominous, dark hole. But, as some of the last humans on Earth, the trio is desperate for food--and they have nothing left to lose. THEY ARENT THE ONLY ONES LOOKING FOR A MEAL . . . Stumbling upon a deserted underground city, the trio's hopes are high--but something sinister's living in the shadows, and it will stop at nothing to taste their flesh. DON'T STOP MOVING. There's no way to go but forward, and death lurks around every turn in this unpredictable maze of rubble and debris. Scared, alone, and with no one to save them, there's one thing they're sure of: SURVIVAL IN 2157 IS A BITCH
"This biography closely describes Walsh's life and 14-year playing career, with special discussion of the spitball, a pitch that profoundly affected his fortunes--and ultimately his arm. The years 1905-1911 are explored in depth, especially his contributions to the 1906 world champion White Sox and his prominent role in the now-famous 1908 pennant race"--Provided by publisher.
Among higher education institutions in the United States, for-profit colleges and universities have steadily captured a larger share of the student market. A recent trend at for-profit institutions is the coupling of job training with accredited academic programs that offer traditional baccalaureate, professional, and graduate degrees. Richard Ruch, with administrative experience in both the nonprofit and for-profit sectors of higher education, takes us inside these new for-profit institutions, describing who teaches there, who enrolls and why, and how the for-profits are managed and by whom. He analyzes their different structures, services, and outlook on higher learning and training, and explains in detail how they make profits from tuition income. In Higher Ed, Inc., Ruch opens up the discussion about for-profit higher education from the perspective of a participant-observer. Focusing on five providers-the Apollo Group (the University of Phoenix); Argosy Education Group (the American Schools of Professional Psychology); DeVry, Inc. (DeVry Institutes of Technology); Education Management Corporation (the Art Institutes International); and Strayer Education (Strayer University)-he conveys for the first time what it feels like to be inside this new kind of American institution. He is also candid about the less attractive aspects of the for-profit colleges, including what those who enroll may give up. As Ruch makes clear, the major for-profit colleges and universities offer a different approach to higher education-one that may be increasingly influential in the future.