Gimmick

Mutation-love in 2040:: the DNA=channels of the biocapturism nerve cells to the insanity medium of the human body pill cruel emulator that compressed the acidHUMANIX infection of the soul/gram made of retro-ADAM nightmare-script of a chemical=anthropoid murder-gimmick vital to the modem=heart of the hybrid cadaver mechanism@technojunkies' gene-dub different of her digital=vamp cold-blooded disease animals-genomics strategy circuit that was controlled the mass of flesh-module of the cadaver city FUCKNAMLOAD the cadaver feti=streaming_brain universe that clone-dives a trash sensor drug embryo is debugged in the surrender-sites of the hyperreal HIV=scanners hunting for the grotesque WEB vital browser of the terror fear=cytoplasm technojunkies' murder game to the cadaver feti=streaming_brain universe that compressed the acidHUMANIX infection of a trash sensor drug embryo=joints:: the soul/gram made of retro-ADAM different vital-controllers of the hyperreal HIV=scanners to the insanity medium of the human body pill cruel emulator that was biocaptured the DNA=channel of the artificial sun nightmare-script being covered the reptilian=HUB_modem=heart gene-dub of a chemical=anthropoid to the acid suck-cable murder-gimmick of her abolition world-codemaniacs emotional replicant genomics strategy circuit is output

A provocative theory of the gimmick as an aesthetic category steeped in the anxieties of capitalism. Repulsive and yet strangely attractive, the gimmick is a form that can be found virtually everywhere in capitalism. It comes in many guises: a musical hook, a financial strategy, a striptease, a novel of ideas. Above all, acclaimed theorist Sianne Ngai argues, the gimmick strikes us both as working too little (a labor-saving trick) and as working too hard (a strained effort to get our attention). Focusing on this connection to work, Ngai draws a line from gimmicks to political economy. When we call something a gimmick, we are registering uncertainties about value bound to labor and time—misgivings that indicate broader anxieties about the measurement of wealth in capitalism. With wit and critical precision, Ngai explores the extravagantly impoverished gimmick across a range of examples: the fiction of Thomas Mann, Helen DeWitt, and Henry James; photographs by Torbjørn Rødland; the video art of Stan Douglas; the theoretical writings of Stanley Cavell and Theodor Adorno. Despite its status as cheap and compromised, the gimmick emerges as a surprisingly powerful tool in this formidable contribution to aesthetic theory.

The sheer exuberance of language that pours forth in Dael Orlandersmith's plays has dazzled critics and audiences alike. In these three pieces, the award-winning writer and performer celebrates the power of words to rescue the young black women she portrays from their constricted worlds. In the Obie Award-winning play "Beauty's Daughter," Diane yearns to free herself from her soul-deadening surroundings, where people drown their unfulfilled aspirations in drugs and alcohol. In "Monster," Theresa imagines a life in the rock-'n'-roll poetry bohemia of Manhattan's Lower East Side and away from her home in East Harlem, where she is scorned as a misfit. And in "The Gimmick," Alexis escapes her brutal reality among the library bookshelves, where she dreams of becoming a writer in Paris. Charged with fearless wisdom, these three electrifying plays transform rage-filled ghetto experience into a triumph of rhapsodic expression.

Albert J. Luxford has long been known as “The Gimmick Man” in the film and television industry, but he has remained one of its unsung and unknown geniuses despite his well-known work. He equipped James Bond with some of his most memorable gadgets; made possible many of the effects and sequences in the Carry On series. He worked on such shows and movies as Are You Being Served?, The Muppets, Highlander, and Chitty Chitty Bang Bang, among many others. In this memoir, Luxford reminisces with great good humor about his life and work and shares some tricks of the trade. He left school at 16 to attend the Institute of Automobile Engineers in West London and began in the film industry as an engineer at Pinewood Studios. The bulk of this work is made up of Luxford’s recollections about his experiences in special effects. This is a genuine tour behind the scenes by an incomparable master of movie magic.

Unconventional Wisdom: Dive Deep into the World of Marketing Like Never Before! Ever felt like traditional marketing methods were a tad too boring? Maybe even outdated? Dive into the edgy, humorous, and downright audacious world of "100 Marketing Gimmicks that F*cking Work." The modern consumer has seen it all, heard it all, and frankly - they're a bit tired. In the cacophony of brands screaming for attention, how do you make your voice heard? The answer lies in being bold, being different, and sometimes, being a little irreverent. This book is not for the faint-hearted or those deeply rooted in old-school methods. It's for the brave, the risk-takers, and those willing to color outside the lines. "Yes, Cursing in the Title is a Marketing Gimmick" - and that's just the tip of the iceberg. The author, with a sharp wit and keen understanding of modern marketing dynamics, takes you on a roller-coaster ride. From tales of audacious brand campaigns that garnered millions in revenue, to the psychology behind why these gimmicks are so effective, prepare to be enlightened and entertained. But it's not all fun and games. Behind the humor and edgy examples lies a deep understanding of marketing principles. Each gimmick is dissected, analyzed, and presented with actionable insights you can implement in your campaigns. Whether you're a budding entrepreneur, a seasoned marketing professional, or just a curious reader, there's a wealth of knowledge waiting for you. So, are you ready to change the way you view marketing? To embrace the unconventional and get results? Grab your copy today and dive into a world where rules are meant to be broken, and the results speak for themselves. Your audience is waiting for something fresh. Give them what they never knew they needed.

THE STORY: BEAUTY'S DAUGHTER. One woman's journey with many obstacles stacked against her. The heroine or anti-heroine can choose to be a victim of the violent cards life has dealt her or she can use her poetry and music as a creative means to de

Provides instructions for how to perform eight magic tricks involving playing cards, memory, and sleight-of-hand.

From the time he was able to body slam a pillow, Michael dreamed of becoming a professional wrestler, vanquishing imaginary enemies and nagging self-doubt with every drop kick he landed. As his buddies hit the books, Michael got hit. When they left for college, he enrolled in Shane Stratford's Wrestling Academy, where cash -- and a particularly punishing "audition" -- afforded him a first look into a world part circus, part sport, and all spectacle. From penny-ante matches to national notoriety, Michael rises through the ranks of professional wrestling. Hopped up on speed, pumped up on steroids, and fueled by a frustration he can't quite name, he adopts and discards identities in a bid to find the "gimmick" that will make him complete. His search will bring him in contact with people weird and wonderful: athletes and actors, crazy fans and crooked managers, the full rich range of folks who revel in the ring. Combining elements of sports narrative a la "North Dallas 40, " the behind-the-scenes authenticity of "Pumping Iron, " and a flair for the bizarre that recalls John Irving, "Living the Gimmick" is a novel not soon forgotten.