Still Go Crazy

Jason Fried and David Heinemeier Hansson, the authors of the New York Times bestseller Rework, are back with a manifesto to combat all your modern workplace worries and fears.

The TV star showed up and changed everything! A dazzling star appears in front of Hosoo, who lives his life for his sick little sister. It's the famous singer Esau, who is about to make a comeback soon. But Esau was facing a sudden crisis, as some woman appeared declaring to be his blood-related mother... Esau was going through so much pains behind all the stardom and Hosoo becomes the only one he can rely on. So, from that day on, Hosoo's life is anything but ordinary.

You can never leave footprints that last if you are always walking on tiptoe. Brie overcame the horrors of hell; she’d undergone the darkest times. It made her hard. She now strides with the fearlessness of the wolf. She lives with the bravery of the lion. And acts with the fierceness of the dragon. Now, can she prove to Rock that she’s capable of loving him, being the woman that she is? In a choice between love and fear, choose love. That’s what Rock aims to do, but everything he wants is on the other side of fear. He doesn’t know meeting with a client about drugs would be with his love Brie. Everything he knows about her seems to be illusory. Knowing Brie has been running her uncle’s empire for years, Rock is left with battling with his heart. Would his fear with being with a woman like Brie decide his future? Lynn and Ace’s love is moving along, even with Caren trying her hardest to break up their love affair. With what Lynn learned about Caren, she’s not so sure she wants to go to Ace with the news. When Ace starts to act distant, she investigates on her own only to find out that he’s been spending time with Caren. With a battered heart, she still asks herself one question, why am I so afraid to lose you, when you’re no longer mine? While the men try to get their women problems under control, a war has started when the east-side gang finds out that Rock and Ace killed their brother. Will the two be able to conquer love with the women they considered to be their first ladies with the war going on, or will they lose at conquering both? Find out in this finale, A Thug’s First Lady 2: Make the Dope Boys Go Crazy.

Coinciding with the 30th anniversary year of Purple Rain's release, an acclaimed former senior editor of Rolling Stone and author of The Holy or the Broken offers a complete history of the making of both the popular film and the best-selling soundtrack album of the same name. 25,000 first printing.

Shares uplifting advice about the virtues of forgiveness, offering strategic and biblically based advice on how to achieve peace and personal fulfillment by letting go of past wrongs.

From an early age, Bill Medley had a passion for music. School glee club and amateur singing contests soon gave way to the albums of Ray Charles and Little Richard. That raw R&B influence would profoundly shape Medley's musical future. As the pioneering “blue-eyed soul” group the Righteous Brothers, Bill Medley and late partner Bobby Hatfield sang such huge hits as “(You're My) Soul and Inspiration,” “Unchained Melody,” and “You've Lost That Lovin' Feelin',” the latter recognized by BMI as the most-played song of the twentieth century. Medley's duet with Jennifer Warnes for the Dirty Dancing soundtrack, “(I've Had) the Time of My Life,” became a worldwide No. 1 single on its way to winning an Oscar, a Grammy, and a Golden Globe. But Medley's story isn't just about the hits and the awards. It's about an immensely talented man who reached the pinnacle of fame, success, and excess, until the shocking murder of his wife, Karen. In time, this tragedy eventually helped him renew his commitment to both faith and family.

The art of mashup music, its roots in parody, and its social and legal implications. Parody needn’t recognize copyright—but does an algorithm recognize parody? The ever-increasing popularity of remix culture and mashup music, where parody is invariably at play, presents a conundrum for internet platforms, with their extensive automatic, algorithmic policing of content. Taking a wide-ranging look at mashup music—the creative and technical considerations that go into making it; the experience of play, humor, enlightenment, and beauty it affords; and the social and legal issues it presents—Parody in the Age of Remix offers a pointed critique of how society balances the act of regulating art with the act of preserving it. In several jurisdictions, national and international, parody is exempted from copyright laws. Ragnhild Brøvig contends that mashups should be understood as a form of parody, and thus be protected from removal from hosting platforms. Nonetheless, current copyright-related content-moderation regimes, relying on algorithmic detection and automated decision making, frequently eliminate what might otherwise be deemed gray-area content—to the detriment of human listeners and, especially, artists. Given the inaccuracy of takedowns, Parody in the Age of Remix makes a persuasive argument in favor of greater protection for remix creativity in the future—but it also suggests that the content-moderation challenges facing mashup producers and other remixers are symptomatic of larger societal issues.