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During the period 1890-1910 the German Army of Kaiser Wilhelm II was ablaze in color, particularly the Garde and Cavalry regiments. In this superb new volume the author brings to the student of uniforms, as well as the art and military historian, the true glory of this brief, but most colorful time. Carl Becker was a skillful and talented artist of the late 19th and early 20th centuries, whose treatment of German uniforms, the military pomp and ceremony, as well as the work-a-day activities of the Kaiser's army, are both realistically and artistically among the very best. The 104 never before published uniform plates are a treasure trove of color, action, and rarity which have only been viewed by a select few before this publication. The additional illustrations from books and the postcard art reproduced here well display the scope and depth of Becker's work. Technically correct, and artistically rendered on the subject of Kaiser Wilhelm II's flamboyant army of 1890-1910, this book will be a welcome addition to the library of the collector, the student of military costume, modelers and the appreciator of well executed military art.

Following up on their eponymous debut LP, this Western Mass quintet has released a live album that expands their musical palette, while retaining the essential magic of their sound. Bill Meyer described Weeping Bong Band's music as a collision between Popol Vuh's Florian Fricke and Hash Jar Tempo (itself a collab between Bardo Pond and Roy Montgomery), and the same mix of drifty Germanic midnights and Bay Area Ballroom sizzle is present on Weeping Bong's sophomore slab. Recorded at the 1794 Meet

The meteoric rise through the world boxing ranks of Adonis Creed (Michael B. Jordan) didnt go unnoticed by Ivan Drago (Dolph Lundgren)--the Russian bruiser whod killed Creeds father in the ring decades ago--and who was now lobbying to get a redemptive title shot for his no-less-intimidating son Viktor (Florian Munteanu). Can Donnie push through family crises, and a falling out with mentor Rocky Balboa (Sylvester Stallone), to keep his belt? Tessa Thompson, Phylicia Rashad, Brigitte Nielsen co

This powerful zoom lens lets DX-format D-SLR users reach 300mm super-telephoto with clarity and sharpness, thanks to built-in VR II (Vibration Reduction) image stabilization. In addition, the new High Refractive Index (HRI) lens a first for the NIKKOR lineup achieves clear, high-contrast images at every aperture and focal length yet contributes to making the lens body slim and compact. A practical, versatile lens, the AF-S DX NIKKOR 55-300mm f/4.5-5.6G ED VR is ideal for those who want a single lens that can handle just about any shooting opportunity. All-in-One zoom for superb super-telephoto shooting This powerful zoom lens lets DX-format D-SLR users reach 300mm super-telephoto with clarity and sharpness, thanks to built-in VR II (Vibration Reduction) image stabilization. In addition, the new High Refractive Index (HRI) lens a first for the NIKKOR lineup achieves clear, high-contrast images at every aperture and focal length yet contributes to making the lens body slim and compact. A practical, versatile lens, the AF-S DX NIKKOR 55-300mm f/4.5-5.6G ED VR is ideal for those who want a single lens that can handle just about any shooting opportunitiy. A view from afar The compact AF-S DX NIKKOR 55-300mm f/4.5-5.6G ED VR, with its High Refractive Index (HRI) lens element and 2 Extra-low Dispersion (ED) glass elements, lets you easily capture far off images, bringing all the action up close. Nikon VR (Vibration Reduction) image stabilization provides 3.0 stops of blur free handheld shooting, assuring dramatically sharper still images and HD video capture. Advanced performance The AF-S DX NIKKOR 55-300mm f/4.5-5.6G ED VR continues Nikon's tradition of advancing imaging technology. In addition to VR II image stabilization, it features some of Nikon's latest lens technologies: Nikon's exclusive Silent Wave Motor (SWM) for precise, fast, ultra-quiet autofocus operation, Super Integrated Coating (SIC) for enhanced performance in low-light and minimizing ghosting and flare, Tripod Detection Mode for reducing vibrations during tripod shooting and more.

This new book is a concise combat history of the three Waffen-SS cavalry divisions in World War II. The 8th SS-Cavalry Division “Florian Geyer” was established out of the SS-Cavalry Brigade under Hitler’s future brother-in-law Hermann Fegelein. The 22nd SS-Freiwilligen Cavalry Division “Maria Theresia” was formed out of ethnic Germans from Hungary. The 37th SS-Freiwilligen Cavalry Division “Lützow” was built out of the first two cavalry divisions along with new volunteers from Hungary including ethnic Germans and Hungarians. The formation and combat histories of each are discussed in detailed text, along with maps and rare photographs.

This new book is a concise combat history of the three Waffen-SS cavalry divisions in World War II. The 8th SS-Cavalry Division “Florian Geyer” was established out of the SS-Cavalry Brigade under Hitler’s future brother-in-law Hermann Fegelein. The 22nd SS-Freiwilligen Cavalry Division “Maria Theresia” was formed out of ethnic Germans from Hungary. The 37th SS-Freiwilligen Cavalry Division “Lützow” was built out of the first two cavalry divisions along with new volunteers from Hungary including ethnic Germans and Hungarians. The formation and combat histories of each are discussed in detailed text, along with maps and rare photographs.

In a sequel to "Florian's Gate," secret East German papers lead Alexander Kantor and his assistant, Jeffrey Sinclair, to clues concerning the whereabouts of the amber room, a priceless treasure stolen by the Nazis during World War II

During the period 1890-1910 the German Army of Kaiser Wilhelm II was ablaze in color, particularly the Garde and Cavalry regiments. In this superb new volume the author brings to the student of uniforms, as well as the art and military historian, the true glory of this brief, but most colorful time. Carl Becker was a skillful and talented artist of the late 19th and early 20th centuries, whose treatment of German uniforms, the military pomp and ceremony, as well as the work-a-day activities of the Kaiser's army, are both realistically and artistically among the very best. The 104 never before published uniform plates are a treasure trove of color, action, and rarity which have only been viewed by a select few before this publication. The additional illustrations from books and the postcard art reproduced here well display the scope and depth of Becker's work. Technically correct, and artistically rendered on the subject of Kaiser Wilhelm II's flamboyant army of 1890-1910, this book will be a welcome addition to the library of the collector, the student of military costume, modelers and the appreciator of well executed military art.

In Shooting from the Hip, Patricia Vettel-Becker reveals how photography helped to reconstruct and redefine the American idea of masculinity after the traumas of World War II. She argues that from 1945 to 1960 photography became increasingly concerned with restoring the male body and psyche, glorifying traditional masculinity - cowboys, boxers, athletes, military men - while treading carefully in an increasingly homophobic Cold War climate. Examining photojournalism as well as art and fashion photography, Shooting from the Hip finds in the crisp images of postwar photography five models of masculinity - the breadwinner, the action hero, the tough guy, the playboy, and the rebel. Vettel- Becker shows how the professionalization of photography itself was an attempt by male photographers to identify themselves as breadwinners. She goes on to analyze combat photography, exposing its valorization of action, subjugation of the enemy, and the use of the blurred shot to signify credibility. She links street photography - heir to Depression-era social documentary - with hard-boiled crime photography, exemplified in the works of William Klein and Weegee. And sexualized fashion models and their relationships with photographers, such as Richard Avedon and Irving Penn, fuel the ideal of the consummate playboy. Finally, Vettel-Becker demonstrates the authentic and sometimes rebellious nature of the male body as presented by sports photographers and others influenced by the Beat generation, including Robert Frank and Bruce Davidson. Taking a wide view of postwar photography, Vettel-Becker presents it as the triumph of a new form of modernist photography, centered on individual expression and the seductive image of the male body, and stimulated by a quest for the existential truth of masculinity.