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The Stagg Tagger 60 (SLI-MHBTAGG60) is a gobo moving head with 60-watt COB LED, 7 colors, 7 gobos LED: 1 x 60 watts, white Color wheel: 7 color...

About the brand: MOTHER offers premium denim, made in California. With a flattering fit and wash for everyone, MOTHER embodies an indie spirit and an irreverent disposition. The Drawn Tagger Sneak Wide Leg in did you bring me anything with smocked drawstring waist, fading and whiskering details; classic five-pocket styling Inseam approximately 32in 12in front rise Leg opening has an approximate 19.5in circumference Model is 5'10 and is wearing a size 27. Measurements may vary slightly by size. 100% cotton Machine wash Made in the USA Please note: This style is made from rigid denim, a non-stretch 100% cotton fabric that breaks in after a few wears.

Tagger is a strong-willed girl who realizes her lonely life of servitude at the Light Horse Inn in Groton, Connecticut, will be hers forever if she doesn't escape. For reasons unknown to Tagger, her mother left her at the Inn when she is only four years old, promising to return soon, but she never does. When Tagger finally flees fom her barren life at the Inn, she is only eight years old and the year is 1828--certainly not an era for a young girl to make it on her own. But no one understands Tagger's determination. Dressed in the disguise of a boy, Tagger heads for the Mystic River in search of her grandmother, an education and a new life. By a stroke of luck, Tagger finds a fishing line and hook while she's searching the woods for food. These two items become her means of survival. This charming children's story unfolds in the seaport villages of Portersville, Mystic Bridge and Noank where the Mystic River flows into Fishers Island Sound on the Atlantic coast. Follow Tagger's adventures in the romantic New England setting as she finds success and love through hard work, determination, and courage. Beautifully illustrated by nationally known artist Andrea Eberbach, this historically accurate novel is geared to children in the 9-12 year old age group. A song CD, Along the Mystic River by P. Alex Shaurette, is included with the purchase of each book.

Tag Attacher Kit features a unique design. Revolutionary soft, nonslip cushion comfort grip is ideal for quick, convenient tagging of apparel and soft goods. Kit includes a model 3020 lightweight pistol-gripped tag attacher, 500 Tagger Tail fasteners and 500 standard white tags.

Jack Tagger is a frustrated journalist. His outspoken views have relegated him to the obituary page, with his byline never again to disgrace the front page. But Jack has stumbled across a whale of a story that might just resurrect his career . . . James Stomarti, infamous frontman of rock band Jimmy and the Slut Puppies, has died in a diving accident and Jack harbours suspicions that the glamorous pop starlet widow may have had a vested interest in her husband's untimely death. It all smells a little too fishy. Aided and abetted by his rather sexy (if unnervingly ambitious) young editor, Emma, Jack sets out to in pursuit of the truth - and a nice juicy story. But of course nothing is ever straightforward and with murderous goons on his tail, brutal internal politics at the paper and a paranoia about death, Jack is struggling to keep his head above water. Was Jimmy Stomarti murdered? Is someone trying to kill off the Slut Puppies one by one? And what significance can a dead lizard named Colonel Tom possibly have? This is one book you'll kill to get your hands on.

A graffiti artist and tagger by nature, Barry McGee has in the last few years taken a stealth, guerilla art form, one that is typically the subject of complaint, arrest, and general unappreciation, and transformed it into a well-received medium for display in museum and commercial gallery spaces. His drawings, paintings, and mixed-media installations take their inspiration from contemporary urban culture, incorporating elements such as empty liquor bottles and spray-paint cans, tagged signs, wrenches, and scrap wood or metal into overwhelming, space-transforming interior worlds. Though McGee views graffiti as a vital method of communication, one that keeps him in touch with a larger, more diverse audience than can be reached through the traditional spaces of galleries or museums, he makes fine use of traditional exhibition spaces, using them not only to communicate a subcultural point of view to gallery goers but also to point out ways in which space can be reclaimed. Barry McGee brings together the artist's graffiti work, paintings, installations, and photography, and is published on the occasion of his exhibition at the Fondazione Prada, in Italy. Included is an interview with McGee by Germano Celant, senior curator of contemporary art at the Solomon R. Guggenheim Museum, New York.

In his first case in private practice, Oregon lawyer Cal Claxton came to the aid of a tagger calling himself Picasso, a Banksy-like figure in Portland. Dividing his time between a wine-country town and the city, the ex-L.A. prosecutor now encounters another urban teen at risk, Kelly Spence, also a tagger. Using climbing skills learned from her much-loved deceased father, a mountaineer, Kelly places angry tags in visible, hard- to-reach places. A runaway from an abusive foster home and alternative high school student, she lives with her father's former girl friend. Kelly is four stories up at 3:00 one morning when she looks down and witnesses the brutal murder of a woman in the parking lot below. Unluckily the killer spies her but Kelly escapes. The police soon seek her as a witness. Desperate to stay anonymous, she seeks help from someone on the street she trusts. Too soon she finds his mutilated body and becomes even more afraid. Cal is drawn into the case by his volatile Cuban friend and landlord who is devastated by the murder: the dead woman had just become his fiancée. Her ex is the obvious suspect, but Cal's instincts lead him in a different direction where he will run into Kelly. Can he get her to talk, or will the killer find her first?

For almost a decade Peter Quezada, a prolific self-taught artist, painted murals and lettering on buildings and retaining walls in neighborhoods northeast of downtown Los Angeles. He refers to his work as a “graffiti deterrent” or a “substitute for graffiti,” and he targets sites that are favorites of taggers and gang graffiti writers. Often he enlists their assistance and designs his murals to appeal to these youths as well as to discourage them from participating in antisocial behavior. Highlighting the interplay of contemporary life, mass-media images that confront the public, and the use of physical space in the city landscape, Chicano Graffiti and Murals shows how such art as Quezada's has become the signature of modern urban culture.

A graffiti artist and tagger by nature, Barry McGee has in the last few years taken a stealth, guerilla art form, one that is typically the subject of complaint, arrest, and general unappreciation, and transformed it into a well-received medium for display in museum and commercial gallery spaces. His drawings, paintings, and mixed-media installations take their inspiration from contemporary urban culture, incorporating elements such as empty liquor bottles and spray-paint cans, tagged signs, wrenches, and scrap wood or metal into overwhelming, space-transforming interior worlds. Though McGee views graffiti as a vital method of communication, one that keeps him in touch with a larger, more diverse audience than can be reached through the traditional spaces of galleries or museums, he makes fine use of traditional exhibition spaces, using them not only to communicate a subcultural point of view to gallery goers but also to point out ways in which space can be reclaimed. Barry McGee brings together the artist's graffiti work, paintings, installations, and photography, and is published on the occasion of his exhibition at the Fondazione Prada, in Italy. Included is an interview with McGee by Germano Celant, senior curator of contemporary art at the Solomon R. Guggenheim Museum, New York.

Once a hotshot investigative reporter, Jack Tagger now bangs out obituaries for a South Florida daily, "plotting to resurrect my career by yoking my byline to some famous stiff." Jimmy Stoma, the infamous front man of Jimmy and the Slut Puppies, dead in a fishy-smelling scuba "accident" may be just the stiff Jack needs-if only he can figure out what happened. Standing in the way are [among others] an editor who wants Jack to "break her cherry," Stoma's ambitious pop-singer widow, and the soulless, profit-hungry newspaper owner Jack once publicly humiliated. As clues from Stoma's music give Jack Tagger the chance to trade obits for a story that could hit the front page, murder gives his career a new lease on life.