Product Description
Spanning several decades, this book charts both Meyer’s artistic progress and the loosening of American morals that his work paralleled. Richly illustrated with American and foreign promo materials featuring Russ Meyer’s trademark cantilevered females, this is the most comprehensive look at the master’s career, including his films Beneath the Valley of the Ultra-Vixens, Supervixens, and Faster, Pussycat! Kill! Kill! ... Read more

Customer Reviews (2)

Just an old family friend
Russ Meyer and my father grew up together, taking turns guarding the storeroom door at the Alameda Naval Air Station so no one would find out they had females in the area.I spent a Christmas or two with Russ, and was present when he filmed Lorna up in the San Joaquin delta where he spent a few weeks at the Boondox and staying on our boat.I have all the books, and all the unopened sealed movies, and the absolute best book on "the man" written by himself at the end.Didn't make the Hollywood spectacle funeral, but was at the burial in Stockton and it was truly a sad moment to watch such an icon put to a final rest.I feel absolute certain......tits up.

Pun-ish mistitle misrepresents GREAT book!
While the title is the sort of pun that Meyer would have savored, it will no doubt keep away the very film snobs who need a book like this.A better title?THE RUSS MEYER READER.The editor collects a series of reviews, essays, and interviews covering all of Meyer's films and career.Some pieces are glowing, some are critical, and the result is a richly textured -- and sometimes off-putting -- portrait of the maverick filmmaker.There still is a better book on Meyer out there, waiting to be written, but this will always be an essential companion to any Meyer fan. ... Read more

Product Description
Russ Meyer, cult hero, creator of the sexploitation film, and the man the Wall Street Journal called the King Leer of Hollywood, made movies that filled the big screen with “big bosoms and square jaws.” In the first candid and fiendishly researched account of the late cinematic instigator’s life, Jimmy McDonough shows us how Russ Meyer used that formula to turn his own crazed fantasies into movies that made him a millionaire and changed the face of American film forever.

This former WWII combat photographer immortalized his personal sexual obsession upon the silver screen, creating box-office gold with The Immoral Mr. Teas in 1959. The modest little film pushed all preexisting limits of on-screen nudity, and with its success, the floodgates of what was permitted to be shown on film were thrust open, never to be closed again. Russ Meyer ignited a true revolution in filmmaking, breaking all sex, nudity, and violence taboos. In a career that spanned more than forty years, Meyer created a body of work that has influenced a legion of filmmakers, fashionistas, comic book artists, rock bands, and even the occasional feminist.

Bringing his anecdote- and action-packed biographical style to another renegade of popular culture, New York Times bestselling author of Shakey Jimmy McDonough offers a wild, warts-and-all portrait of Russ Meyer, the director, writer, producer, and commando moviemaking force behind the sexploitation classics Vixen, Beyond the Valley of the Dolls, Faster, Pussycat! Kill! Kill! and many others. Big Bosoms and Square Jaws blows the lid off the story of Russ Meyer, from the beginning to his recent tragic demise, creating in the process a vivid portrait of a past America. ... Read more

Customer Reviews (9)

What a depressing book!
Very informative with lots of details and facts, but depressing.Apparently Russ Meyer wasn't a very likeable guy.It does make me want to go back and watch all his films, though, and look out for things not noticed before that are mentioned in the book.

An Excellent Biography
I was impressed with the quality of the research that went into this book. Neither a puff-piece nor a hatchet job, this is as solid a bio as we can expect of someone who was as erratic as Meyer. The author was able to move from Meyer's bizarre family of origin through his fixation on World War II, his remarkably limited sexual experience, his almost-impenetrable emotional life, to his final years of dementia. Along the way we get a surprisingly human view of many of the people he worked with and against.

Those who consider Meyer a pornographer probably will not like this book, but they would probably benefit by reflecting on the war between Meyer and Charles Keating, who, as the author observes, spent years protectingMidwestern Americans from Meyer's movies, while stealing their pension funds.

Phenomenal ! ! !
To sum things up, this is a fascinatingly written book about a fascinating topic.... despite its somewhat voluminous 400 or so pages (only a fraction of A CLEAN BREAST of course) I found it impossible to put down in light of the great stories and great writing. Jimmy McDonough proves himself not only a great fan of Meyer, but also one who's learned well from his "fast cut" style of directing... The book reads with the intensity of Meyer as a film director at his best (say Faster Pussycat or Super Vixens.)

At times hillarious, the only sad part is the ending which also offers an explanation to the big question of why Russ's films are so hard to find...and one is left with an ironic impression of his legacy:one in which the general public still wants more, but if the author's (researched) allegations are true may not get to see for a long long time.

Ironically, as I read the final page of the book, I didn't feel it was a final chapter, but was left wanting to know more about a film director with a strange fetish who unintentionally changed the world we live in...and considering Russ's flare for perpetuating his own myth and surrounding himself with some amazing people who's stories have simply yet to be told my hope is that this book is only the begining !

Master of Disaster
I found that what worked in McDonough's spectacular biography of filmmaker Andy Milligan (THE GHASTLY ONE) is exactly what doesn't work here.What McDonough does so well on Milligan's behalf, for example, the careful and painstaking description of films that are often difficult to come by, and then an analysis of them which shows us why they have a certain value--is nearly missing here entirely.Was there just too much material of all sorts to bother describing films like BLACKSNAKE or UP?I have no idea what the plot of either is, I just get the feeling that McDonough abhors them.

Maybe, like many biographers, he began work on this project admiring the man, and wound up disliking him?The last half of the book is an unadulterated look into a disaster, as Meyer's personal and professional lives come falling apart, accelerated by his dementia and his general greediness and bad manners.Melissa Mounds, a stripper whom Meyer befriended, and Janice Cowart, a bookkeeper who wound up taking over Meyer's affairs, become the villains who provide Meyer with his just deserts.

The experience of reading BIG BOSOMS AND SQUARE JAWS is like stumbling across some unknown masterpiece by Balzac, told in a hipster dialect from the early days of Rolling Stone magazine.It is incredibly affected and annoying, but it must have been fun for the author to write.He's so in the mood that every sentence becomes a little display of hyperbole: "Russ Meyer and Erica Gavin: a clash of wills the likes of which had not been seen since Meyer and Tura Satana locked horns."Like Meyer's huge sadness, Jimmy McDonough has written a book strangely atune with a hateful glamor.Some readers will love it, I wound up admiring it but throwing it in the Bay.

I Knew The Man
I had the sheer pleasure of working with Russ Meyer on the two films he produced and directed at 20th Century Fox in the early 70s. I was witness to how much of himself Russ poured into each of thosae two films, knew his passion, his extraordinary to detail no matter how small.

Mr. McDonough, who has an impressive track record doing books of this type, was deligent enough to track down the people who knew RM best and do extensive phone interviews to get the true story behind this anmazing film-maker. I was honored to be on that list.

Jimmy has done a first class job of capturing not only what is generally known about Russ, but bits and pieces of his life that very few people know about.

If you want a grade "A" look into the life of a man who had a MAJOR impact on how films are made when in the hands of a skilled director, master camerman, inventive film editor and true marketing genius, do yourself a favor and order this book!

Manny Diez ... Read more

Product Description
The autobiography of Film Director and Producer Russ Meyer.The 3 Volume set includes over 2400 duotone photos taken from Russ Meyer's private collection. Allwere done under the direct supervision of the legendary film auteur, who is also known for his unique style of photography. ... Read more

Customer Reviews (4)

Not what I was expecting.But I like it.
The work of a true independent.This 3 volume set is immense to say the least.I expected a straight forward autobiography.Instead, Meyer told us his story in his style and I have to admit that on occassion, Meyer's style is a tough read.Although there is quite a bit of information, I was hoping for a little more background on some of his earlier films up to 'Lorna'.The casual fan may not find this work to their liking.As for the rest of us, this is a must to own.

the breast is yet to come
*This* is the long-in-the-works magnum opus that Meyer fans have been awaiting for more than a decade?! Where are the hundreds (or is it "thousands"?) of color photos Meyer has long claimed will justify the astronomical price-tag? Instead,readers are treated to dozens of stamp-sized sepia-toned photos and, for reasons that aren't immediately clear, cartoons (not photos) of busty women. As for the text, well, anyone who's ever read the "dot dot dot"-style plot synopises on the back of Meyer's video cassettes knows that a few long-winded sentence fragments go a long way. A weird curio for well-heeled Meyer completists, this one will be a Double D-Cup Disappointment for all other Meyer enthusiasts.

Buxotic!
Russ Meyer's long-awaited autobiography (written by the apocryphal "Adolph Schwartz" and published by a company named for Meyer'slate, beloved mother) shipped in August 2000 to pre-purchasers. I gaspedwhen I saw that the book had arrived at my home, for I had sent Russ acheck in July of 1990. Ten years is a long time, you bet, but I neverdoubted that Meyer would finish his book. He's a doer and a perfectionist,and this immense, 18-pound, 3-volume set is nearly as stupendous as themagnificently endowed actresses who have helped make Meyer's filmslegendary. Strap THIS on, you groovy boys: cloth-covered hardbacks;luxurious 100-lb paper stock; sewn signatures; thousands of photos. This isa set for the ages (apt pun intended).Volumes 1 and 2 provide the coreof Meyer's autobiography, beginning with his childhood and progressing tolengthy and fascinating recollections of his time during World War II as acombat cameraman who risked his keister and made lifelong friends as hisunit traveled across Europe. And then came his failed postwar attempt tobreak into Hollywood's tightly closed cinematographers' union, and hissubsequent career as a magazine pin-up photographer who was easily theequal of his legendary contemporaries, Peter Gowland and Bunny Yeager. Inthe late fifties, an association with a west coast theater owner nudgedMeyer into filmmaking. The minor, documentary-style short that resulted wasfollowed by Meyer's breakthrough feature, The Immoral Mr. Teas, a charming,funny, and lusciously lit & shot color "nudie" thatrevolutionized skin films. A paean to male voyeurism, the picture was thefirst to put naked gals into a story context, rather than utilize them, ashad been typical in the pre-Meyer era, as sexless habitues of weedyvolleyball courts. For the next twenty years, Meyer financed, wrote& co-wrote, shot, edited, and promoted film after film, establishinghimself as the ne plus ultra of chest men, as well as a filmmaker ofuncommon gifts. Today, his reputation as a highly talented, idiosyncraticcreative force is unshakable. Humorless bluenoses object to his vision, butno one can deny that Meyer has presented that vision with unquestionableconviction, satiric laffs, and a unique visual style. Some of his efforts,such as Faster Pussycat! Kill! Kill! and Vixen, are among the best and mostentertaining films of their era. In the late 1960s the Hollywoodestablishment was finally forced to notice him; Meyer's first big-studiopicture (of two), Beyond the Valley of the Dolls, co-written with RogerEbert, became one of the biggest box-office successes in the history of20th Century-Fox. Meyer's book revels in this and other triumphs, andyou're likely to cheer along with him. A particularly satisfying sidelightis Meyer's running blood fued with Charles Keating, Jr., an attorney andself-appointed moral policeman who eventually was convicted for hismastermind's role in a savings & loan scandal that took billions fromgrannies and other hapless and deceived investors. Ah, payback! And yet forall of Meyer's quite justified self-satisfaction and occasional gloating,he also reveals himself as a man who is fiercely loyal to old friends (hisWW II buddies are invoked over and over again) and to dependablecollaborators. The cutthroat nature of independent filmmaking could haveturned him into a dour cynic; instead, he's a sentimental guy with awhite-hot love of life, women, and sex.The autobiography's Volume 3 iscomprised mainly of detailed retellings of Meyer's films, richlyillustrated with countless sequential images presented a la film frames.This volume also brings us up to date on Meyer's latter-day video (andother) activities with the unambiguously named Pandora Peaks, MelissaMounds, and others.That the book has no color images isdisappointing--at least initially. Then I looked closely at the thousandsof rich, beautifully reproduced duotones, and I felt good again. Theseimages, most of which have never before seen print, come mostly fromMeyer's own archives. They are stunning for reasons of libido, and asmodels of superior photo reproduction. The World War II shots of Russ andhis companions in action are particularly interesting to this WW II buff,but let's face it: the real attraction here is the allure of the"buxotic" Meyer women. Eve Meyer, Uschi Digard, Kitten Natividad,Lorna Maitland, Erica Gavin, Raven de la Croix, Tura Satana, Haji, EdyWilliams, Renate Horton--lordy, how the list--and bosoms--do go on! Meyer's detailed text comes from the gut. His accounts of hisfailings ashusband to his second wife and first photographic model, the perfectlymagnificent Eve Turner Meyer, are at once amusing, harshly self-critical,and poignant. His free-verse tribute to Eve late in the autobigraphy isheartbreaking. As readers progress through the volumes, they will enjoya full course in the difficulties of independent filmmaking (raising money,scouting locations, casting actors, raising more money, the shoot, sloggingthrough post-production, etc.). And Meyer's cheeky, rapid-fire prosecaptures the sexy humor and rat-a-tat rhythm that make his film workinstantly identifiableThe fabulous Vixen is the picture that made Meyera multimillionaire, but rather than kick back afterward and say "th'hell with it," he produced and directed theatrical films for anotherten years, until the late 1970s, by which time plotless, amateurishlyexecuted hardcore, a genre in which Meyer has no creative interest, hadsuperseded his hyperstylized bosomfests. But even as he voluntarily bowedout of theatrical filmmaking, he made prints of his works available forscreenings, and issued his films on video and (in Europe only, at thiswriting) DVD. He's also occupied himself with what he promises will be animmensely detailed film documentary of his life and career. Two finalnotes: My wife and I were guests not long ago at Chicago's Academy ofScience, where the speaker was primate researcher Jane Goodall. As Ilistened to her low-key but quite passionate remarks, it occurred to methat some fortunate and innately tough people end up doing as their life'swork precisely what they were born to do. Russ Meyer is of that group. Lastly, when we attended a theatrical double-bill re-release of Meyer'sFaster Pussycat! and Cherry, Harry & Raquel a few years ago, theaudience--young, old, in between; equally split between men andwomen--laughed and cried out with delight. The bam!bam! editing style, thestartling camera setups, the stupendous women, the action and satire--thetotality of the Russ Meyer experience washed over every one of us in thattheater. It was, as the alliterative Meyer might express it, apulse-poundingly pulchritudinous evening awash with wicked wantons,actionful adventure, and Meyer-style mirth. It's an evening I will notforget.I daresay you won't forget this astonishing book, either.

Keeping abreast
An excellent choice for any reader.I have had the pleasure to see some of Mr. Meyer's breast (including his own by accident) photographs in person and can say he has an eye for true beauty (actually two eyes).

A heartyhand clasp for one of my mentors.

God Bless Russ Meyer!

James A Beck ... Read more

Product Description
Deals with an analysis of 13 of Russ Meyer's major films produced between 1959 ("The Immoral Mr Teas") and 1979 ("Beneath The Valley of the Ultra Vixens"). This work proceeds to a discussion on film as a form of narration, and then to describing the three basic voices controlling the stories. ... Read more

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FASTER, PUSSYCAT! KILL! KILL! (1965) stands as Russ Meyer's masterpiece, and one of the most phenomenal films ever made. This story of three homicidal go-go dancers, led by the statuesque Varla (Tura Satana), who come into conflict with a young couple, a crippled old man and his retarded son in the heat of the California desert, is an exhilarating, high-octane blast of erotic violence and annihilation.

KILLING MACHINES provides an in-depth analysis of this classic cult movie, accompanied by over 30 rarely-seen publicity photographs, plus full production details and an illustrated filmography of director Russ Meyer. 53 photos in total.

A limited collector's edition of 100 copies only. ... Read more

Customer Reviews (1)

FAST CARS, FASTER WOMEN, GREAT BOOK
A great tribute to one of the wildest films of the 60s, with plenty of full-page photos of sexy dancers and hot rods, and a brilliant textual analysis of the movie with smaller illustrative shots. I would imagine that some of these pictures, which include German lobby cards, are exceedingly rare, and to have everything in one large-size volume makes this the perfect gift for any fan of "Faster Pussycat Kill Kill" (and who isn't?). Oh and it also has a filmography with more statuesque and naked women on display than anyone could handle, just as a bonus. ... Read more

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Credited with having "opened the floodgates of screen permissiveness" in 1959 with the landmark "nudie" The Immoral Mr. Teas, legendary independent softcore filmmaker Russ Meyer has continued throughout his 30-year career and 23+ films to expand the limits of screen freedom with such genre classics as Lorna (1964), Faster, Pussycat! Kill! Kill! (1966), and Vixen (1969). Long recognized as an American auteur and honored by numerous international retrospectives of his work, Meyer's story provides valuable insights into independent filmmaking, the history of the modern sexploitation genre, and cinema censorship. Researched from underground, popular and film literature, this book also incorporates much of the material contained in Meyer's own vast archive, to give an in-depth study of the director dubbed "King Leer." ... Read more

Customer Reviews (1)

Let The Meyer Buyer Beware!
Anyone expecting a definitive biography of the life and work of the Sultan of Sexploitation be warned -- this is anything but a biography! Instead, it is a BIBliography of newspaper and magazine articles having anything remotely to do with the auteur, his campy cinema classics and the ridiculously endowed women who graced them with their wildly varying acting abilities but always welcome presence. There are also numerous references to documents used during the obscenity trials that periodically hounded his career, particularly in connection with one of his best films, "Vixen."

However, these entries -- which are broken down by his personal life, his wives, the aforementioned actresses and, primarily, his films -- do contain one-paragraph descriptions that -- either by design or by accident -- reveal interesting tid bits on Meyer's sometimes fun, sometimes testy, but always interesting relations with his casts, his distributors and a public
that was never at a loss for strong feelings about the Man and his Mammarial MacGuffins. Also, there is a concise and well written essay at the beginning which covers Russ' career from his WWII newsreel shoots (including the invasion of Normandy) to the inception of his still unfinished video reminiscence of his work and the writing of his massive (and hideously expensive) three-volume autobiography, "A Clean Breast."
In the end, until a real biography comes along (the jury's still out on whether the new "The Very Breast of Russ Meyer" is a bio or just another reference guide) this 1990 squib will suffice as a provider of facts, figures and leads for hungry Meyer fanatics who've exhuasted all the web sites. And the crazy poster reproductions and pictures of the ladies don't hurt either. ... Read more

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Russ Meyer is the breast-fixated filmmaker who started as a nude pin-up photographer and progressed through his own startling brand of B-cinema to direct probably the most bizarre film ever funded by a major Hollywood -studio—Beyond the Valley of the Dolls.

Meyer’s 1960s films—including Mudhoney, Motorpsycho! and the legendary Faster, Pussycat! Kill! Kill!—are now venerated as modern classics, and Lips Hips Tits Power examines Meyer’s entire cinematic oeuvre in -detail, affording it the serious analysis it undeniably warrants.

Featuring famous girls from Meyer’s repertory company such as Tura Satana, Kitten Natividad, Uschi Digard, Haji and Erica Gavin, Lips Hips Tits Power offers a visual feast of buxotic female flesh to offset its critical commentary, resulting in a book which operates on two—equally stimulating—levels.

Customer Reviews (3)

Splendid
What a wonderful true description of the female observance.


He was a true genius...

Unique perspective
Hopefully, this book will start a new trend of getting more precise information on RM's films in print.

I thought the films produced prior to 'Lorna' were virtually ignored, however, the analysis of the films that were included rekindle some old memories and bring to light different insight.

I highly recommend this book.

EXCEPTIONAL ANALYSIS OF A FILM GENIUS!
Doyle Greene's new book is a marvelous, thoughtful and insightful analysis of those great "Bustoons" of cult film legend Russ Meyer. Greene brings these beloved films to life in a way I don't believe any other writer has done.

Having always loved Meyer's unique serio-comic treatises on the battle of the sexes, yet not always able to articulate why, I found Greene's astute observations to be a bonafide revelation.

Reading this terrific book, you will not only understand exactly what makes films like LORNA and FASTER, PUSSYCAT! KILL! KILL! so enduring and memorable, you will see the brilliant set of themes which run through all of Meyer's work (centering, of course, on the awesome political and psychological power of sexual relations).

There is an entire chapter devoted to Meyer's masterpiece BEYOND THE VALLEY OF THE DOLLS, which features a breathtaking scene-by-scene breakdown that not only brings this glorious film to life in a way you've never experienced before, but proves once and for all that Meyer is not merely an exploitation filmmaker or a cinema painter, but a sexual philosopher of the first order.

Finally, Greene's compelling thesis convinces any open-minded individual that Meyer is, indeed, a modern film artist as important asHitchcock, Godard or Fellini. No kidding.

Bravo, Mr. Greene! ... Read more

Product Description
Jimmy McDonough's biography of Neil Young, Shakey was hailed as 'one of the most penetrative studies of a rock icon ever written'. bringing his anecdote-and-action-packed biographical style to another renegade of popular culture, McDonough offers a wild portrait of Russ Meyer, the director, writer, producer and commando movie-making force behind such sexploitation classics as Faster, Pussycat! Kill! Kill! and Beyond the Valley of the Dolls. Beginning in 1959, this former combat photographer put his personal sexual obsessions (mostly involving women with huge breasts) on screen, creating a body of work that has influenced a legion of rock bands, filmmakers and even the occasional feminist. Meyer viewed male-female relations in the same way as he viewed World War II - as a fight to the death - and his bombastic, frequently hilarious, sex-and-violence-drenched pictures wowed mainstream movie audiences from drive-ins to arthouses.Rich with wicked observations and memories from Meyer's friends, lovers, leading ladies, fellow filmmakers and fans, Big Bosoms and Square Jaws tells the full story of Meyer's life and career: his volatile marriages, his battles with censorship and his clashes with the Hollywood establishment. What is the key to profitable movie-making, according to Meyer? 'Big bosoms and square jaws.' This is a story of greed, lust and the American way. It will thrill film fans and appeal to anyone who likes a good yard with plenty of sex, booze and rock'n'roll. ... Read more

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High Quality Content by WIKIPEDIA articles! Russell Albion Meyer was an American motion picture director, producer, screenwriter, cinematographer, editor, actor, and photographer. Meyer is known primarily for writing and directing a series of successful low-budget sexploitation films that featured campy humor, sly satire, and large-breasted actresses. Russ Meyer was born in San Leandro, California to William Arthur Meyer, a German-American police officer, and his wife Lydia Lucinda Hauck Howe. His parents divorced shortly after he was born, and Meyer was to have virtually no contact with his father during his life. When he was 14, his mother pawned her wedding ring in order to buy him an 8mm film camera. He made a number of amateur films at the age of 15, and served during World War II as a U.S. Army combat cameraman for the 166th Signal Photo Company. It was in the Army that Meyer forged his strongest friendships, and he would later ask many of his fellow combat cameramen to work on his films. Much of Meyer's work during World War II can be seen in newsreels and in the film Patton. ... Read more

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This is nonfiction commentary.Chapters: Beyond the Valley of the Dolls, Supervixens, Beneath the Valley of the Ultra-Vixens, Cherry, Harry & Raquel!, the Immoral Mr. Teas, Mondo Topless, the Seven Minutes, Faster, Pussycat! Kill! Kill!, Lorna, Motorpsycho, Black Snake, Mudhoney, Pandora Peaks, Finders Keepers, Lovers Weepers!, Up!, Common Law Cabin, Who Killed Bambi?, Good Morning And... Goodbye!. Source: Wikipedia. Pages: 62. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Beyond the Valley of the Dolls is a 1970 American schlock melodrama film starring Dolly Read, Cynthia Myers, Erica Gavin, Edy Williams, Marcia McBroom, John LaZar, and Michael Blodgett. Directed by Russ Meyer and co-written by Meyer and Roger Ebert, the film is considered a cult classic. Originally intended as a sequel to the 1967 film Valley of the Dolls "dolls" being a slang term for depressant pills or "downers" Beyond the Valley of the Dolls was instead revised as a parody of the commercially successful but critically reviled original. Three young women Kelly MacNamara (Dolly Read), Casey Anderson (Cynthia Myers), and Petronella "Pet" Danforth (Marcia McBroom) perform in a rock band, The Kelly Affair, managed by Harris Allsworth (David Gurian), Kelly's boyfriend. The four travel to Los Angeles to find Kelly's estranged aunt, Susan Lake (Phyllis Davis), heir to a family fortune. Susan welcomes Kelly and her friends, even promising a third of her inheritance to her niece, but Susan's sleazy financial advisor Porter Hall (Duncan McLeod) discredits them as "hippies" in an attempt to embezzle her fortune himself. Undeterred, Susan introduces The Kelly Affair to a flamboyant, well-connected rock producer, Ronnie Barzell (John LaZar), who coaxes them into an impromptu performance at one of his outrageous parties (after a set by...http://booksllc.net/?id=921865 ... Read more

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With a layout by Russ Meyer and Evan Hunter writing "Wife & Best Friend". Great men's magazine ... Read more

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Les achats comprennent une adhésion à l'essai gratuite au club de livres de l'éditeur, dans lequel vous pouvez choisir parmi plus d'un million d'ouvrages, sans frais. Le livre consiste d'articles Wikipedia sur : Mark Hamill, Harry Partch, George Stevens, Donald Budge, Robert Culp, Kenneth Tobey, Paul Pierce, Russ Meyer, Robert Mcnamara, Sidney Howard, Billie Joe Armstrong, Brandon Lee, Willis O'brien, Raphael Saadiq, David A. Bednar, Stanley Miller, Drew Gooden, Robert Nichols, Dennis Eckersley, Lyndsy Fonseca, Keyshia Cole, David Murray, Bonnie Pointer, Brad Gilbert, Sheila E., Austin Nichols, William Bergsma, Max Baer Jr., Jeff Hanneman, Jon Ferguson, Jon Faddis, Satguru Sivaya Subramuniyaswami, Richard Overstreet, Tony Lema, Mikael Bauer, Whitney Reed, Henry Kaiser, Mark Curry, Anita Pointer, Marshawn Lynch, John Markoff, Kirk Morrison, Robb Flynn, Karim Prince, Ruth Pointer, Howard Lincoln, June Pointer, Bill Lockyer, Benny Luke, Robert Colescott, Galen Rowell, Darrell Tucker. Non illustré. Mises à jour gratuites en ligne. Extrait : Mark Hamill, né le 25 septembre 1951 à Oakland, Californie, États-Unis, est un acteur américain. Il est célèbre pour avoir tenu le rôle de Luke Skywalker dans la premiere trilogie de Star Wars. Après avoir grandi en Californie et au Japon, Mark Hamill fait des études d'art dramatique avant d'obtenir ses premiers rôles à la télévision. Repéré par George Lucas, qui désirait engager de jeunes acteurs inconnus sur le casting de l'épisode IV de La Guerre des étoiles, il acquiert un statut de star. Il tourne ensuite sous la caméra de Samuel Fuller, mais un accident de voiture, peu avant le tournage de L'Empire contre-attaque, entraîne une paralysie faciale qui limite son jeu d'acteur. Dans le très décrié Star Wars Holiday Special, les lésions sur le visage d'Hamill sont visibles car cela faisait quelques semaines seulement qu'il avait eu son accident. La popularité de son personnage de héros galactiq...http://booksllc.net/?l=fr ... Read more

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Les achats comprennent une adhésion à l'essai gratuite au club de livres de l'éditeur, dans lequel vous pouvez choisir parmi plus d'un million d'ouvrages, sans frais. Le livre consiste d'articles Wikipedia sur : Guerres Pubiennes, Kiraz, Russ Meyer, Hugh Hefner, Playmate, Club Jenna, Helmut Newton, Bunny Girl, Weekly Playboy, Kendra Wilkinson, Playboy Enterprises, Manoir Playboy, Playboy Tv, Jenna's American Sex Star, the Girls Next Door, Pompeo Posar, Holly Madison, Bridget Marquardt, Les Girls de Playboy, Stephen Wayda, Little Annie Fanny, Christie Hefner, Femlin. Non illustré. Mises à jour gratuites en ligne. Extrait : Les Guerres pubiennes, dites aussi Guerres « pubiques », englobent les épisodes de la concurrence qui engagea les grands magazines masculins des années 1960-1970, aux premiers rangs desquels Playboy et Penthouse, dans une course à qui pousserait un peu plus loin que les autres le dévoilement du pubis féminin. Cet affrontement, tout en évitant en général de dépasser trop brusquement les limites de ce qui était acceptable, contribua au recul progressif de celles-ci. L'expression anglaise originale, Pubic Wars, calembour sur Punic Wars, les Guerres puniques, est due à Hugh Hefner, fondateur et propriétaire de Playboy. Dans les États-Unis des années 1950, il était généralement convenu de ne pas considérer les photographies de nu comme pornographiques tant qu'elles s'abstenaient de faire apparaître les poils pubiens et a fortiori les organes génitaux. Pour préserver ses apparences « artistiques », la photographie respectable pouvait s'approcher de cette limite mais devait veiller à ne pas la franchir. Certes, dans ses premières années Playboy offrit de temps en temps quelques aperçus de toisons pubiennes. Mais ces audaces ponctuelles, qui évitaient soigneusement le poster central, se firent plus timides au début des années 1960. De fait, le pubis des playmates restait masqué le plus souvent par un linge, une jamb...http://booksllc.net/?l=fr ... Read more

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Chapters: Russ Meyer, Juggs, Chelsea Charms, Minka, Maxi Mounds, Busty Heart, Norma Stitz, Polypropylene Breast Implants, Kayla Kleevage, Bakunyū. Source: Wikipedia. Pages: 43. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Russell Albion "Russ" Meyer (March 21, 1922 September 18, 2004) was an American motion picture director, producer, screenwriter, cinematographer, editor, actor and photographer. Meyer is known primarily for writing and directing a series of successful low-budget sexploitation films that featured campy humor, sly satire and voluptuous women. Russ Meyer was born in San Leandro, Oakland, California to William Arthur Meyer, a German-American police officer, and his wife Lydia Lucinda Hauck Howe. His parents divorced shortly after he was born, and Meyer was to have virtually no contact with his father during his life. When he was 14, his mother pawned her wedding ring in order to buy him an 8mm film camera. He made a number of amateur films at the age of 15, and served during World War II as a U.S. Army combat cameraman for the 166th Signal Photo Company. It was in the Army that Meyer forged his strongest friendships, and he would later ask many of his fellow combat cameramen to work on his films. Much of Meyer's work during World War II can be seen in newsreels and in the film Patton (1971). On his return to civilian life, he made industrial films, was a still photographer for mainstream films (he did the still photography for the film Giant), and became a well known glamour photographer whose work included shoots for Hugh Hefner's Playboy magazine. Meyer would shoot three Playboy centerfolds during the magazine's early years, one of his wife Eve Meyer in 1955. He shot a pictorial of then-wife Edy Williams in March 1973. His first feature, the nudist comedy The Immoral Mr....More: http://booksllc.net/?id=181669 ... Read more