Eagle Records (USA) ...

1. What Do You Want from Me?2. Between High School & Old School3. Man of the Year4. Novocaine5. Bye Bye, Baby6. Be With You Awhile7. Detroit City8. Spirits Rebellious9. This House Is Haunted10. Love Should Never Feel Like This11. Song That Didn't Rhyme, The12. I'm So Angry13. Backyard Brawl

Lujo Records ( June 21, 2005 ), Genre: Rock & Pop ...

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From 1936 to 1957, Gary Cooper was consistently among Hollywood's top 10 box office draws, most often portraying the ordinary man in extraordinary circumstances. In a recent American Film Institute poll (100 Years...100 Stars), Cooper placed # 11 among male actors, ahead of John Wayne, Laurence Olivier, and James Dean. This collection features 5 DVD debuts, including one of his essential films (Sergeant York - for which, Cooper won his first Best Actor Oscar), plus Dallas, The Fountainhead, Springfield Rifle, and The Wreck Of The Mary Deare. Turner Classic Movies channel continues to feature Cooper's films and will probably promote the set on release.

The figure of Gary Cooper as the proud frontier sheriff striding down the street in the 1952 American Western High Noon is as much a symbol of dignity and courage in contemporary Poland as it is in the United States. In 1989, for Poland's first free election since the Communist takeover, the political party Solidarity dramatically and successfully used that image of Cooper on a campaign poster urging voters to respond to their country's own 'high noon' - their critical moment of decision. The Western motion picture, from its silent days on, exported an epic vision of America.William S. Hart, John Wayne, James Stewart, Henry Fonda, Gregory Peck, Clint Eastwood, and Kirk Douglas became legendary heroes throughout the world, and especially in Poland. In postwar Poland, film poster artists employed the universally recognized symbols of the Western - horse, six-shooter, boots, tin-star badge, Stetson, saddle - to convey violence as a negative force. Unlike many other art forms, the film poster did not fall within the censor's domain because it was not expected to pose a threat to the social order. But messages were conveyed through subtle means of symbol and color.The Polish poster has been likened to the Trojan horse, with the artist smuggling messages onto the streets in the guise of ephemera. The posters displayed so strikingly in this book, and discussed in three essays, are from the golden age of Polish poster-making, the mid-1940s to the 1970s. They are part of the collection assembled by the Autry Museum of Western Heritage, the Western poster holdings of which include more than a hundred created in Poland - the largest such collection outside of Poland itself.Kevin Mulroy is director of the research center at the Autry Museum of Western Heritage in Los Angeles. Other contributors include Edward Buscombe, former head of the British Film Institute in London; Frank Fox, a former professor of Eastern European history and expert on Polish poster art; Mariusz Knorowski, international programs coordinator at the Center of Polish Sculpture in Oronsko and former curator of the Polish Poster Museum in Wilanow; and translator Aneta Zebala, a paintings conservator in Santa Monica, California.

From 1936 to 1957, Gary Cooper was consistently among Hollywood's top 10 box office draws, most often portraying the ordinary man in extraordinary circumstances. In a recent American Film Institute poll (100 Years...100 Stars), Cooper placed # 11 among male actors, ahead of John Wayne, Laurence Olivier, and James Dean. This collection features 5 DVD debuts, including one of his essential films (Sergeant York - for which, Cooper won his first Best Actor Oscar), plus Dallas, The Fountainhead, Springfield Rifle, and The Wreck Of The Mary Deare. Turner Classic Movies channel continues to feature Cooper's films and will probably promote the set on release.

The figure of Gary Cooper as the proud frontier sheriff striding down the street in the 1952 American Western High Noon is as much a symbol of dignity and courage in contemporary Poland as it is in the United States. In 1989, for Poland's first free election since the Communist takeover, the political party Solidarity dramatically and successfully used that image of Cooper on a campaign poster urging voters to respond to their country's own 'high noon' - their critical moment of decision. The Western motion picture, from its silent days on, exported an epic vision of America.William S. Hart, John Wayne, James Stewart, Henry Fonda, Gregory Peck, Clint Eastwood, and Kirk Douglas became legendary heroes throughout the world, and especially in Poland. In postwar Poland, film poster artists employed the universally recognized symbols of the Western - horse, six-shooter, boots, tin-star badge, Stetson, saddle - to convey violence as a negative force. Unlike many other art forms, the film poster did not fall within the censor's domain because it was not expected to pose a threat to the social order. But messages were conveyed through subtle means of symbol and color.The Polish poster has been likened to the Trojan horse, with the artist smuggling messages onto the streets in the guise of ephemera. The posters displayed so strikingly in this book, and discussed in three essays, are from the golden age of Polish poster-making, the mid-1940s to the 1970s. They are part of the collection assembled by the Autry Museum of Western Heritage, the Western poster holdings of which include more than a hundred created in Poland - the largest such collection outside of Poland itself.Kevin Mulroy is director of the research center at the Autry Museum of Western Heritage in Los Angeles. Other contributors include Edward Buscombe, former head of the British Film Institute in London; Frank Fox, a former professor of Eastern European history and expert on Polish poster art; Mariusz Knorowski, international programs coordinator at the Center of Polish Sculpture in Oronsko and former curator of the Polish Poster Museum in Wilanow; and translator Aneta Zebala, a paintings conservator in Santa Monica, California.

Before Clint Eastwood, before John Wayne, before Gary Cooper, William S. Hart and Tom Mix, there was Gilbert M. Anderson. In 1910 Anderson created and portrayed a screen cowboy named Broncho Billy, the prototypical good/badman with a strong sense of moral right and wrong. Billy was often an outlaw, but he could also be an honorable sheriff struggling to maintain law and order, a crafty gambler with a sympathetic heart, a poor rancher fighting the hardships of western life, or just a plain old cowboy roaming the range. Whatever his occupation, Anderson infused Broncho Billy with a winning personality, and it made him the first western movie star. His Essanay stories of the old west were filmed in the real west, and set the pattern for western movies as we know them today. Anderson and a skilled troupe of technicians, actors and real cowboys visited Denver, Golden and Morrison, Colorado, El Paso, Texas, and the California towns of Santa Barbara, San Rafael, Redlands, Los Gatos, San Diego, Santa Monica, Lakeside, Petaluma, Santa Rosa, Fairfax and Los Angeles before finally settling in Niles to take advantage of its scenic canyon. A state-of-the-art studio was built and they made over 300 westerns in four years, as well as many comedies with the likes of Ben Turpin and Charlie Chaplin. Here is a rare, inside look at a silent-era movie company in action, told in an engaging manner. The book includes 270 photographs, personnel biographies, a complete filmography and index.

1990/1991 Skybox # 232 Wayne Cooper Portland Trail Blaze Basketball Card

When you lose for a living, it's pretty hard to fail. Once, like all of us, Buddy dreamt of success. He and his wife, Alix, had just bought a new place, not too far from the beach. Their daughter, Brook, was out of the hospital. And the fans were cheering him on as the Invincible Man, one of the rising stars of the Southeastern Wrestling Confederacy. Then everything fell apart. An argument over Monday Night Football somehow crossed the line, Alix kicked him out, and Buddy moved in to the Motel 6. After that, winning just didn't seem right, so he traded in his golden cape for a latex mask and became one of the anonymous losers that fans love to hate. Every few weeks, he'd get a new mask, rechristen himself, and step into the ring to get beat all over again -- as the Grave Digger or the Widow Maker, the Deadbeat Dad or the Unknown Kentucky Terror. In the four years since the divorce, his record is 0-186, but that's okay by Buddy. Free of mad notions like happiness and success, he pops pink pills to control his rage and copes with his insomnia by watching John Wayne westerns and QVC. He has his job, his apartment, his truck, his once-a-week visits with Brook. Life as a failure isn't that bad, or so he's convinced himself. But now in an effort to boost pay-per-view ratings, Buddy's boss threatens a shake-up. As part of the plan, Buddy will have to end his safe days as a professional loser. He's actually slated to win a match. What he'll learn, though, is that like all new scripts, this one comes with its own cast and complications: a phone psychic living in fear, an alien-abductee with the secret to salvation, a championship match interrupted by a violent fanatic, what could be faith healings, and perhaps the most unlikely miracle of all -- a second chance to believe. A touching and wonderfully unpredictable literary debut about a professional loser who's forced into a rematch with life, Buddy Cooper Finds a Way announces the arrival of a fresh and original voice in American fiction.

1991 Upper Deck # 378 Wayne Cooper Portland Trail Blaze Basketball Card

Breaking a circle into an arc is easy, but converting an arc back into a circle is a different matter, a task that Alice Cooper has succeeded in doing with the release of "The Eyes Of Alice Cooper." Produced by Mudrock (Godsmack, Powerman 5000), this album is clearly a return to Alice's musical roots, a conscious effort to capture the rock and roll sound that has stirred and excited the minds, souls, spirits and bodies of so many generations. Simple, uncluttered and direct is The Eyes Of Alice Cooper. Recorded in a minimalist garage-like studio setting, unpretentious and live -- All instruments were recorded in a blue streak and at the same time with very little multitracking. Each guitar player was given only one extra track for overdubs. A few keyboard, synth and horn touches were added to some cuts as needed. The songs are classic Alice Cooper, featuring his trademark clever lyrics as in "The Song That Didn't Rhyme" and "Novocain" as always, infectious melodies, hooks and a wall of guitars. All songs were co-written by Alice with guitarists Eric Dover and Ryan Roxie. Special guests include Legendary MC5 Guitarist Wayne Kramer who added his uncompromising garage rock sound to "DETROIT CITY."

In this big screen spin-off of SATURDAY NIGHT LIVE two small-town cable TV hosts and lifetime best friends Mike Myers and Dana Carvey spend their days and nights chasing babes schwing! and refusing to budge from their long-haired head-banging style. Ably capturing the goofiness and exuberance of youth and love of music director Penelope Spheeris THE DECLINE OF WESTERN CIVILIZATION PARTS 1 and 2 brings a natural sense of fun and abandon to the film. Features appearances by Rob Lowe Chris Farley and rockers Meat Loaf and Alice Cooper.

ISBN13: 9781555530242. ISBN10: 1555530249. by Claude Mckay and Wayne M. Cooper. Published by University Press of New England. Edition: 28