Final issue! The Sirens reunite through time and space in a last stand to prevent Earth from being destroyed by the forces who made them hide throughout time.

The Sirens of Wartime Radio and How the American Print Media Presented Them: The Stories, the Intrigue, and the Evolving Coverage of Their Legacies analyzes press coverage from the American print media that helped construct popular images of Tokyo Rose, Axis Sally, Seoul City Sue, and Hanoi Hannah. Coverage of these “radio sirens” essentially constructed and defined these women’s legacies for an American audience. Scott A. Morton examines newspaper and magazine coverage from the periods of each broadcaster, and in doing so, analyzes four primary research inquires. Morton discusses how American newspapers and magazines portrayed each woman to American readers, how the American mass media’s portrayal of them evolved overtime from the mid-1940s through the present, the ways in which the American mass media responded to these five female propagandists—either directly or indirectly—through print, radio, and visual media, and how the legacy of each woman has been kept alive in popular culture in the decades since their last broadcasts. Morton argues that for the most part, coverage of the sirens was borne out of fascination and aversion, fascination stemming from the novelty of women acting as high-profile agents of enemy propaganda organizations and aversion stemming from the potential power they had over U.S. servicemen and the fact that they were viewed as traitors to the U.S. Scholars of media studies, history, and international relations will find this book particularly useful.

This book holds classical liberalism responsible for an American concept of beauty that centers upon women, wilderness, and machines. For each of the three beauty components, a cultural entrepreneur supremely sensitive to liberalism’s survival agenda is introduced. P.T. Barnum’s exhibition of Jenny Lind is a masterful combination of female elegance and female potency in the subsistence realm. John Muir’s Yosemite Valley is surely exquisite, but only after a rigorous liberal education prepares for its experience. And Harley Earl’s 1955 Chevrolet Bel Air is a dreamy expressionist sculpture, but with a practical 265 cubic inch V-8 underneath. Not that American beauty has been uniformly pragmatic. The 1950s are reconsidered for having temporarily facilitated a relaxation of the liberal survival priorities, and the creations of painter Jackson Pollock and jazz virtuoso Ornette Coleman are evaluated for their resistance to the pressures of pragmatism. The author concludes with a provocative speculation regarding a future liberal habitat where Emerson’s admonition to attach stars to wagons is rescinded.

Never embracing her mermaid heritage, Gwen Lonike lives in the human world as the owner of a Maine B&B. But when the gateway to a lost mermaid kingdom is opened, freeing its dangerous queen, Gwen can no longer hide, nor keep her secret from covert agent Blake Whittaker, who's assigned to trail a strange thread of paranormal activity. How long can Gwen and her sisters remain safe from a destructive queen, and from Blake's superiors, whose ultimate mission could prove the greatest threat of all?

Collects Savage She-Hulk (1980) #1-14. When criminal defense attorney Jennifer Walters is shot by a mob hitman, her cousin saves her life with a blood transfusion - but that cousin is Bruce Banner, and his gamma-irradiated blood turns her into the Savage She-Hulk! Suddenly she's a mean, green lawyering machine, and criminals the world over had better watch out. Now, experience She-Hulk's adventures from the very beginning! Her quest will take her from the halls of justice to other dimensions and pit her against Iron Man, mind-controlling cults, the Man- Thing, and even her own father. But despite her new power, can Jennifer Walters survive the beast within? Her own blood is killing her - and only Morbius the Living Vampire may have the cure!

Whether referred to as mermaid, usalka, mami wata, or by some other name, and whether considered an imaginary being or merely a person with extraordinary abilities, the siren is the remarkable creature that has inspired music and its representations from ancient Greece to present-day Africa and Latin America. This book, co-edited by a historical musicologist and an ethnomusicologist, brings together leading scholars and some talented newcomers in classics, music, media studies, literature, and cultural studies to consider the siren and her multifaceted relationships to music across human time and geography.