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A Stolen Paradise is a controversial new book about the making of The Night of the Iguana. The non-fiction narrative follows the history of this modern classic from its creation as an acclaimed stage play by Tennessee Williams, regarded as the greatest playwright of the twentieth century, to its adaptation as an Oscar-winning movie directed by the legendary filmmaker John Huston. Sharing the spotlight in this riveting saga are two international megastars whose love affair dominated news coverage for much of that millennium: Richard Burton and Elizabeth Taylor, together with the highly combustible superstar Ava Gardner, and a third equally impressive star, Deborah Kerr, who lived side-by-side for three months in the Mexican jungle during the film's production. Everyone involved hoped they would benefit from the movie's success. But what was the personal and professional cost to each of them? Through extensive archival research and firsthand interviews, which uncover many previously unknown facts, Howard Johns brings to life the people and events surrounding The Night of the Iguana and its transformative effect on Puerto Vallarta - once a small fishing village, now an international tourist destination. It was there, in the isolated jungles of Mismaloya, that the movie had its greatest impact, introducing the native inhabitants, who had no previous contact with the outside world, to a modern way of life, the effects of which are still being felt today. This richly detailed account of movie making is more than an exposé of Hollywood or a sentimental wallow in nostalgia; it is also a time capsule of world events. A Stolen Paradise combines elements of American pop culture, Mexican history and Aztec mythology to tell a prescient saga of human conquest and its surprising, often tragic, consequences.
Whether you’re just wondering how on Earth we can finally be free or maybe that there is no hope, either way, ‘Just Imagine’ will answer both questions. Perhaps you are worried about the future of our generations or what a world of love actually looks like. Again, either way and in visionary based detail, ‘Just Imagine’ will answer many questions. With creatively imaginative and spiritually based channeling, ‘Just Imagine’ will take you on a journey of self-discovery through the biggest tool ever known in universal history; our imagination. This widely unused tool is not only why we’re here, but our brains cannot tell the difference between reality and imagination. ‘Just Imagine’ is the spark that can easily create Heaven on Earth. When a large collective imagines the same reality, it begins to manifest. When that reality is utterly beautiful, loving, euphoric and an absolutely pristine paradise, this future starts creating before our eyes. We are the creators of our dreams, the magnets to our wildest fantasies and the shapers of our collective future. A world that is so majestically enchanting, abundantly nourishing and liberatingly ecstatic, is ours to create. Oneness is effortlessly harmonious Harmony is peaceful unity Unity is one love Love is a simple intention Intention is everything Everything is us Just Imagine
Dawn Colclasure’s dark poetry collection, Songs of the Dead (formerly named Topiary Dreams), is not only dark, but passionate. Anger, fear, hurt and betrayal run under the skin of this work and shine through especially bright in poems such as "No Turning Back," "Deep Within" and "I am Madness." Colclasure examines the dark side of human nature; murder, drug use, violence, insanity and isolation. But, beyond the tales of death and darkness there’s also a message of empowerment; the voice of someone who has taken too much, for too long and has finally had enough. Songs of the Dead is a re-release of the chapbook originally published in 2003 and with more than twenty-seven new poems; it has more than earned the title “expanded”. Colclasure has a flair for prose, with lines such as “walk on the moon and hear the stars breathe,” (from "Death Shows my Pain") and different poetry forms stop the reader from falling into a sing-song rhythm of sameness and help to keep the collection fresh and interesting, page after page.
Edgar Award–winner Steve Hamilton takes his acclaimed series to new heights in A Stolen Season. If you thought you knew Alex McKnight and how far he'll go for the people he cares about . . . think again. On a freezing night in Michigan's Upper Peninsula, a night that wouldn't feel so unusual if it weren't the Fourth of July, a boat plows full speed into a line of old railroad pilings in the shallow water of Waishkey Bay. After Alex helps rescue the passengers, he figures he'll never see them again. He couldn't be more wrong. The men he saved are connected to a deadly drug-smuggling syndicate and it's up to Alex to do damage control—and protect the woman he loves—before the cycle of violence comes around full circle.
Film Composers in America is a landmark in the history of film. Here, renowned film scholar Clifford McCarty has attempted to identify every known composer who wrote background musical scores for films in the United States between 1911 and 1970. With information on roughly 20,000 films, the book is an essential tool for serious students of film and a treasure trove for film fans. It spans all types of American films, from features, shorts, cartoons, and documentaries to nontheatrical works, avant-garde films, and even trailers. Meticulously researched over 45 years, the book documents the work of more than 1,500 composers, from Robert Abramson to Josiah Zuro, including the first to score an American film, Walter C. Simon. It includes not only Hollywood professionals but also many composers of concert music--as well as popular music and other genres--whose cinematic work has never before been fully catalogued. The book also features an index that lets readers quickly find the composer for any American film through 1970. To recover this history, much of which was lost or never recorded, McCarty corresponded with or interviewed hundreds of composers, arrangers, orchestrators, musical directors, and music librarians. He also conducted extensive research in the archives of the seven largest film studios--Columbia, MGM, Paramount, RKO, 20th Century-Fox, Universal, and Warner Bros.--and wherever possible, he based his findings on the most reliable evidence, that of the manuscript scores and cue sheets (as opposed to less accurate screen credits). The result is the definitive guide to the composers and musical scores for the first 60 years of American film.
Each edition covers previous five years.