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The Chair Volume IV, Punt, Pass, & Kick tells of a gala retirement ceremony for an employee held on a railroad trestle, a fishing expedition under the Idlewood Arch & Aqueduct, the bravery, battles, and bastions of the Texas Revolution, a quinceañera celebration near Matamoros, a standoff gun-boat battle on the Rio Grande between the Armada de Marina de México and Americans, an all-girl rock band from Topeka, a Thanksgiving dinner in 1971 Beverly Hills, a brunch with mimosas at the Pierre Hotel on 5th Avenue, a lunch at The Horse tavern in Baltimore, a docu-drama about a high-school football team in East Texas, intimate mother and daughter correspondence, an English suffragette who becomes an ocean-liner titan, four brothers from Italy creating a family olive-oil and wine-exporting company, the creator of synonym, antonym, and hyponym awareness for women entrepreneurs, a courageous cattle drive from South Texas to Wyoming, a seascape watercolor painter, and a teenage writer whose unpublished manuscript is found and read by Lana McCracken, the prime character in The Chair pentalogy, a story that can only be found in an old trunk between the real and imagined, a story for all times.
Short Synopsis on the book: Men and Women you love to hate or What’s his name I really hate him’ (As you can see, above; I have two possible titles; but I can’t decide which one to use?) This is how I envisage the book cover the front of the book; the character is a cartoon representation of a ‘Baddie’ based on Dick Dastardly from ‘Whacky Races’ which is originally based on a Victorian actor Todd Slaughter who always played villains in plays and films. The Men & Women you love to hate Or What’s his name? I really hate him! Main Body of the book The character of the villain is an integral part of the history of ‘story telling’ in books, fairy tales in the cinema and on the stage. All cultures that have some form of storytelling tradition, in whatever language the usual premise is of good versus evil or a good person against a bad person. In the English literary tradition follows on from Chaucer in the 14th century and Shakespeare in the 16th century. Shakespeare’s genius was his skill in making his characters believable and, motivated by the things that motivate all human beings. They react to their circumstances and to people in different ways. Some of Shakespeare’s characters act in cruel and unpleasant ways; some kill, deceive and take advantage of the other person whether man or woman but they remain human beings who we can recognise. How does the author or screen writer know if a certain type of villain fits well into the script or book they propose in their genre or story? To an author or screenwriter, each character-type serves a specific purpose in the exploration of a book or script’s premise, which usually starts with the protagonist. An antagonist’s primary purpose is to be the main obstacle to the protagonist (hero’s) quest or goal, which is motivated by a conflicting goal. That goal is something an antagonist is determined to secure for his or her own reason/s. The antagonist (villain) can in most cases be self-serving or the protection of a community he or she might have a ‘stake in’. The character’s reasons for doing what they do can often be the most emotionally compelling part of the story. This is because audiences can on occasions understand the antagonist’s motivation and can sometimes relate to it; these motives fall generally under two distinct classifications of ‘personal gain’ or ‘communal gain’.
San Diego Magazine gives readers the insider information they need to experience San Diego-from the best places to dine and travel to the politics and people that shape the region. This is the magazine for San Diegans with a need to know.
The gangster, in the hands of the Italian American artist, becomes a telling figure in the tale of American race, gender, and ethnicity - a figure that reflects the autobiography of an immigrant group just as it reflects the fantasy of a native population. From Wiseguys to Wise Men studies the figure of the gangster and explores its social function in the construction and projection of masculinity in the United States. By looking at the cultural icon of the gangster through the lens of gender, this book presents new insights into material that has been part of American culture for close to 100 years.
In the 1930s the gangster film in the United States coincided with a very real and very sensational gangsterism at large in American society. Little Caesar (1931), The Public Enemy (1931), and Scarface (1932) borrowed liberally from the newspapers and books of the era. With the release of just these three motion pictures in barely more than a year's time, Hollywood quintessentially defined the genre. The characters, the situations, and the icons-from fast cars and tommy-guns to fancy fedoras and fancier molls-established the audience expectations associated with the gangster film that remain in force to this day. As with their Film Noir Reader series, using both reprints of seminal articles and new pieces, editors Silver and Ursini have assembled a group of essays that presents an exhaustive overview of this still vital genre. Reprints of work by such well-known film historians as Robin Wood, Andrew Sarris, Carlos Clarens, Paul Schrader, and Stuart Kaminsky explore the evolution of the gangster film through the 1970s and The Godfather. Parts 2 and 3 comprise two dozen newer articles, most of them written expressly for this volume by Ursini and Silver. These case studies and thematic analyses, from White Heat to the remake of Scarface to "The Sopranos," complete the anthology.
Post-Soviet Russia. The Wild Wild East. Richard Bryant offers a glimpse at real life behind what remains of the rusting Iron Curtain. At a time when relations between the United States and Russia are once again tense, Richard's work is a telling portrait of life in modern Moscow. From train journeys across four timezones to airport security inspections, you'll never look at Russia the same way again.
(Playbill Broadway Yearbook). This second edition of The Playbill Broadway Yearbook has a chapter for each of the 71 Broadway shows that were running between June 2005 and May 2006, including "alumni" pages for shows held over from previous seasons. In addition, every show has a correspondent who records the special moments and relationships that develop during rehearsals and the run. Actor hangouts, most memorable ad-lib, celebrity visitors, and the record number of cell phone rings during a performance are among the information recorded. An insider Events section reports on such annual milestones as The Tony Awards, Gypsy of the Year, Broadway Bares, and the annual Broadway softball championship in Central Park Once again, in addition to all the headshots of all the actors who appeared in Playbill , the book includes photos of producers, writers, designers, stage managers, stagehands and musicians. The goal is to include as many of the faces who worked on Broadway as possible. As a special treat, the Yearbook includes photos of opening night curtain calls from many shows. This is a book no Broadway buff will want to be without.
Throughout the 1960s, there's was one band that ruled the charts and defined the sound of a generation: The Four Seasons. On stage, they were clean cut kids from New Jersey—off stage there was an entirely different story. You’ve heard the music, now find out the stories behind the music. This book takes you inside the life of Frankie Valli and the history of The Four Season. While the contents of this biography have been researched, this book is not endorsed or affiliated in anyway with Frankie Valli or The Four Seasons.
Tells of the story of how Italians integrated into America in the 1950s in part through the music of such singers as Enrico Caruso, Frank Sinatra, Dean Martin, Perry Como, and others.
Crime movies inhabit dark and desperate worlds, yet they account for many of Hollywood's most triumphant successes. In full acknowledgement of this achievement, "Crime Wave" offers an authoritative and informative, stimulating and entertaining guide to the crime movie phenomenon, from its early days to the present, charting its history and celebrating the people who have given it a special and enduring place in cinema goers' affections. Chapters focus on landmark Hollywood films - from 1931's "The Public Enemy", through "The Maltese Falcon", "Point Blank", "Dirty Harry", "The Godfather" trilogy and "Goodfellas", to "LA Confidential" and "Oceans 11" - telling their stories and on the way discussing many more crime movies, both major and lesser known. "Crime Wave" represents and investigates gangster and heist movies, blaxploitation and noir, murder mysteries, vehicles for vigilante or buddy cops, even a gangster love story. It features biographies and filmographies detailing the key participants and background details of the film's making, locations and sets. It also explores each film's sources and influences, its impact on the crime genre and current fashion, including spin-offs, copies and sequels. It examines the films' themes, style and box office fortunes. Detailed cast list information is provided for each of the main featured films. Written with passion, for those who love this cinema, "Crime Wave" is the perfect partner in crime.