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No city in America knows how to mark death with more funerary panache than New Orleans. The pageants commemorating departed citizens are often in themselves works of performance art. A grand obituary remains key to this Stygian passage. And no one writes them like New Orleanian John Pope. Collected here are not just simple, mindless recitations of schools and workplaces, marriages, and mourners bereft. These pieces in Getting Off at Elysian Fields: Obituaries from the New Orleans “Times-Picayune” are full-blooded life stories with accounts of great achievements, dubious dabblings, unavoidable foibles, relationships gone sour, and happenstances that turn out to be life-changing. To be sure, there are stories about Carnival monarchs, great philanthropists, and a few politicians. But because New Orleans embraces eccentric behavior, there are stories of people who colored way outside the lines. For instance, there was the doctor who used his plasma to make his flowers grow, and the philanthropist who took money she had put aside for a fur coat to underwrite the lawsuit that desegregated Tulane University. A letter carrier everyone loved turned out to have been a spy during World War II, and a fledgling lawyer changed his lifelong thoughts about race when he saw blind people going into a Christmas party through separate doors—one for white people and another for African Americans. Then there was the punctilious judge who got down on his hands and knees to edge his lawn—with scissors. Because New Orleans funerals are distinctive, the author includes accounts of four that he covered, complete with soulful singing and even some dancing. As a popular, local bumper sticker indisputably declares, “New Orleans—We Put the Fun in Funeral.”
An unconventional woman and a man shrouded in mystery walk a tightrope of desire as they race against a killer to find a top secret invention in this New York Times bestselling novel from Amanda Quick. Former trapeze artist Amalie Vaughn moved to Burning Cove to reinvent herself, but things are not going well. After spending her entire inheritance on a mansion with the intention of turning it into a bed-and-breakfast, she learns too late that the villa is said to be cursed. When the first guest, Dr. Norman Pickwell, is murdered by his robot invention during a sold-out demonstration, rumors circulate that the curse is real. In the chaotic aftermath of the spectacle, Amalie watches as a stranger from the audience disappears behind the curtain. When Matthias Jones reappears, he is slipping a gun into a concealed holster. It looks like the gossip that is swirling around him is true—Matthias evidently does have connections to the criminal underworld. Matthias is on the trail of a groundbreaking prototype cipher machine. He suspects that Pickwell stole the device and planned to sell it. But now Pickwell is dead and the machine has vanished. When Matthias’s investigation leads him to Amalie’s front door, the attraction between them is intense, but she knows it is also dangerous. Amalie and Matthias must decide if they can trust each other and the passion that binds them, because time is running out.
This “wickedly pacey page-turner” (Total Film) unfurls the behind-the-scenes story of the making of The Godfather, fifty years after the classic film’s original release. The story of how The Godfather was made is as dramatic, operatic, and entertaining as the film itself. Over the years, many versions of various aspects of the movie’s fiery creation have been told—sometimes conflicting, but always compelling. Mark Seal sifts through the evidence, has extensive new conversations with director Francis Ford Coppola and several heretofore silent sources, and complements them with colorful interviews with key players including actors Al Pacino, James Caan, Talia Shire, and others to write “the definitive look at the making of an American classic” (Library Journal, starred review). On top of the usual complications of filmmaking, the creators of The Godfather had to contend with the real-life members of its subject matter: the Mob. During production of the movie, location permits were inexplicably revoked, author Mario Puzo got into a public brawl with an irate Frank Sinatra, producer Al Ruddy’s car was found riddled with bullets, men with “connections” vied to be in the cast, and some were given film roles. As Seal notes, this is the tale of a “movie that revolutionized filmmaking, saved Paramount Pictures, minted a new generation of movie stars, made its struggling author Mario Puzo rich and famous, and sparked a war between two of the mightiest powers in America: the sharks of Hollywood and the highest echelons of the Mob.” “For fans of books about moviemaking, this is a definite must-read” (Booklist).
The extraordinary life—the first—of the legendary, undercelebrated Hollywood director known in his day as “Wild Bill” (and he was!) Wellman, whose eighty-two movies (six of them uncredited), many of them iconic; many of them sharp, cold, brutal; others poetic, moving; all of them a lesson in close-up art, ranged from adventure and gangster pictures to comedies, aviation, romances, westerns, and searing social dramas. Among his iconic pictures: the pioneering World War I epic Wings (winner of the first Academy Award for best picture), Public Enemy (the toughest gangster picture of them all), Nothing Sacred, the original A Star Is Born, Beggars of Life, The Call of the Wild, The Ox-Bow Incident, Battleground, The High and the Mighty... David O. Selznick called him “one of the motion pictures’ greatest craftsmen.” Robert Redford described him as “feisty, independent, self-taught, and self-made. He stood his ground and fought his battles for artistic integrity, never wavering, always clear in his film sense.” Wellman directed Hollywood’s biggest stars for three decades, including Clark Gable, Gary Cooper, Barbara Stanwyck, John Wayne, Lauren Bacall, and Clint Eastwood. It was said he directed “like a general trying to break out of a beachhead.” He made pictures with such noted producers as Darryl F. Zanuck, Nunnally Johnson, Jesse Lasky, and David O. Selznick. Here is a revealing, boisterous portrait of the handsome, tough-talking, hard-drinking, uncompromising maverick (he called himself a “crazy bastard”)—juvenile delinquent; professional ice-hockey player as a kid; World War I flying ace at twenty-one in the Lafayette Flying Corps (the Lafayette Escadrille), crashing more than six planes (“We only had four instruments, none of which worked. And no parachutes . . . Greatest goddamn acrobatics you ever saw in your life”)—whose own life story was more adventurous and more unpredictable than anything in the movies. Wellman was a wing-walking stunt pilot in barnstorming air shows, recipient of the Croix de Guerre with two Gold Palm Leaves and five United States citations; a bad actor but good studio messenger at Goldwyn Pictures who worked his way up from assistant cutter; married to five women, among them Marjorie Crawford, aviatrix and polo player; silent picture star Helene Chadwick; and Dorothy Coonan, Busby Berkeley dancer, actress, and mother of his seven children. Irene Mayer Selznick, daughter of Louis B. Mayer, called Wellman “a terror, a shoot-up-the-town fellow, trying to be a great big masculine I-don’t-know-what. David had a real weakness for him. I didn’t share it.” Yet she believed enough in Wellman’s vision and cowritten script about Hollywood to persuade her husband to produce A Star Is Born, which Wellman directed. After he took over directing Tarzan Escapes at MGM, Wellman went to Louis B. Mayer and asked to make another Tarzan picture on his own. “What are you talking about? It’s beneath your dignity,” said Mayer. “To hell with that,” said Wellman, “I haven’t got any dignity.” Now William Wellman, Jr., drawing on his father’s unpublished letters, diaries, and unfinished memoir, gives us the first full portrait of the man—boy, flyer, husband, father, director, artist. Here is a portrait of a profoundly American spirit and visionary, a man’s man who was able to put into cinematic storytelling the most subtle and fulsome of feeling, a man feared, respected, and loved.
It begins with two girls: Neva, from the Caucasus, sold into the sex trade; and Poppy, the adopted daughter of a wealthy New York real estate family, the Zanes. As their paths cross and their fates intertwine in an exquisite high drama that blurs the lines between realism and myth, we travel with them from lavish weddings to the transglobal underworld; from London and New York to Laos and Istanbul; and we watch as the mighty Zane dynasty slips from greatness. Mendelsohn captures the emotional worlds of these characters with visceral immediacy, and transforms their private narratives into a larger story about the forces of globalization, human trafficking, and sexual violence. Gripping and psychologically acute, Burning Down the House is an extraordinary family saga that limns the inescapable connections between the personal and the political.
For decades, the Bronfman family ruled Seagram's and the liquor industry. This is the story of their meteoric rise and spectacular fall. The story of the Bronfman family is a fascinating and improbable saga. It is dominated by "Mr. Sam," the single greatest figure in the history of the liquor business, the man who made drinking whiskey respectable in the United States and who in the 1950s and 1960s built Seagram into the first worldwide empire in wine and spirits. After Sam's death in 1971, his oldest son, Edgar, maintained the business, though he was distracted by his matrimonial problems. Nevertheless, in the 1980s he masterminded a major coup when he translated a small investment in oil made by his father into a 25 percent stake in the mighty DuPont company. But in the 1990s, Edgar allowed his second son, Edgar Jr., to indulge his ambition to become a media tycoon. The stake in DuPont was sold, and the money reinvested in Universal, the film and theme-park empire. Edgar Jr. then paid more than $10 billion to buy Polygram Records and thus fulfill his fancy to be king of the world's music business. But at the same time, he remained in charge of the liquor business, which started to stagnate—indeed, to fall apart. Then came the final disaster when the increasingly divided family sold out to Jean-Marie Messier, overreaching empire builder of Vivendi, the French conglomerate. But the story of this amazing family over the past century is about more than booze and business. The Bronfmans is a spectacular account that details the larger-than-life personalities and bitter rivalries that have made the family so famous and, sometimes, so infamous.
A master painter, a colourful persona, a filmmaker with a difference, a lover of the most expensive cars on earth, a painter who preferred to walk barefoot - Maqbool Fida Husain was an enigma even to those who knew him best. M F Husain's was an inspiring story of rags-to-riches. This book pays tribute to M F Husain the artist. A master painter, a colourful persona, a filmmaker with a difference, a lover of the most expensive cars on earth, a painter who preferred to walk barefoot - Maqbool Fida Husain was an enigma even to those who knew him best. M.F. Husain's was an inspiring