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While Dark Bird bids to take over an entire country, Gina and Penny launch their rescue mission to save Ace from being trapped working for Night Flight (and being married to Skippy) for life. However, Skippy's knack for tactics and expert flying unravel all of Penny's plans! Penny takes one last gamble and challenges Skippy to a one-on-one air duel. Winner takes Ace, loser walks away from him forever!
Educational resource for teachers, parents and kids!
Chronicling the early musical film years from 1926 to 1934, A Song in the Dark offers a fascinating look at these innovative films, the product of much of the major experimentation that went on during the development of sound technology. The triumphs, disasters and offscreen intrigue of this era form a remarkable story of this vital and unique film history.
The stereotype of the "gold digger" has had a fascinating trajectory in twentieth-century America, from tales of greedy flapper-era chorus girls to tabloid coverage of Anna Nicole Smith and her octogenarian tycoon husband. The term entered American vernacular in the 1910s as women began to assert greater power over courtship, marriage, and finances, threatening men's control of legal and economic structures. Over the course of the century, the gold digger stereotype reappeared as women pressed for further control over love, sex, and money while laws failed to keep pace with such realignments. The gold digger can be seen in silent films, vaudeville jokes, hip hop lyrics, and reality television. Whether feared, admired, or desired, the figure of the gold digger appears almost everywhere gender, sexuality, class, and race collide. This fascinating interdisciplinary work reveals the assumptions and disputes around women's sexual agency in American life, shedding new light on the cultural and legal forces underpinning romantic, sexual, and marital relationships.
Lili St. Cyr was, in the words of legendary reporter Mike Wallace, the "highest paid stripteaser in America." Wallace was so fascinated by Lili that out of all the presidents and celebrities he interviewed over a long career, towards the end of his life, she was the one he remained fixated on. Her beauty had that kind of effect. Lili St. Cyr, the one time queen of burlesque, led an incredible life –six marriages, romances with Orson Wells, Yul Brenner, Vic Damone, a number of suicide attempts, all alongside great fame and money. Yet despite her fierce will she lost it all; becoming a recluse in her final decades, she eked out a living selling old photos of herself living with magazines taped over her windows. Goddess of Love Incarnate will be the definitive biography of this legendary figure, done with the cooperation of Lili's only surviving relative. But the book does more than fascinate readers with stories of a byone era. St. Cyr was ahead of her time in facing the perils and prejudices of working women, and the book offers a portrait of a strong artistic figure who went against the traditional roles and mores expected of women at that time St. Cyr was the first stripper to work in the swanky nightclubs on Sunset Boulevard. She was the first stripper to work Las Vegas. She was at the top of her game for over thirty years. And though she would feel conflicted by it, as do many women who feel the push/pull of careers – especially controversial, button–pushing careers – Lili would dismiss what she did as having no importance. But she wouldn't give it up – not for millionaires and most certainly not for love. Based on years of research, Goddess of Love Incarnate contains information and memorabilia that was almost lost forever. As an award winning documentary filmmaker and expert writer, Zemeckis brings St. Cyr back to life the way no other writer can, restoring Lili to her rightful place in American history.
The name Busby Berkeley, creator of the dances for films such as 42nd Street, Babes in Arms, and Million Dollar Mermaid, is synonymous with the spectacular musical production number. Films, television commercials, and MTV videos continue to use "Berkeleyesque" techniques long after Berkeley himself and the genre that nourished him have faded from the scene. The first major analysis of Berkeley's career on stage and screen, Showstoppers emphasizes his relationship to a colorful, somewhat disreputable tradition of American popular entertainment: that of P. T. Barnum, minstrel shows, vaudeville, Buffalo Bill Cody's Wild West Show, burlesque, and the Ziegfeld Follies. Rubin shows how Berkeley absorbed this declining theatrical tradition during his years as a Broadway dance director and then transferred it to the new genre of the early movie musical. With lively prose and engaging photographs, Showstoppers explores new ways of looking at Busby Berkeley, at the musical genre, and at individual films. Appropriate for both specialists and general readers, Showstoppers is an exuberant study of a figure whose career, Rubin notes, "provides an extraordinarily rich point of convergence for a wide range of cultural and artistic contexts".
Centers on the particular contribution minority groups make to children's literature.
As she prepares to leave the Riddle Rifts, Gina spots a mundane portal... an extremely mundane portal. Too mundane. And that makes it very interesting! Infiltrating the pleasant-yet-slightly-weird realm on its other side, Gina confronts an opponent she never expected, one who just might test her very limits. Can she hope to overcome the intricate machinations of... Professor Peter von Fluffernums?!
Study of the characteristics and development of the Australian variation of the vocabulary of English; Chap.6; Borrowings from Aboriginal languages, words for local flora and fauna, weapons and implements etc.
The queer recluse, the shambling farmer, the clannish hill folk—white rural populations have long disturbed the American imagination, alternately revered as moral, healthy, and hardworking, and feared as antisocial or socially uncouth. In Peculiar Places, Ryan Lee Cartwright examines the deep archive of these contrary formations, mapping racialized queer and disability histories of white social nonconformity across the rural twentieth-century United States. Sensationalized accounts of white rural communities’ aberrant sexualities, racial intermingling, gender transgressions, and anomalous bodies and minds, which proliferated from the turn of the century, created a national view of the perversity of white rural poverty for the American public. Cartwright contends that these accounts, extracted and estranged from their own ambivalent forum of community gossip, must be read in kind: through a racialized, materialist queercrip optic of the deeply familiar and mundane. Taking in popular science, documentary photography, news media, documentaries, and horror films, Peculiar Places orients itself at the intersections of disability studies, queer studies, and gender studies to illuminate a racialized landscape both profoundly ordinary and familiar.