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It’s July, and Nicholas Borelli II’s parents are scheduled to spend two weeks on a cruise. Nicholas will spend those two weeks, as he does every summer, at Camp Wannameka. The night before he’s to leave, however, there’s a phone call: thanks to an explosion in the septic system, camp is canceled. The only place for Nicholas to go instead is to his grandmother’s house in Bensonhurst, Brooklyn, New York. Nicholas’s father grew up in Brooklyn, but you’d hardly know it. An Italian dinner at Nicholas’s house in the suburbs is whole wheat pasta, organic tomato sauce, and, if he’s lucky, a tofu meatball. And Brooklyn? Well, Brooklyn is the place his father left and never talks about. Nicholas has never been there, and he doesn’t want to go now. But when Nicholas tastes his grandma Tutti’s meatballs for the first time, gets a nickname from his uncle Frankie, and makes a friend in the neighborhood, his feelings about Brooklyn–and family–begin to change.
The Fords: An American Epic is the dramatic story of three generations of Fords and of the dramatic conflict between fathers and sons played out against the backdrop of America's greatest industrial empire. The story begins with Henry I, the mechanical wizard, tinkerer, and mad genius who drove the automobile into the heart of American life and conquered the world with it. But in the end he became an embittered crank who so possessively loved the company he built that when his son, Edsel, tried to change it to suit the times, Henry destroyed him. It was left to Edsel's son, Henry II, to avenge him and save the Ford Motor Company. From the details of Henry I's illicit affair, which produced an illegitimate son, to the life and loves of Hank the Deuce and his celebrated feud with Lee Iacocca, this is an engrossing account of a vital chapter in American history. The authors have added a new preface to this now classic work, showing how Henry II's line lost out to the line of his brother William Clay Ford in the quest to control the company in the twentieth century.
The classic account of New York City's sleaziest district returns with seven new chapters.
If you ask Nicholas Borelli II--better known as Nicky Deuce--winter in New Jersey is awfully boring compared to summertime in Brooklyn, where he had the best two weeks of his life. Now it's cold out, he's back in school, and he has to live without Grandma Tutti's home cooked Italian meals and Uncle Franklie's funny tough-guy attitude. But not for long! Nicky's father is throwing a New Year's Eve party and the whole family is going to stay at their house and the gang from Brooklyn is coming to visit. By Christmas, Nicky's home is brimming with Brooklyn accents. Grandma Tutti wastes no time taking over the kitchen while Uncle Frankie charms the neighbors and cousin Tommy beats up Dirk Van Allen, the biggest jer in the neighborhood. Suddenly Tommy becomes a local hero but he and Nicky also become the prime target of a bully's revenge. Nicky Deuce is about to find out that winter in New Jersey is anything but boring.
New York City has been decimated by war and plague, and most of civilization has migrated to underground enclaves, where life expectancy is no more than the early 20's. When Deuce turns 15, she takes on her role as a Huntress, and is paired with Fade, a teenage Hunter who lived Topside as a young boy. When she and Fade discover that the neighboring enclave has been decimated by the tunnel monsters--or Freaks--who seem to be growing more organized, the elders refuse to listen to warnings. And when Deuce and Fade are exiled from the enclave, the girl born in darkness must survive in daylight--guided by Fade's long-ago memories--in the ruins of a city whose population has dwindled to a few dangerous gangs. Ann Aguirre's thrilling young adult novel is the story of two young people in an apocalyptic world--facing dangers, and feelings, unlike any they've ever known.
From the bestselling and Emmy-nominated writer behind HBO's We Own This City: a "gripping, surprisingly soulful" mystery about an ex-offender who must choose between the man who got him out and the woman who showed him another path (Entertainment Weekly). Michael Hudson spends the long days in prison devouring books given to him by the prison's librarian, a young woman named Anna who develops a soft spot for her best student. Anna keeps passing Michael books until one day he disappears, suddenly released after a private detective manipulated a witness in Michael's trial. Outside, Michael encounters a Washington, D.C. that has changed a lot during his time locked up. Once shady storefronts are now trendy beer gardens and flower shops. But what hasn't changed is the hard choice between the temptation of crime and doing what's right. Trying to balance his new job, his love of reading, and the debt he owes to the man who got him released, Michael struggles to figure out his place in this new world before he loses control. Smart and fast-paced, The Man Who Came Uptown brings Washington, D.C. to life in a high-stakes story of tough choices.
In the 1970s and 80s New York was internationally renowned for its seedy underbelly; the world capital of leisure, luxury, and sin. And the epicenter of New York vice, hands down, was 42nd Street-Times Square-a.k.a. the Forty-Deuce. On any given night on the Forty-Deuce you could take in the latest blockbuster, B-movie, or skin flick; cop drugs or cop a feel. A playground for the perverse, as well as a destination for thrill-seekers and partiers from every borough of New York City and beyond, Times Square was the electric heart of the city that refused to sleep. The Forty-Deuce: The Times Square Photographs of Bill Butterworth, 1983-1984 is a series of photographs capturing a gritty, glamorous, and authentic old-school New York, well before Mickey Mouse took over Times Square and scrubbed it clean. Curators and editors Beatriz and Hilton Arial Ruiz have collected and preserved the work of local street photographer Bill Butterworth, and have drawn from his work to create a revealing portrait of the Forty-Deuce, inside and out-capturing the unique street life and street style of the era, but also drawing us deeper in, to the peep shows, sex shops, backroom brothels, dimly lit arcades, and low-budget theatres where the action happened. In the tradition of Jamel Shabazz's classic, Back in the Days, The Forty-Deuce showcases the early-80s style of New York's first b-boys, out on the town and dressed to impress, but it adds some sin to the mix, with the Deuce's own slick pimps, strung out hustlers, and the spandex and leather clad prostitutes, strippers, and trannies that worked 42nd Street nightly, and defined it for years.
(Applause Books). Martin Sherman's worldwide hit play Bent took London by storm in 1979 when it was first performed by the Royal Court Theatre, with Ian McKellen as Max (a character written with the actor in mind). The play itself caused an uproar. "It educated the world," Sherman explains. "People knew about how the Third Reich treated Jews and, to some extent, gypsies and political prisoners. But very little had come out about their treatment of homosexuals." Gays were arrested and interned at work camps prior to the genocide of Jews, gypsies, and handicapped, and continued to be imprisoned even after the fall of the Third Reich and liberation of the camps. The play Bent highlights the reason why - a largely ignored German law, Paragraph 175, making homosexuality a criminal offense, which Hitler reactivated and strengthened during his rise to power.