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Composed almost entirely of abstracts of wills, deeds, marriage records, powers of attorney, court orders, church records, cemetery records, tax records, guardianship accounts, etc., this unique work provides substantive evidence of the migration of individuals and families to Virginia or from Virginia to other states, countries, or territories. Although primarily concerned with Virginians, the data are of wide-ranging interest. England, France, Germany, Scotland, Barbados, Jamaica, and twenty-three American states are represented, all entries splendidly tied to court sources and authorities. Each record provides prima facie evidence of places of origin and removal, irrefutably linking individuals to both their old and their new homes, and incidentally naming parents and kinsmen, all 10,000 of whom are listed in alphabetical order in the indexes. It is a safe observation that half of the records, having been exhumed from the most improbable sources (some augmented by the compiler's personal files), are the only ones in existence which can prove the ancestor's identity and origin.
Following Richard Aquila's introduction, which examines the birth and growth of the pop culture West in the context of American history, noted expects explore developments in popular western fiction, major forms of live western entertainment, trends in western movies and television shows, images of the West in popular music, and visual images of the West in popular art and advertising.
Information was transcribed or abstracted from many counties in Virginia. Some information is included for North Carolina, Mississippi, Tennessee, Georgia, and Alabama.
Wanderlust: Real-Life Tales of Adventure and Romance includes these forty-one scintillating and sizzling tales of serendipity: “On the Amazon” by Isabel Allende “Once Upon a Time in Italy” by Bill Barich “Naxos Nights” by Laurie Gough “Passionate and Penniless in Paris” by Maxine Rose Schur “Sleeping with Elephants” by Don Meredith “Romance in Romania” by Simon Winchester “Looking for Abdelati” by Tanya Shaffer “Special Delivery” by Lindsy van Gelder “England’s Decadent Delights” by Douglas Cruickshank “I Lost It at Club Med” by Po Bronson “Absinthe Makes the Heart Grow” by Taras Grescoe “Where the Hula Goddess Lives” by James D. Houston “In a French Cave” by Beth Kephart “How to Buy a Turkish Rug” by Laura Billings “The Dangers of Provence” by Peter Mayle “Hog Heaven: At the Memphis World Championship Barbecue Cooking Contest” by David Kohn “Philosophy Au Lait” by David Downie “Your Money’s No Good Here” by Tim Cahill “Embraced in Spain” by Barry Yeoman “Italian Affair” by Laura Fraser “Tampax Nightmares” by Susan Hack “On Japanese Trains” by Sallie Tisdale “Oscar Night in Angkor Wat” by Jeff Greenwald “The Last Tourist in Mozambique” by Mary Roach “Inside Colombia” by Dawn MacKeen “Fade into Blue” by Amanda Jones “Navigating Nairobi” by Alicia Rebensdorf “Out of Africa” by Wendy Belcher “The Man Who Loved Books in Turkey” by Lisa Michaels “The Meaning of Gdańsk” by Jan Morris “How Zurich Invented the Modern World” by Carlos Fuentes “Storming The Beach” by Rolf Potts “Conquering Half Dome” by Don George “Looking for Mr. Watson” by Bill Belleville “Bewitched on Bali” by Pico Iyer “Lost in the Sahara” by Jeffrey Tayler “Fear, Drugs, and Soccer in Asia” by Karl Taro Greenfield “My Junior Year Abroad” by Edith Pearlman “Expatriate, with Olives” by Lucy McCauley “The Aussie Way of Wanderlust” by Tony Wheeler “When We’re Going to Be There” by Chris Colin
In June 1949, Hopalong Cassidy. Then Roy Rogers, the Lone Ranger, Zorro, Davy Crockett, the Cisco Kid, Matt Dillon, Bat Masterson, the Cartwrights, Hec Ramsey, Paladin ("Have Gun Will Travel")--no television genre has generated as many enduring characters as the Western. Gunsmoke, Death Valley Days, Bonanza, Maverick, and Wagon Train are just a few of the small-screen oaters that became instant classics. Then shows such as Lonesome Dove and The Young Riders updated and redefined the genre. The shows tended to fall into categories, such as "juvenile" Westerns, marshals and sheriffs, wagon trains and cattle drives, ranchers, antiheroes (bounty hunters, gamblers and hired guns), memorable pairs, Indians, single parent families (e.g., The Big Valley, The Rifleman and Bonanza), women, blacks, Asians and even spoofs. There are 85 television Westerns analyzed here--the characters, the stories and why the shows succeeded or failed. Many photographs, a bibliography and index complete the book.
Journalist Robert Ruark tells of the friendship between a young boy and his grandfather as they hunt and fish in North Carolina
Neo-Noir as Post-Classical Hollywood Cinema suggests the terms “noir” and “neo-noir” have been rendered almost meaningless by overuse. The book seeks to re-establish a purpose for neo-noir films and re-consider the organization of 60 years of neo-noir films. Using the notion of post-classical, the book establishes how neo-noir breaks into many movements, some based on time and others based on thematic similarities. The combined movements then form a mosaic of neo-noir. The time-based movements examine Transitional Noir (1960s-early 1970s), Hollywood Renaissance Noir in the 1970s, Eighties Noir, Nineties Noir, and Digital Noir of the 2000s. The thematic movements explore Nostalgia Noir, Hybrid Noir, and Remake and Homage Noir. Academics as well as film buffs will find this book appealing as it deconstructs popular films and places them within new contexts.
Director Sam Peckinpah was just starting out when MGM released Ride the High Country in 1962. He was a new kind of director: young, brash, and in a hurry to help the Western "grow up" by treating it with adult themes. Ride the High Country was something new and different, a changing Western to match a changing West. Stars Randolph Scott and Joel McCrea were old hands at this sort of thing. Ride the High Country gave the two veteran actors one last job to do and a chance to go out with some dignity. Ride the High Country helped the genre mature and adapt to turbulent, changing times. It launched Peckinpah's career by invoking the themes of honor, loyalty, and compromised ideals, the destruction of the West and its heroes, and the difficulty of doing right in an unjust world--themes developed to their pinnacle in Peckinpah's later masterpiece, The Wild Bunch.
A catch phrase is a well-known, frequently-used phrase or saying that has `caught on' or become popular over along period of time. It is often witty or philosophical and this Dictionary gathers together over 7,000 such phrases.