In the years before and after World War II, there were no bigger voices than those of the Andrews Sisters. Maxene, LaVerne, and Patty charted more top ten Billboard hits than Elvis or the Beatles and went on to become the top-selling female vocal group of all time, selling approximately 100 million records. They recorded such instant hits as "Beer Barrel Polka," "Boogie Woogie Bugle Boy," "Don't Fence Me In," and "I Can Dream, Can't I?" They dominated the music scene for fifteen years with some 600 recordings, appearances in seventeen films, cabaret performances, and countless radio and television appearances. Swing It! is the first published biography of this incredibly popular trio. The book includes many rarely published photos and features extensive career data, including a detailed discography, filmography, and listing of their radio and television appearances between 1938 and 1967. The Andrews Sisters had their big break with the 1937 release of the Yiddish tune "Bei Mir Bist Du Schon (Means that You're Grand)," which sold 350,000 copies in one month and established the trio as successful recording artists. The sisters are now probably best remembered for their work entertaining troops in World War II. They traveled across the U.S. and to Italy and Africa, and their recording of "Boogie Woogie Bugle Boy" for the film Buck Privates became synonymous with the war effort. Part of the reason for the success of the Andrews Sisters was their ability to perform so many different types of music. They repeatedly achieved major hits with melodies derived from many different countries, becoming the first and most prominent artists of their time to bring ethnic-influenced music to the forefront of America's hit parade. The Andrews Sisters separated for two years in the 1950s as the strain of constantly living, working, and playing together for over four decades took its toll. They reunited in 1956 and continued to perform together until LaVerne's death from cancer in 1967. The Andrews Sisters remain the most successful and enduring female vocal group in the history of show business. Theirs are the voices that defined an era.
Costa-Gavras: Encounters with History explores the life and work of the director intertwined with historical and socio-political events, from the early stages of his career: emigrating to France from Greece in 1955 and first studying at the Sorbonne, then focusing on filmmaking at IDHEC, now La Fémis. He became an internationally respected director, first with his Oscar-award winning film Z (1969) and continued with a vast array of films, including his most recent work, Adults in the Room (2019). His films portray the complexities of human nature, relationships challenged by historical and contemporary socio-political issues. In this overview of the director's films, the authors shed light on his encounters with history from his youth in war-torn Greece to his later films on immigration, unemployment, global capitalistic greed, and the abuse of political and economic power in Europe. Costa-Gavras' films have spanned several decades and several continents, to combat unethical laws and injustice, oppression, legal/illegal violence, and torture. Throughout his evolution in the world of cinema for over half a century as director, writer, and producer, Costa-Gavras has told human-interest stories that entertain and inspire, and that help us better understand ourselves and a fragile, fragmented world.
Since its publication in 1991 this book has stayed in print, although some parts may now be dated. Stockwell examines often unjustified involvement of the CIA in many parts of the world, through thousands of covert operations, which have ended the lives of millions of people. He describes secret and obscure operations, some of which entailed the killing of people by the thousands at Angola, and others such as the one which overthrew the first democratic government in Guatemala, and the creation of the infamous "death squads" in that country and El Salvador, to murder civilians and seed terror among the people.
In the days of Dragons and Magic, Demons and Undead, Elves and Pixies there were times when man was not the best of creatures. Sometimes the good did not outnumber the bad and nothing was as it seemed. Then again, is this not true of every age on every planet? Book two describes some of the issues with living in a world of magic. In most stories, there is good and evil. Only you can determine which is which. It depends on which way your tendencies lean.
Three bestselling true crime books for the price of one—from the Steven Avery case to a brother’s quest for justice to an international conspiracy. Wrecking Crew: While working for USA Today’s Investigative Team, John Ferak wrote dozens of articles on Steven Avery, who was charged with the murder of Teresa Halbach. In Wrecking Crew, Ferak lays out high-profile lawyer Kathleen Zellner’s post-conviction strategy to free Avery. “Whatever you thought you believed about this infamous case, get ready to change your mind or be more convinced than ever . . . Fascinating.” —Steve Jackson, New York Times bestselling author My Brother’s Keeper: The moment he found out his brother Gary was missing and presumed dead, Ted Kergan launched a relentless effort to bring two suspected killers to justice and find Gary’s body. Little did he know his quest would consume a fortune and take thirty years to reach its dramatic conclusion. An International Book Awards Finalist! “A thirty-year search for the truth . . . a story of persistence, determination, and deep brotherly love.” —Denise Wallace, author of Daddy’s Little Secret Summary Execution: On June 1, 1981, two young activists, Silme Domingo and Gene Viernes, were murdered in Seattle in what was made to appear like a gang slaying. But the victims’ families and friends suspected they were considered a threat to Philippines dictator Ferdinand Marcos and his regime’s relationship to the United States. “Remarkable . . . The story has so many twists—as well as amazing turns—that prove the point that conspiracy theories aren’t necessarily fiction.” —Eric Nalder, Pulitzer Prize–winning investigative journalist
This accessible chapter book, ideal for students and general readers alike, examines the political, social, and cultural history of Chile. Updated and revised from its 2003 edition, The History of Chile serves as a foundational text for those studying and interested in learning about this South American nation. Eleven chronologically-arranged chapters will guide readers through Chilean history, from prehistory to present day. Chapters examine topics such as the origins of Chileans, Chile's period as a Spanish colony, Augusto Pinochet's rule, the country's transition to democracy, and today's challenges in 2018–2019. A timeline, glossary, and appendix of Notable Individuals in the History of Chile round out the text. Written for high school and undergraduate students, but accessible to general readers as well, this volume examines Chile's history through the lenses of politics, economics, and culture and society. Readers will gain a better understanding of how Chile has modernized its economy and is incorporating immigrants.
Since the late nineteenth century, New Testament scholars have operated on the belief that most, if not all, of the narrative parables in the Synoptic Gospels can be attributed to the historical Jesus. This book challenges that consensus and argues instead that only four parables—those of the Mustard Seed, the Evil Tenants, the Talents, and the Great Supper—can be attributed to the historical Jesus with fair certitude. In this eagerly anticipated fifth volume of A Marginal Jew, John Meier approaches this controversial subject with the same rigor and insight that garnered his earlier volumes praise from such publications as the New York Times and Christianity Today. This seminal volume pushes forward his masterful body of work in his ongoing quest for the historical Jesus.
Using as a primary focus the manner in which Protestant and Catholic paradigms of the Word affect the understanding of how meaning manifests itself in material language, this book develops a history of literacy between the middle of the sixteenth century and the middle of the seventeenth century. The author emphasizes how literacy is defined according to changing concepts of philological manifestation and embodiment, and how various social and political factors influence these concepts. The study looks at literary texts such as The Fairie Queene, early Shakespearean comedies, sermons and poems by John Donne, Latin textbooks and religious primers, and educational and religious treatises which illustrate how language could be used to perform spiritual functions. The cross section of texts serves to illustrate the pervasive applicability of the author's theories to early modern literature and culture, and their relationship to literature. the study of sixteenth- and seventeenth-century literature: Protestant reading and exegetical strategies in contrast with Catholic strategies, and secular versus spiritual literacies.
John Howard Reid's books are not only noted for the wealth of essential information he provides on each film he discusses, but for the insight and clarity of his reviews. Reid has been reviewing films professionally since 1955, and has contributed an enormous amount of material to newspapers and magazines in England, France, Australia and the USA. In the course of his work, Reid has come into contact with many famous stars and directors, and is often able to provide quotes and information that no other sources can duplicate. As a reviewer for one of Reid's previous books rightly pointed out, "Nobody does it better than John Howard Reid." In fact, Reid often provides far more information than the titles of his books suggest. "140 All-Time Must-See Movies" is a typical case. The book actually provides full details and reviews for 160 feature films plus brief comments on over 30 shorts.
Created in 1947, the Central Intelligence Agency plays an important part in the nation's intelligence activities, and is currently playing a vital role in the war on terrorism. While the agency is often in the news and portrayed in television shows and films, it remains one of the most secretive and misunderstood organizations in the United States. This work provides an in-depth look into the Central Intelligence Agency and how its responsibilities affect American life. After a brief history of the agency, chapters describe its organization, intelligence/counterintelligence, covert operations, controversies, key events, and notable people.
I Got Mine: Confessions of a Midlist Writer is the memoir of Nichols’ extraordinary life, as seen through the lens of his writing. Everything that went into making him a writer and eventually found an outlet in his work—his education, family, wives, children, friends, enemies, politics, and place—is told from the point of view of his daily practice of writing. Beginning with his first novel, The Sterile Cuckoo, published in 1965 when he was just twenty-four, Nichols shares his highs and lows: his ambivalent relationship with money; his growing disenchantment with the hypocrisy of capitalism; and his love-hate relationship with Hollywood—including the years-long struggle of working with director Robert Redford on the film version of The Milagro Beanfield War, which was filmed around Truchas and featured many of Nichols’ northern New Mexico neighbors. Throughout I Got Mine Nichols spins a shining thread connecting his lifelong engagement with progressive political causes, his passionate interest in and identification with ordinary people, and his deep connection to the land.
Noble Cause Corruption, the Banality of Evil, and the Threat to American Democracy, 1950-2008 is a probe of the mindset of American government officials, from presidents of the United States on down, who decided that necessity required that the American democracy had to be defended by actions and policies that were contrary to the traditional ideals of the democracy. The emphasis is on the activities of the U.S. military and intelligence agencies. The probe relies for its historical data on well-recognized, previously published reports and histories. The probe is unique in that it focuses on the mindset of the individuals involved. The analysis of the mindset ranges from Aristotle, the latest research of mental health professionals, to the insights of thinkers Edmund Burke, Reinhold Niebuhr, Friedrich Meinecke, and George Kennan. The conclusions reached are disturbing: the defense of the democracy has been a failure and the mindset of the officials has continued to the present day and does not bode well for the future of the democracy.
John S. Kloppenborg gives a detailed analysis of one of the most difficult of Jesus' parables, the parable of the Tenants (Mark 12:1-12; Gospel of Thomas 65). He examines the ways in which Christians have typically read and mis-read the parable, and places the parable firmly in the context of the practices of ancient viticulture. The author models a new approach to the interpretation of the parables of Jesus. First, he critically engages the history of interpretation of the text, inquiring into the ideological interests that the parable has engaged during the history of its use in Christian churches and in political discourse. Second, he reconstructs the social world in which the parable was first told, in particular the economic, social, and legal aspects of ancient viticulture. He demonstrates that the parable of the Tenants has mostly been interpreted from the standpoint of those who wield social and political power, a strange irony considering the social status of the Jesus of history and the literary uses of the parable. All of the features common to the parable as it is told by Mark and the Gospel of Thomas make it a perfectly realistic story. It is only Mark's editing of the story that takes it beyond the realistic idiom characteristic of Jesus' other parables. The book concludes with a dossier of 58 papyrus documents relating to various aspects of viticulture and agrarian conflict. It was awarded the 2007 Francis W. Beare Book Award by the Canadian Society of Biblical Studies.
As early as the Silent Era, movie studios were sued over depictions of real people and events. Filmmakers have always altered the details of true stories and actual persons, living or dead, to make narratives more workable and characters more compelling. When truth and fantasy become inextricably mixed, the effect on people's lives can be significant, even devastating. This expanded second edition presents an updated history of legal issues surrounding the on-screen embellishment of reality, with a focus on important court decisions and the use of disclaimers. Seventeen courtroom dramas are given fact-versus-fiction analyses, and the The Perfect Storm (1991) is covered in extensive detail. A concluding chapter is devoted to actors who became so identified with fictionalized characters that they sought exclusive rights to those personas.
In this fascinating and colorful book, researcher and performer John McCormick focuses on the marionette world of Victorian Britain between its heyday after 1860 and its waning years from 1895 to 1914. Situating the rich and diverse puppet theatre in the context of entertainment culture, he explores both the aesthetics of these dancing dolls and their sociocultural significance in their life and time. The history of marionette performances is interwoven with live-actor performances and with the entire gamut of annual fairs, portable and permanent theatres, music halls, magic lantern shows, waxworks, panoramas, and sideshows. McCormick has drawn upon advertisements in the Era, an entertainment paper, between the 1860s and World War I, and articles in the World’s Fair, a paper for showpeople, in the first fifty years of the twentieth century, as well as interviews with descendants of the marionette showpeople and close examinations of many of the surviving puppets. McCormick begins his study with an exploration of the Victorian marionette theatre in the context of other theatrical events of the day, with proprietors and puppeteers, and with the venues where they performed. He further examines the marionette’s position as an actor not quite human but imitating humans closely enough to be considered empathetic; the ways that physical attributes were created with wood, paint, and cloth; and the dramas and melodramas that the dolls performed. A discussion of the trick figures and specialized acts that each company possessed, as well as an exploration of the theatre’s staging, lighting, and costuming, follows in later chapters. McCormick concludes with a description of the last days of marionette theatre in the wake of changing audience expectations and the increasing popularity of moving pictures. This highly enjoyable and readable study, often illuminated by intriguing anecdotes such as that of the Armenian photographer who fell in love with and abducted the Holden company’s Cinderella marionette in 1881, will appeal to everyone fascinated by the magic of nineteenth-century theatre, many of whom will discover how much the marionette could contribute to that magic.
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