Coinciding with the 50th anniversary of "The Way We Were," this intriguing and impeccably researched book is the first ever account of the making of the classic film starring Barbara Streisand and Robert Redford, revealing the full story behind its genesis and continued controversies, its many deleted scenes, its much-anticipated but never-filmed sequel, and the real-life romance that inspired this groundbreaking love story... It's one of the greatest movie romances of all time. Fifty years on, the chemistry between Barbra Streisand as Jewish working-class firebrand Katie Worosky and Robert Redford as all-American golden boy Hubbell Gardiner remains potent. Yet the friction and controversy surrounding The Way We Were was so enormous, the movie was nearly never made at all. Screenwriter Arthur Laurents wrote the role of Katie with Streisand in mind. Casting Hubble was another matter. Redford, already a superstar, was reluctant to play what he perceived as the "Ken doll" to Streisand's lead, and demanded his role be changed and expanded. Laurents resisted, telling director Sydney Pollack, "You'll ruin the movie if it ends up being about two people. It's Katie's story, not Hubbell's." Despite his protests, ten writers--among them Francis Ford Coppola--were brought on to rework the script. Laurents's fears were well founded, and the first preview was disastrous. Producer Ray Stark and Pollack, with Redford's approval, cut several scenes, upsetting Streisand and Laurents. Yet the edits worked. Such was the movie's success that Redford was open to making a sequel, though Laurents's script was never greenlit. Some of those "lost" scenes are now being restored to the film for its 50th anniversary. It's also the deep, surprising love story at the heart of The Way They Were that makes it so memorable, and Robert Hofler explores its inspiration--the relationship between Laurents, a Jewish Brooklyn-born college leftist, and his longtime partner, Tom Hatcher. Drawing on a vast trove of Laurents's and Pollack's unpublished writings, as well as interviews with Streisand, Redford, and other key players, this is the definitive account of a film that changed the rules of moviemaking and defined romance ever since.
Allan Carr was Hollywood's premier party-thrower during the town's most hedonistic era -- the cocaine-addled, sexually indulgent 1970s. Hosting outrageous soirees with names like the Mick Jagger/Cycle Sluts Party and masterminding such lavishly themed opening nights as the Tommy/New York City subway premiere, it was Carr, an obese, caftan-wearing producer -- the ultimate outsider -- who first brought movie stars and rock stars, gays and straights, Old and New Hollywood together. From the stunning success of Grease and La Cage aux Folles to the spectacular failure of the Village People's Can't Stop the Music, as a producer Carr's was a rollercoaster of a career punctuated by major hits and phenomenal flops -- none more disastrous than the Academy Awards show he produced featuring a tone-deaf Rob Lowe serenading Snow White, a fiasco that made Carr an outcast, and is still widely considered to be the worst Oscars ever. Tracing Carr's excess-laden rise and tragic fall -- and sparing no one along the way -- Party Animals provides a sizzling, candid, behind-the-scenes look at Hollywood's most infamous period.
This collection features "Variety" magazine's most enthralling and surprising interviews with famous personalities on the movies that changed their lives. 90 b&w photographs.
This book is both a personal and a philosophical autobiography of Robert S. Hartman, the creator of formal axiology. After experiencing first-hand the horrible effects of World War I and the beginnings of Nazism in Germany, Hartman wondered what could be done to organize goodness instead of badness - for a change. First, the concept of good must be defined. Next, different kinds of goodness, like intrinsic, extrinsic, and systemic, must be differentiated. Then this understanding must be used to comprehend and to change the world, including its economic, political, military, religious, educational, intellectual, and psychological dimensions. By telling his own story, Hartman gives his readers a glimpse of the form of the good and of a much better world.
This text, by three distinguished authors, applies the theories and techniques of economic analysis to sport and topics related to the business of sport. It builds on a basis of introductory microeconomics and continues the discussion, generally at an intermediate standard. The text has an international perspective, primarily the US, Canada, Europe and Australia, and contains relevant and entertaining case studies. The text suits both undergradute and postgraduate students in that while it provides a clear progression of topics throughout, it also incorporates optional sections in each chapters of a higher and more challenging level.
A history of acoustics from the 19th century to the present, written by one of the pre-eminent members of the acoustical community. The book is both a review of the major scientific advances in acoustics as well as an account of famous acousticians and their discoveries, taking in the development of the Acoustical Society of America. Acoustics is distinguished by its interdisciplinary nature and the book duly explores the fields development in its relationship to other sciences. In addition to covering the history of acoustics, the book concludes with the future of acoustics. Beautifully illustrated.
Allan Carr was Hollywoods premier party-thrower during the towns most hedonistic era the cocaine-addled, sexually indulgent 1970s. Hosting outrageous soirees with names like the Mick Jagger/Cycle Sluts Party and masterminding such lavishly themed opening nights as the Tommy/New York City subway premiere, it was Carr, an obese, caftan-wearing producer the ultimate outsider who first brought movie stars and rock stars, gays and straights, Old and New Hollywood together. From the stunning success of Grease and La Cage aux Folles to the spectacular failure of the Village Peoples Cant Stop the Music, as a producer Carrs was a rollercoaster of a career punctuated by major hits and phenomenal flops none more disastrous than the Academy Awards show he produced featuring a tone-deaf Rob Lowe serenading Snow White, a fiasco that made Carr an outcast, and is still widely considered to be the worst Oscars ever. Tracing Carrs excess-laden rise and tragic fall and sparing no one along the way Party Animals provides a sizzling, candid, behind-the-scenes look at Hollywoods most infamous period.
Coinciding with the 50th anniversary of "The Way We Were," this intriguing and impeccably researched book is the first ever account of the making of the classic film starring Barbara Streisand and Robert Redford, revealing the full story behind its genesis and continued controversies, its many deleted scenes, its much-anticipated but never-filmed sequel, and the real-life romance that inspired this groundbreaking love story... It's one of the greatest movie romances of all time. Fifty years on, the chemistry between Barbra Streisand as Jewish working-class firebrand Katie Worosky and Robert Redford as all-American golden boy Hubbell Gardiner remains potent. Yet the friction and controversy surrounding The Way We Were was so enormous, the movie was nearly never made at all. Screenwriter Arthur Laurents wrote the role of Katie with Streisand in mind. Casting Hubble was another matter. Redford, already a superstar, was reluctant to play what he perceived as the "Ken doll" to Streisand's lead, and demanded his role be changed and expanded. Laurents resisted, telling director Sydney Pollack, "You'll ruin the movie if it ends up being about two people. It's Katie's story, not Hubbell's." Despite his protests, ten writers--among them Francis Ford Coppola--were brought on to rework the script. Laurents's fears were well founded, and the first preview was disastrous. Producer Ray Stark and Pollack, with Redford's approval, cut several scenes, upsetting Streisand and Laurents. Yet the edits worked. Such was the movie's success that Redford was open to making a sequel, though Laurents's script was never greenlit. Some of those "lost" scenes are now being restored to the film for its 50th anniversary. It's also the deep, surprising love story at the heart of The Way They Were that makes it so memorable, and Robert Hofler explores its inspiration--the relationship between Laurents, a Jewish Brooklyn-born college leftist, and his longtime partner, Tom Hatcher. Drawing on a vast trove of Laurents's and Pollack's unpublished writings, as well as interviews with Streisand, Redford, and other key players, this is the definitive account of a film that changed the rules of moviemaking and defined romance ever since.
Chief among its contents we find abstracts of land grants, court records, conveyances, births, deaths, marriages, wills, petitions, military records (including a list of North Carolina Officers and Soldiers of the Continental Line, 1775-1782), licenses, and oaths. The abstracts derive from records now located in the state archives and from the public records of the following present-day counties of the Old Albemarle region: Beaufort, Bertie, Camden, Chowan, Currituck, Dare, Gates, Halifax, Hyde, Martin, Northampton, Pasquotank, Perquimans, Tyrrell, and Washington, and the Virginia counties of Surry and Isle of Wight.
For the Introductin by Robert Holt: Late in July 2011, I had an unexpected call from Arnold D. Richards, an old acquaintance. He asked if I happened to have any unpublished papers on psychoanalysis; if so, he offered to make them available to their most likely audience through International Psychoanalysis. It happened that, for about a year, I had been trying to find a publisher for a collection of letters between David Rapaport and me during his final 12 years (1948-1960). When I mentioned that to Dr. Richards, he at once expressed interest, and at last here we are. How vividly these letters helped me relive twelve years of some of the most intellectually stimulating experiences of my life I felt the obligation to share them with any interested colleagues, especially because Rapaport had been in the most productive years of his psychoanalytic scholarship. Many of our exchanges give an insight into his way of working, of thinking through difficult issues by discussion. Those who knew him well were aware of the many drafts his papers would go through, but few of us were privy to his ways of working ideas out, making them at once more subtle and clearer. The letters also display Rapaport as a critic, a mentor and teacher, as he sent me his critiques of my various attempts, often to follow in his footsteps and at times to branch out on my own. He set the example of close reading, responding empathically as well as unsparingly in pointing out difficulties, lapses in reasoning, omissions of relevant data or of treatments of apposite points in the literature. Though he never succeeded in writing English like one born to it, he was a fine critic of grammatical and rhetorical lapses--as the reader will soon see. I did my best not only to meet his criticism but to learn from it his style and technique of editing and advising, and to apply that learning to the drafts that he sent me.
A broad-ranging introduction to the provision, funding and governance of health care across a variety of systems. This revised fifth edition incorporates additional material on low/middle income countries, as well as broadened coverage relating to healthcare outside of hospitals and the ever-increasing diversity of the healthcare workforce today.
Here is the first published manual for cognitive-behavioral group therapy for social phobia (CBGT), an empirically supported treatment approach that has been applied in clinical and research settings for over 20 years. The authors demonstrate how to orient clients to the approach; implement in-session exposures, cognitive restructuring techniques, and homework assignments; and overcome stumbling blocks in treatment. Filled with helpful clinical pointers, case examples, and therapist -- client dialogues, the book also includes sample handouts and forms.
The fundamental idea of this book is to show – based on the example of Oswald Menghin, Minister of Education of the National Socialist Austrian “Anschluss”-government, and the networks surrounding him – how science and politics were interwoven in Austria in the first half of the 20th century and how the ideas and networks created in that milieu outlasted the alleged caesurae of this period and found continuation in post-war South America. As Menghin traversed an astonishing number of political upheavals and changes – time after time in exalted positions –, his biography may be considered as paradigmatic for the Age of Extremes. The following aspects form the core interest of this book: (1) Menghin’s position in the political and scientific field, as well as the interconnection between these spheres. (2) The transnational entanglement between the two central areas of Menghin’s geographic spheres of action. (3) Continuities and changes both in Menghin’s biography and in a broader political and scientific context in Austria and Argentina. (4) Menghin’s scope of action and the extent of his responsibility for crucial and often dire developments in all these facets.
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