No CGI can match what Vic can accomplish" - Steven Spielberg "Vic is The Man" - Pierce Brosnan "Vic Armstrong is, of course, a legend" - Martin Scorsese "This is the best and most original behind-the-scenes book I have read in years, gripping and revealing. Vic Armstrong is modest, humorous and wry - altogether brilliant company." - Roger Lewis, Daily Mail "[A] page-turner... I couldn't put it down! I had a great time reading this book and give it my highest recommendation." - Leonard Maltin "[Vic has] been this unheralded savior of movie magic for decades, and hearing how he makes the incredible credible is a must for any film fan." - Hollywood.com "Armstrong's a fascinating guy and a straight shooter. His book is fantastic." - Ain't It Cool News "The man is a legend in the industry... [A] mind-blowing, must-read biography." - Movies.com "The movie memoir of the year!" - SciFi Mafia "[Vic] talks to you like he’s your cool uncle, or the uncle you wished you had, really down to earth, but at the same time you can tell he’s got a twinkle in his eye as he’s talking..." - Geek Six “A hell of a read.” – Film School Rejects "The key to an entertaining autobiography is a combination of good stories to tell and a distinctive life; Armstrong has them both." - Library Journal "Armstrong has done it all." - Empire "A spills’n’thrills ride through a fast-forward life in pictures." - The Times "Armstrong takes us on the spectacular journey of his life that left me wondering who would be brave enough to play him in a movie. What a legacy! What a life! What a book!" - Geeks of Doom -- Think you don’t know Vic Armstrong? Wrong! You’ve seen his work in countless films... He’s been a stunt double for James Bond, Indiana Jones and Superman, and he’s directed action scenes for three Bond movies, Mission Impossible 3, Thor, and the upcoming The Amazing Spider-Man to name but a few. Counting Harrison Ford, Steven Spielberg and Arnold Schwarzenegger among his friends, and officially credited in the Guinness Book of World Records as the World's Most Prolific Stuntman, Vic’s got a lot of amazing stories to tell, and they’re all here in this - the movie memoir of the year!
Throughout his life, Louis Armstrong tried to explain how singing with a barbershop quartet on the streets of New Orleans was foundational to his musicianship. Until now, there has been no in-depth inquiry into what he meant when he said, “I figure singing and playing is the same,” or, “Singing was more into my blood than the trumpet.” Creating the Jazz Solo: Louis Armstrong and Barbershop Harmony shows that Armstrong understood exactly the relationship between what he sang and what he played, and that he meant these comments to be taken literally: he was singing through his horn. To describe the relationship between what Armstrong sang and played, author Vic Hobson discusses elements of music theory with a style accessible even to readers with little or no musical background. Jazz is a music that is often performed by people with limited formal musical education. Armstrong did not analyze what he played in theoretical terms. Instead, he thought about it in terms of the voices in a barbershop quartet. Understanding how Armstrong, and other pioneer jazz musicians of his generation, learned to play jazz and how he used his background of singing in a quartet to develop the jazz solo has fundamental implications for the teaching of jazz history and performance today. This assertive book provides an approachable foundation for current musicians to unlock the magic and understand jazz the Louis Armstrong way.
In this fascinating book, Vic Satzewich traces one hundred and twenty-five years of Ukranian migration, from the economic migration at the end of the nineteenth century to the political migration during the inter-war period and throughout the 1960s and 1980s resulting from the troubled relationship between Russia and the Ukraine. The author looks at the ways the Ukranian Diaspora has retained its identity, at the different factions within it and its response to the war crimes trials of the 1980s.
“Execution” is the third and final book in the Franchise series of the Ridgelands saga. In the previous books, “Preparation” and “Journey,” Belak Laboot brings a technical team to establish an iron-making franchise to BuelaVisu, a city across the continental divide from their home in Laboot City. Now they must execute the mission to establish production in BuelaVisu. Organizing and moving the team across the ridgelands unified the team in the face of outside attacks and personal friction. BuelaVisu’s advantages shine as residents buy into the project, hydropower is developed, and siting arrangements mature. The unrest, which soured the franchise’s introduction to the city, diminishes as leaders work around the resistance. Foundations, pilings, blasting, and resource development progress rapidly. People throughout BuelaVisu begin to experience opportunities from the project. Belak and his sister, Louise, grow and establish new ties in the team and community. Resistance regroups as progress threatens their control in Visu. Leadership in Laboot City realizes that reports hide issues arising, so they send an investigative team, which digs deeper into city dynamics and sets the stage for subversion. Belak stands against the conspiracy, getting deeper into politics that he intended. Violence and betrayals follow.
Wi-Fi has become the preferred means for connecting to the internet - at home, in the office, in hotels and at airports. Increasingly, Wi-Fi also provides internet access for remote communities where it is deployed by volunteers in community-based networks, by operators in 'hotspots' and by municipalities in 'hotzones'. This book traces the global success of Wi-Fi to the landmark change in radio spectrum policy by the US FCC in 1985, the initiative by NCR Corporation to start development of Wireless-LANs and the drive for an open standard IEEE 802.11, released in 1997. It also singles out and explains the significance of the initiative by Steve Jobs at Apple to include Wireless-LAN in the iBook, which moved the product from the early adopters to the mass market. The book explains these developments through first-hand accounts by industry practitioners and concludes with reflections and implications for government policy and firm strategy.
First published in 1993, "First Nations: Race, Class, and Gender Relations "remains unique in offering systematically, from a political economy perspective, an analysis that enables us to understand the diverse realities of Aboriginal people within changing Canadian and global contexts. The book provides an extended analysis of how changing social dynamics, organized particularly around race, class, and gender relations, have shaped the life chances and conditions for Aboriginal people within the structure of Canadian society and its major institutional forms. The authors conclude that prospects for First Nations and Aboriginal people remain uncertain insofar as they are grounded in contradictory social, economic, and cultural, and political realities.
After hitting his then-record 60th home run of the 1927 season, Babe Ruth said, "Sixty, count 'em, sixty. Let's see some other son-of-a-bitch match that." Jimmie Foxx almost did, five years later, with an agonizingly close 58 four baggers. Here are the stories of Foxx's and 11 other near-record breaking performances: Bill Terry's 254 hits in 1930, three short of George Sisler's record 257; Elroy Face's 17 consecutive pitching victories, two short of Rube Marquard's record; and Willie Mays's 17 home runs in August of 1965, just one off Rudy York's mark for a single month, are three more of the performances detailed. Boxscores and statistical tables are provided.
While serving as a special agent in the Belgian army during World War I, seventeen-year-old Indiana Jones accompanies two Bourbon princes on a dangerous secret mission to Austria to try to end the war.
Throughout his life, Louis Armstrong tried to explain how singing with a barbershop quartet on the streets of New Orleans was foundational to his musicianship. Until now, there has been no in-depth inquiry into what he meant when he said, “I figure singing and playing is the same,” or, “Singing was more into my blood than the trumpet.” Creating the Jazz Solo: Louis Armstrong and Barbershop Harmony shows that Armstrong understood exactly the relationship between what he sang and what he played, and that he meant these comments to be taken literally: he was singing through his horn. To describe the relationship between what Armstrong sang and played, author Vic Hobson discusses elements of music theory with a style accessible even to readers with little or no musical background. Jazz is a music that is often performed by people with limited formal musical education. Armstrong did not analyze what he played in theoretical terms. Instead, he thought about it in terms of the voices in a barbershop quartet. Understanding how Armstrong, and other pioneer jazz musicians of his generation, learned to play jazz and how he used his background of singing in a quartet to develop the jazz solo has fundamental implications for the teaching of jazz history and performance today. This assertive book provides an approachable foundation for current musicians to unlock the magic and understand jazz the Louis Armstrong way.
I Need Help provides some serious comic relief. Cartoonist Vic Lee's imaginatively sly panel pokes delicious fun at the doofus in all of us, and lets us laugh at the equally goof-ball foibles of others. Lee appeals to his many fans because he focuses on real people, laying bare their eccentricities and shortcomings as only a mind that recognizes the need for help can.
While serving as a special agent in the Belgian army during World War I, seventeen-year-old Indiana Jones accompanies two Bourbon princes on a dangerous secret mission to Austria to try to end the war.
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