David Paige, a young detective from Charleston, S.C., is about to embark on an investigation of a lifetime—his own. After an unexpected tragedy shatters his perfect world, he discovers that his mother had been keeping a life-long secret from him, revealing that he is not who he believed he was. With no family member to turn to, David has to rely on his detective skills and a mysterious item left to him from his mother—a crimson-colored key. The search for the truth takes David to New York City, where he runs head on into lies, deception and murder, all in an attempt to cover up a string of dreadful crimes. Then if this is not enough to deal with, he falls for the daughter of a prominent man, both sharing an undeniable attraction—which complicates his life even further. It isn't until a near-death experience, and help from his mother through several frightening nightmares, that the pieces of the puzzle finally begin to come together. The Crimson Key ultimately unveils many secrets, surprising many people including David—opening his eyes and heart as well.
A Sacred Society exists amongst us all. Believed only as a myth—its origin thrives in secret. Once transformed, each generation of its members become the elite of our society—some for good and some for evil as well. Troy Anthony, unknowingly and somewhat unwillingly, is about to join the elite, like his father before him. It takes a close family friend to ultimately expose the Secret to Troy, revealing his true destiny, and then she becomes a valuable ally. They inadvertently share a unique bond—one of which many doubt its very existence. Troy is taken to two magical places where he learns many secrets of the world, many of which we all have been curious about. It becomes an epic battle where Troy clashes with an evil tyrant, his father's assassin, a distant cousin sharing many of Troy's unique abilities. There are two seeds planted at the end of the story, one new and one older, one good and one evil. One catches Troy by surprise, while the other he will have to deal with—as the story continues.
The Sunday Times bestseller *** '[A] compelling story of overcoming adversity... Unexpectedly fascinating... amazingly inspiriting...' --- The Observer '...the vitality of the book lies in its directness and conversational candour... An engaging memoir' --- The Sunday Times 'Extraordinary' --- Evening Standard 'Funny, honest and at times heart-breaking - a terrific read.' --- Lorraine Kelly 'For a politician to have such an extraordinary story to tell is rare. For that politician to be able to tell it with such eloquence and benevolence is rarer still. This book is a triumph.' --- Alan Johnson 'This riveting tale of social aspiration leads us from the East End to Westminster in detailed honesty.' --- Ian McKellen 'A moving and inspiring hymn to the ups and downs of life - to love, to adversity and above all courage.' ---Michael Cashman 'Compulsive reading: Wes's story is inspiring, surprising and full of compassion.' --- Jess Phillips 'A remarkable and enchanting book.' --- The House 'One of the most extraordinary memoirs that I have read.' --- Lewis Goodall, The News Agents 'Searingly honest... a really inspirational book.' --- Iain Dale 'Compelling'. --- Charlotte Ivers Wes Streeting might have ended up in prison rather than in parliament. His maternal grandfather Bill, an unsuccessful armed robber, spent time behind bars, as did his grandmother, who was also a political campaigner. Brought up on a Stepney council estate, the young Streeting saw his teenage parents struggle to provide for him. In One Boy, Two Bills & A Fry Up he brings to life the poverty, humiliation and incredible struggle for them choosing whether to feed the meter and heat the flat, put carpet on the floor, or food on the table. Wes Streeting knows it was the help and inspiration he received from the great characters that surrounded him, especially his paternal grandfather (also called Bill), that ultimately set him on the way to Cambridge and then Parliament. He knew he could draw on the strengths in childhood to eventually come out, and to go on and face his now successful struggle with kidney cancer. This honest, uplifting, affectionate memoir is a tribute to the love and support which set him on his way out of poverty, and informs everything about Wes Streeting's mission now in politics.
Opening the Gate" is a collection of five short stories and five poems by author Wes Rehberg, some which include fictionalized biographical elements and as well draw from his experience as a print journalist and social justice activist. Titles of the short stories are "The Enduring," "The Fog," "Scooter," "Tina's Nicaragua Story," and "Jail Birds." Two of the poems have appeared in the literary journal, The Rusty Nail. "Alien Bones" and "Tick Tock.
Despite the rising salience of missile threats, current air and missile defense forces are far too susceptible to suppression. Today’s U.S. air and missile defense (AMD) force lacks the depth, capacity, and operational flexibility to simultaneously perform both missions. Discussions about improving AMD usually revolve around improvements to the capability and capacity of interceptors or sensors. Rather than simply doing more of the same, the joint integrated air and missile defense (IAMD) efforts might be well served by new or reinvigorated operational concepts, here discussed collectively as “Distributed Defense.” By leveraging networked integration, Distributed Defense envisions a more flexible and more dispersible air and missile defense force capable of imposing costs and dilemmas on an adversary, complicating the suppression of U.S. air and missile defenses. Although capability and capacity improvements remain essential to the high-end threats, the Distributed Defense concept focuses on creating a new architecture for today’s fielded or soon-to-be fielded IAMD force to boost flexibility and resilience.
This book consists of 27 chapters developed from papers originally delivered at a recent conference at the University of Toronto on anti-oppressive practice in social work. Dr. Shera has gathered expert contributors to discuss, define, and analyse theories of social work practice, pedagogical issues, fieldwork practice, models of education of social work practitioners, and current critical issues. These selected conference papers lay the groundwork for anti-oppressive practice in a way that will generate discussion and inspire researchers and practitioners.
This groundbreaking film study begins with a survey of American print humorists from eras leading up to and overlapping the advent of film--including some who worked both on the page and on the screen, like Robert Benchley, Will Rogers, Groucho Marx and W. C. Fields. Six comic film genres are identified as outgrowths of a national tradition of Cracker Barrel philosophers, personality comedy, parody, screwball comedy, romantic comedy and dark comedy. Whether it is Mark Twain or a parody film involving Steve Martin, comedy is most often about blowing "raspberries" at the world, and a reminder you are not alone.
This book offers a guide to sociology that explores its theoretical and methodological dimensions. Aiming to provide the reader with a sense of the reasoned character of the discipline, it traces how different theories and methods relate to one another, exploring the particular problems they spawn and the debates that have arisen in response.
Back in the golden age of humor books (late 1920s-early 1950s), when wits of the pantheon like Robert Benchley, James Thurber, and S.J. Perelman were producing their signature works, there was another singular satirist who more than held his own with such fast company: Will Cuppy (1884-1949). This factual funnyman's metier is dark comedy that flirts with nihilism. His agenda is baldly stated in such classic Cuppy book titles as How to Be a Hermit (1929), How to Tell Your Friends from the Apes (1931), and The Decline and Fall of Practically Everybody (1950). This biography doubles as a critical study of a satirist whose shish-kebabing of humanity was often done through the veiled anthropomorphic use of animals. For a biographer, Will Cuppy represents a treasure trove of possibilities. He was a great humorist, and most of his best work is still in print, but until now he has never been the subject of a book-length study. His mesmerizingly complex and eccentric private life almost trumps the comic accomplishments of his public persona.
The 1930s are routinely considered sound film's greatest comedy era. Though this golden age encompassed various genres of laughter, clown comedy is the most basic type. This work examines the Depression decade's most popular type of comedy--the clown, or personality comedian. Focusing upon the Depression era, the study filters its analysis through twelve memorable pictures. Each merits an individual chapter, in which it is critiqued. The films are deemed microcosmic representatives of the comic world and discussed in this context. While some of the comedians in this text have generated a great deal of previous analysis, funnymen like Joe E. Brown and Eddie Cantor are all but forgotten. Nevertheless, they were comedy legends in their time, and their legacy, as showcased in these movies, merits rediscovery by today's connoisseur of comedy. Even this book's more familiar figures, such as Charlie Chaplin and the Marx Brothers, are often simply relegated to being recognizable pop culture icons whose work has been neglected in recent years. This book attempts to address these oversights and to re-expose the brilliance and ingenuity with which the screen clowns contributed a comic resiliency that was desperately needed during the Depression and can still be greatly appreciated today. The films discussed are City Lights (1931, Chaplin), The Kid From Spain (1932, Cantor), She Done Him Wrong (1933, Mae West), Duck Soup (1933, Marx Brothers), Sons of the Desert (1933, Laurel and Hardy), Judge Priest (1934, Will Rogers), It's a Gift (1934, W.C. Fields), Alibi Ike (1935, Brown), A Night at the Opera (1935, Marx Brothers), Modern Times (1936, Chaplin), Way Out West (1937, Laurel and Hardy), and The Cat and the Canary (1939, Bob Hope).
The twelve classic comedy films examined within these pages are distinguished by an equal number of defining comic performances. Ranging from The Great Dictator (1940) to A Southern Yankee (1948), each film focuses on the most central theme of "clown comedy": Resilience, the encouragement or hope that one can survive the most daunting of life's dilemmas--even during the war-torn 1940s. And each film can be regarded as a microcosm of the antiheroic world of its central clown (or clowns). Among the performers represented are Charlie Chaplin, W.C. Fields, Abbott and Costello, Jack Benny, Eddie Bracken, Bob Hope, Bing Crosby, Danny Kaye, the Marx Brothers, Harold Lloyd and Red Skelton. This lavishly illustrated work includes an introduction by noted film critic and historian Anthony Slide.
As a young boy in the depths of the 1890s depression, Joe E. Brown had a job: making faces at the firemen on passing coal-burning trains so they would throw coal at him. As a child he also worked as a circus acrobat and newsboy. His inventiveness and spunk helped his family get through hard times but also fueled his fascination with entertainment, and he built up a repertoire of rubber-faced expressions and funny antics that would make his stage and screen work memorable. Baseball was a favorite pursuit in his life and thus a recurring theme in his films and skits. In this biography--the first on one of the top film comedians of the 1930s--the reader learns of Joe's challenging childhood and how it prepared him for later screen roles, and how his love of baseball translated into screen successes. His early career in vaudeville is discussed, his work as a Broadway comedian in the Roaring Twenties, his road to movie stardom, and how he parlayed his love of sports into big hits like 1930's Elmer the Great. The year 1935 gets its own chapter; its films are considered the pinnacle of Brown's career, including Alibi Ike, Bright Lights and A Midsummer Night's Dream. The final chapters reveal what happened after he left Warner Bros., including the bittersweet 1940s, when he entertained troops around the globe while mourning a son lost to the war. The book concludes with a comprehensive filmography of his features from 1928 to 1963.
In today’s society, many, including Christians, want to be “woke.” But has woke become simply another religion, another ploy of Satan’s to shred the fabric of Christianity? As woke critical theory seeps through the teachings of the Church, many Christians are being misled by their own spiritual leaders to take part in the newest attempt for their souls. In Woke Religion: Unmasking the False Gospel of Social Justice, Wes Carpenter unashamedly addresses these heretical teachings, calling on those in spiritual authority to deny woke philosophies and cling to the teachings of Scripture. Follow Wes as he takes the reader from the stirrings of woke critical theory in Church history to the teachings that are pervading the Church today.
The book examines Charlie Chaplin's evolving perspective on dark comedy in his three war films, Shoulder Arms (1918), The Great Dictator (1940), and Monsieur Verdoux (1947). In the first he uses the genre in a groundbreaking manner but yet for a pro-war cause. In Dictator dark comedy is applied in an antiwar way. In Monsieur Verdoux Chaplin embraces the genre as an individual in defense against a society out to destroy him. All three are pivotal films in the development of the genre in film, with the latter two movies being very controversial for their time.
Along a quiet stretch of Idaho highway, terrorists hijack a shipment of nuclear waste material. As many had feared and warned, this disaster sets into motion a series of events. Will the stolen waste be used to leverage the President into backing away from her nuclear power initiative? Or will Americas security be threatened by the action of fanatics armed with dirty bombs . . . an attack on American soil with an impact similar in scope to 911? In a twist of fate, Rowdy Yates, a rogue private detective and Sandra Steele, an ATF agent, team up to track and battle the terrorists across the desert southwest. As the clock ticks down, their lives and Americas sense of psychological security hang in the balance.
David Paige, a young detective from Charleston, S.C., is about to embark on an investigation of a lifetime—his own. After an unexpected tragedy shatters his perfect world, he discovers that his mother had been keeping a life-long secret from him, revealing that he is not who he believed he was. With no family member to turn to, David has to rely on his detective skills and a mysterious item left to him from his mother—a crimson-colored key. The search for the truth takes David to New York City, where he runs head on into lies, deception and murder, all in an attempt to cover up a string of dreadful crimes. Then if this is not enough to deal with, he falls for the daughter of a prominent man, both sharing an undeniable attraction—which complicates his life even further. It isn't until a near-death experience, and help from his mother through several frightening nightmares, that the pieces of the puzzle finally begin to come together. The Crimson Key ultimately unveils many secrets, surprising many people including David—opening his eyes and heart as well.
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