Go out quickly into the streets and lanes of the city, and bring in hither the poor, and the maimed, and the halt, and the blind." Luke 14:21. Amelia Brown, Johanna's mother does not approve; to her Stanley is socially unacceptable - he is working class. She schemes to end the friendship. Amelia runs her own charitable trust, which receives millions of dollars in donations each year. Helping her in this venture is sister-in-law Matilda Brown, married to Jerry Brown, brother to deceased John, Amelia's husband. Nine years previous, bandits in Cambodia ambushed John Brown's team. There was only one survivor. After Stanley graduated, Amelia, still in contact with her husband's previous employer, The World Bank, finds him a position in - Cambodia, where he meets the survivor of the massacre, American Randy Page and his three wives and nine children. All the wives have lost limbs through land mines. In Phnom Penh Stanley meets French doctor Emily Chaulieu - he cannot keep his eyes from her. A strange magnetic force draws them together. After a frantic call to her daughter, Amelia says she has shattering news and will be home shortly. Amelia does not arrive, but is shot dead, execution style. Inspector Noel Platt in charge of investigations becomes involved in the lives of Johanna and Little Sister who has come to Australia from Cambodia to study for a teaching career. Johanna now heads her mother's trust helped by her Aunt Matilda who is treasurer. Johanna's life is threatened. Through the Amelia Brown Charitable Trust, Johanna unknowingly becomes involved in the evil worldwide trade of child trafficking. Herman Page arrives from America, to reunite with his father whom he has not seem since the family break-up, when he was only five year old and his father served abroad. Innocently, Herman enters the realm of Russian mafia.
This compelling book begins on the 2nd of August 1793, the day Marie Antoinette was torn from her family’s arms and escorted from the Temple to the Conciergerie, a thick-walled fortress turned prison. It was also known as the “waiting room for the guillotine” because prisoners only spent a day or two here before their conviction and subsequent execution. The ex-queen surely knew her days were numbered, but she could never have known that two and a half months would pass before she would finally stand trial and be convicted of the most ungodly charges. Will Bashor traces the final days of the prisoner registered only as Widow Capet, No. 280, a time that was a cruel mixture of grandeur, humiliation, and terror. Marie Antoinette’s reign amidst the splendors of the court of Versailles is a familiar story, but her final imprisonment in a fetid, dank dungeon is a little-known coda to a once-charmed life. Her seventy-six days in this terrifying prison can only be described as the darkest and most horrific of the fallen queen’s life, vividly recaptured in this richly researched history.
One of the most popular and memorable American musicians of the 20th century, Nat King Cole (1919-65) is remembered today as both a pianist and a singer, a feat rarely accomplished in the world of popular music. Now, in this complete life and times biography, author Will Friedwald offers a new take on this fascinating musician, framing him first as a bandleader and then as a star. In Cole's early phase, Friedwald explains, his primary task of keeping his trio going was just as much of a focus for him as his own playing and singing, always a collective or group performance. In the second act, Cole's collaborators were more likely to be arranger-conductors like Nelson Riddle and Gordon Jenkins, rather than his sidemen on bass and guitar. In the first act, his sidemen were equals, in the second phase, his collaborators were tasked exclusively with putting the focus on him, making him sound good, while being largely invisible themselves. Friedwald brings his full musical knowledge to bear in putting the man in the work, demonstrating how this duality appears over and over again in Cole's life and career: jazz vs. pop, solo vs. trio, piano vs. voice, wife number one (Nadine) vs. wife number two (Maria), the good songs vs. the less-than-good songs, the rhythm numbers vs. the ballads, the funny songs and novelties vs. the "serious" songs of love and loss, Cole as an advocate for the Great American Songbook vs. Cole the intrepid explorer of other options: world music, rhythm & blues, country & western. Cole was different from his contemporaries in other ways; for roughly ten years after the war, the majority of hitmakers on the pop charts were veterans of the big band experience, from Sinatra on down.
THE STORY: It is Good Friday. Matthew and Wilma have just set up home in Prattsville, Kansas. Wilma had been burning churches in Oklahoma forcing the couple to flee across the prairie states as felons. Matthew is hopeful he can make things right fo
The third volume of Wildside Press's ongoing Murray Leinster series presents 15 more classic stories. Leinster was the pen name for William F. Jenkins (1896-1975), one of the great magazine writers of the 20th Century. This collection spans 6 decades and touches on most of the genres in which he worked: science fiction, fantasy, mystery, adventure, and war. Best of all, this is the first time 8 of the stories have ever been reprinted! Included are: MED SHIP MAN THE SENTIMENTALISTS THE OTHER NOW THE SILVER MENACE TANKS THE FIFTH-DIMENSION CATAPULT JUJU CARAVAN ENEMY OF THE STATE TERROR ABOVE UNDER CHITNA'S CLOUDS HIGH JUSTICE GRIST TELETYPE THE BAD SAMARITAN If you enjoy this ebook, don't forget to search your favorite ebook store for "Wildside Press Megapack" to see more of the 280+ volumes in this series, covering adventure, historical fiction, mysteries, westerns, ghost stories, science fiction -- and much, much more!
Destiny is calling—but does it have the right number? Jake and his friends are fated to save the Afterworld from a powerful demon in the third installment of this delightfully creepy series. Jake Green and his friends have managed to save the world from the followers of Fenris twice now, which should be more than enough. But Jake, Cora, and Sab are suddenly given a new, secret mission. It seems one last would-be traitor is still hidden in the world of the Embassy, and it’s up to Jake and his friends to take care of him—permanently. All the signs point to Jake being the Chosen One for this dangerous task, especially since he’s armed with the ancient, Eternal Void–summoning tooth he found on his last trip to the Afterworld. But the more time the three friends spend on their dubious quest, the more Jake wonders if he’s better off making his own destiny. The latest adventure in this fast and funny series delivers plenty of chills, twists, and heart.
In this lively and fascinating analysis of humorists and their work, Will Kaufman breaks new ground with his irony fatigue theory. The Comedian as Confidence Man examines the humorist's internal conflict between the social critic who demands to be taken seriously and the comedian who never can be: the irony fatigue condition. Concentrating on eight American literary and performing comedians from the 18th, 19th, and 20th centuries, this study explores the irony fatigue affect that seems to pervade the work of comedians—those particular social observers who are obliged to promise, "Only kidding, folks," even when they may not be; in G. B. Shaw's words, they must "put things in such a way as to make people who would otherwise hang them believe they are joking." If these social observers are obliged to become, in effect, confidence men, with irony as the satiric weapon that both attacks and diverts, then the implications are great for those social critics who above all wish to be heeded.
Farmer, writer, and preacher-at-large for more than half a century, master storyteller Will Campbell offers a collection of thirty classic meditations challenging readers toward a more conscientious faith. With the soul of a true satirist, Campbell combines Scripture and homespun humor in a deceptively simple style that belies the seriousness of his intent: to deflate the pompous, indict the hypocritical, and expose the self-righteous.
Jake is in a race against time to foil a demon-riddled plot to destroy earth—what a way to start his new job at the Embassy of the Dead! The second book of this spookily funny trilogy. In return for helping Stiffkey the ghost pass into the Afterworld, Jake Green has been awarded an official position at the Embassy of the Dead, a job he didn’t ask for and, to be honest, doesn’t necessarily want. But saying no to the Embassy isn’t really an option, so now Jake must journey even deeper into the mysterious world of ghosts. What should be a routine Undoing takes a turn when Jake overhears a plot to destroy the very fabric between the worlds of the living and the dead. Can he do the impossible and stop the terror that creeps in the Eternal Void? With the help of his ghostly gang—hockey stick–wielding Cora and Zorro the fox—he’s going to try. Hijinks from beyond the grave will tingle readers’ spines and tickle their funny bones as the Embassy of the Dead trilogy continues.
Volume 1: "Foreword by Robert Englund -- Volume 2: "Foreword by Tim Sullivan -- Volume 3: "Introduction by Grant Geissman; foreword by Cullen Bunn -- Volume 4: "Introduction by Grant Geissman; foreword by Rob Zombie -- Volume 5: "Foreword by Clive Barker.
Richard sits, surrounded by his loving grandchildren, in the midst of yet another difficult Wisconsin winter. Fighting the cold, cuddling close to a blazing fire, they say, Tell us a story, Grandpa! Tell us a story! Grandpa Richard is happy to oblige, and so begins a nostalgic journey back to the 1920s, when Richards family struggled to survive in rural parts of the far northern United States. A mix of fact and fiction, Stoneboat Journey is one mans look into his family history and how their history related to and affected the history of our country. Richards family was comprised of German immigrants, living and fighting to thrive through blizzard, fire, and tragic loss. Richard, once a shy a withdrawn young man, finds himself thrown into the mix, as well, accepting a leadership role at a very early age. In his unexpected leadership role, Richard finds happiness, purpose, and wisdom that last into his later years. Stoneboat Journey is more than a family memoir. It is the memoir of a developing America. Many of our current creature comforts are based on the difficult lives of these early families, struggling to make ends meet. The story of Richards family is the story of America.
Grandparents want to leave some memories for their grandchildren, but may have a difficult time reading or writing. Memorabilia and Memories Shared offers assistance to them and to their grandchildren. Intended to be read together, it seeks to job important memories of times gone by. Guided questions will help grandparents and grandchildren to collaborate in creating a verbal or written account of those precious memories. In an example of this method, author Will Kalinke has written his fondest memories in Memorabilia and Memories Shared with the hope that others will do the same thing. After you've dabbled with this book, you should be ready to try to write your own treasured memories for your loved ones. Record your memories for the generations to come. Focus on exploring, creating, expanding, and recording important memories to offer a bit of yourself, a true legacy, for posterity. It is more important to capture memorabilia and memories and that of loved ones-today, before it is too late.
The times they are a-changin' . . . The summer that Paul turns sixteen his mother pushes him to take a job in town instead of just working on the family farm. "You need to meet the public," she says, which is saying a lot for a woman deeply committed to the tightly knit religious community to which they belong. And meet the public Paul does: He meets Kirk, the angry gas station manager; Harry, a reclusive and kindly gangster; and a family of hippies passing in a yellow peace van to San Francisco. He also meets beautiful Peggy, a high school sensation, and dark-haired Dale, her onthe-side boyfriend who is headed to Vietnam. All of them come to the station – as well as girls on summer vacation, tanned and smelling of coconut oil, and ministers from Paul's fundamentalist church, who are worried about his soul. As the summer progresses, Paul learns the secrets of his small Minnesota town and discovers that he's ready to have a few secrets of his own. With richly developed characters and a flair for arresting imagery, Will Weaver tells the story of the end of one boy's innocence, unfolding at a time when the country as a whole is undergoing a difficult, deeply disturbing coming-of-age.
Will Friedwald’s illuminating, opinionated essays—provocative, funny, and personal—on the lives and careers of more than three hundred singers anatomize the work of the most important jazz and popular performers of the twentieth century. From giants like Ella Fitzgerald, Louis Armstrong, Frank Sinatra, and Judy Garland to lesser-known artists like Jeri Southern and Joe Mooney, they have created a body of work that continues to please and inspire. Here is the most extensive biographical and critical survey of these singers ever written, as well as an essential guide to the Great American Songbook and those who shaped the way it has been sung. The music crosses from jazz to pop and back again, from the songs of Irving Berlin and W. C. Handy through Stephen Sondheim and beyond, bringing together straightforward jazz and pop singers (Billie Holiday, Perry Como); hybrid artists who moved among genres and combined them (Peggy Lee, Mel Tormé); the leading men and women of Broadway and Hollywood (Ethel Merman, Al Jolson); yesterday’s vaudeville and radio stars (Sophie Tucker, Eddie Cantor); and today’s cabaret artists and hit-makers (Diana Krall, Michael Bublé). Friedwald has also written extended pieces on the most representative artists of five significant genres that lie outside the songbook: Bessie Smith (blues), Mahalia Jackson (gospel), Hank Williams (country and western), Elvis Presley (rock ’n’ roll), and Bob Dylan (folk-rock). Friedwald reconsiders the personal stories and professional successes and failures of all these artists, their songs, and their performances, appraising both the singers and their music by balancing his opinions with those of fellow musicians, listeners, and critics. This magisterial reference book—ten years in the making—will delight and inform anyone with a passion for the iconic music of America, which continues to resonate throughout our popular culture.
Swatches From The Century's End ...I cannot deny my past to which my self is wed, the woven figure cannot undo its thread. Louis MacNeice, "Valediction" These words express a truth of conservatism that has discomfited conservatives in the years covered by this volume. This collection of columns shows how, in the mid-1990s, conservatives fancied themselves poised to conduct a revolution, a radical reorientation of politics and governance. But in the late 1990s, they have discovered how resistant a complex nation is to being undone and rewoven. In this volume, George F. Will, distinguished political columnist and cultural critic, examines many episodes of the conservative tribulations and the liberal accommodations to the new political landscape. These writings present a map of the landscape, a guide for people perplexed by the gap between contemporary political theories and practices. With his customary linguistic flair and acerbic wit, Mr. Will tackles a wide range of subjects, including political correctness on college campuses; extreme fighting; the 1996 presidential campaign; judicial activism; ESPN; and Corvettes. These writings are history written on deadline, and together they constitute a richly woven tapestry of our era.
This book survey Britain ́s foreign policy since 1870. Conventional accounts stress the rulers ́ benevolent rhetoric: I present the evidence that refutes this superficial, liberal view. Britain ́s economy is the key to understanding its foreign policy: capitalism causes a conflict-ridden foreign policy. The rulers ́ focus has been on seizing profits from abroad, for which they have sacrificed the welfare of the British people. British governments - Conservative, Liberal and Labour alike - have represented the tiny minority who own the means of production, and have opposed the great majority who have to work for a living. The ruling class ́s external focus has also damaged relations with other countries and helped to produce the two recurring types of war - wars between rival empires and wars against national liberation.
Eric Church, aka David Shepherd, has had his fill of death, killing and the military and federal service life. His plan is to retire, possibly move to the beach and take it easy for the rest of his life, but hostile forces in the peaceful environment he seeks are fighting against his fulfilling the plan. David ends up heading up a private enterprise established to obliterate as much of the evil around him as he can. His unconventional methods get him in more trouble and conflict than he ever had in the military. If that were not enough, an unknown entity seems to out to destroy him and his family. His Christian values create a conflict within, that David will have to deal with, if he lives long enough.
The author of the magisterial A Biographical Guide to the Great Jazz and Pop Singers now approaches the great singers and their greatest work in an innovative and revelatory way: through considering their finest albums, which is the format in which this music was most resonantly organized and presented to its public from the 1940s until the very recent decline of the CD. It is through their albums that Ella Fitzgerald, Frank Sinatra, Peggy Lee, Sarah Vaughan, Nat King Cole, Judy Garland, and the rest of the glorious honor roll of jazz and pop singers have been most tellingly and lastingly appreciated, and the history of the album itself, as Will Friedwald sketches it, can now be seen as a crucial part of musical history. We come to understand that, at their finest, albums have not been mere collections of individual songs strung together arbitrarily but organic phenomena in their own right. A Sinatra album, a Fitzgerald album, was planned and structured to show these artists at their best, at a specific moment in their artistic careers. Yet the albums Friedwald has chosen to anatomize go about their work in a variety of ways. There are studio and solo albums: Lee’s Black Coffee, June Christy’s Something Cool, Cassandra Wilson’s Belly of the Sun. There are brilliant collaborations: famous ones—Tony Bennett and Bill Evans, Louis Armstrong and Oscar Peterson—and wonderful surprises like Doris Day and Robert Goulet singing Annie Get Your Gun. There are theme albums—Dinah Washington singing Fats Waller, Maxine Sullivan singing Andy Razaf, Margaret Whiting singing Jerome Kern, Barb Jungr singing Bob Dylan, and the sublime Jo Stafford singing American and Scottish folk songs. There are also stunning concert albums like Ella in Berlin, Sarah in Japan, Lena at the Waldorf, and, of course, Judy at Carnegie Hall. All the greats are on hand, from Kay Starr and Carmen McRae to Jimmy Scott and Della Reese (Della Della Cha Cha Cha). And, from out of left field, the astounding God Bless Tiny Tim. Each of the fifty-seven albums discussed here captures the artist at a high point, if not at the expected moment, of her or his career. The individual cuts are evaluated, the sequencing explicated, the songs and songwriters heralded; anecdotes abound of how songs were born and how artists and producers collaborated. And in appraising each album, Friedwald balances his own opinions with those of musicians, listeners, and critics. A monumental achievement, The Great Jazz and Pop Vocal Albums is an essential book for lovers of American jazz and popular music.
You know MAD. Do you know Humbug? Harvey Kurtzman changed the face of American humor when he created the legendary MAD comic. As editor and chief writer from its inception in 1952, through its transformation into a slick magazine, and until he left MAD in 1956, he influenced an entire generation of cartoonists, comedians, and filmmakers. In 1962, he co-created the long-running Little Annie Fanny with his long-time artistic partner Will Elder forPlayboy, which he continued to produce until his virtual retirement in 1988. Between MAD and Annie Fanny, Kurtzman’s biographical summaries will note that he created and edited three other magazines―Trump, Humbug, and Help!―but, whereas his MAD and Annie Fanny are readily available in reprint form, his major satirical work in the interim period is virtually unknown. Humbug, which had poor distribution, may be the least known, but to those who treasure the rare original copies, it equals or even exceeds MAD in displaying Kurtzman’s creative genius. Humbug was unique in that it was actually published by the artists who created it: Kurtzman and his cohorts from MAD, Will Elder, Jack Davis, and Al Jaffee, were joined by universally acclaimed cartoonist Arnold Roth. With no publisher above them to rein them in, this little band of creators produced some of the most trenchant and engaging satire of American culture ever to appear on American newsstands.
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