Product Description
This book is a comprehensive analysis of Michael Mann's Miami Vice, with insight into the social, political and cultural mechanics. Deconstructing a Patriarchal Image not only sheds light on the series' audio-visual poetics, but also illustrates the lifestyle and trends of 1980s America. A must-have for fans of Miami Vice and readers interested in 1980s popular culture.
Customer Reviews:
Unbiased and Articulate Survey on the Original Miami Vice.......2007-07-27
After reading this entertaining and extraordinary book I felt both a sense of catharsis and excitement. Discard your biases. If you were on the fence, allow whatever preconceived notions to deteriorate into nothingness. And even though the Miami Vice pilot episode, with its coolly detached slivers of stylization (I don't think Collins' In the Air Tonight has been used quite as succinctly since) is something of a revelation, don't let it overshadow the plain fact that Mann has known what he was doing and he does it incredibly well for the more bulging theatrical incarnation. Author John Trutnau has joined Irving Howe, Michael Walzer, Michael Harrington, and Christopher Lasch in the ranks of our nation's most brilliant, important, and perceptive social critics. This monograph will confirm that reputation. Trutnau is fearless: he challenges the status quo and his own side. He insists that the Left has a moral obligation to stop marginalizing itself and to change the country by appealing to our traditions of democracy, equality and community. We need critics who are patriots -- and patriots who are critics. Trutnau shows that patriotism need not be, and should not be, the last refuge of scoundrels.
In this book Trutnau argues that the theory of hegemony as articulated by Antonio Gramsci can be applied to the media and its operations. Trutnau argues that the media is a tool of the corporate liberal apparatus and that the media acts as a sort of "middle-man" between elites and the masses. The media controls and directs how people think by using "frames." These frames limit the parameters in which discourse can take place in the public sphere. Frames can and do change, however, as elites change their opinions. Trutnau uses SDS as a test case for his theory. He argues that SDS, once it came to media attention in 1965, was framed by the media as an anti-war group, totally ignoring all of the other things SDS stood for (participatory democracy, etc.). This frame attracted thousands of people who joined SDS without any knowledge of what SDS was all about. This influx of people ended up changing the group for the worse, and SDS died a painful death several years later due to sectarian Marxist wackos.
Along the way, Trutnau looks at various other traits of the media. For me, the most important was his examination of how media creates celebrity. This treatment is particularly important in relation to SDS because it contributed to its downfall. Trutnau shows how SDS's schizophrenic attitudes toward leadership (where organization was needed and advocated by some but opposed by those who hated hierarchy) allowed the media to create harmful divisions. The media tends to profile only the people who are photogenic or those who make good copy. Unfortunately for SDS, these were usually not the best qualified or most stable people. Those that got the attention parlayed their success into monetary gains, alienating other people in the organization. Mark Rudd comes to mind as one who best personifies this problem. Rudd, who sported a comb over that would make Senator Carl Levin jealous, went on to fame and glory with the Weatherman organization. His claims to media celebrity went so deep that when he turned himself in to the authorities in 1977, reporters turned out in droves for what turned out to be a non-event. What is important here is that the media concentrate on image over substance. This can be very harmful to an organization with serious issues to debate.
Further implementing the overall sense and mood is the element of violence upon the characters. There are moments, such as when an opening deal goes wrong, and when people play fast and loose with some triggers, where Mann spits out what's happening on screen in rapid-secession.The violence occurs and then we move on. Bullets are fired and they hit, ricocheting off of appendages. Then we continue onward. The violence is violence is violence, and Mann never takes a voyeuristic role in portraying it. The fact that Mann doesn't slather it with style makes it completely his own - like the rat-a-tat-tat of a Tommy Gun from a man who clearly knows his Tommy Guns. The author shows that Miami Vice as a whole is captivating, riveting, and thoroughly engaging. It's just the sort of television experience that demands your attention, unlike the other wishy-washy series of yesterday. Many will throw around the word `adult' to describe it, but I dislike that word. Instead, it's nothing short of a progressive bound for a director of fully realized environments, an engrossing experience that shows what good television is capable of.
An intellectual renaissance on the left is not going to be easy, Trutnau makes clear. The political left is essentially bankrupt; Marxism and postmodernism are exhausted. A right-wing coalition of plutocrats and fundamentalist Christians has controlled the politics of the nation for three decades. In a previous book, Go Get'em (2002), Trutnau laid out what practical efforts liberals needed to undertake to regain political superiority. The this book places an intellectual foundation under those practical efforts. The objective of the book, the author writes, is "to contribute to a new start for intellectual life on the left." The left played a major role in ending the Vietnam War, but it also paid a heavy price. Immersed in the horror of Vietnam, day after day, year after year, too many of us developed an unbalanced, lopsided view of our country. We acquired an overly negative evaluation of America. "Post-Vietnam liberals have an opening now, freed of our sixties flag anxiety and our automatic rejection of the use of force. To live out a democratic pride, not a slavish surrogate, we badly need liberal patriotism, robust and uncowed." Now is the time for liberals to reconnect with their nation, to celebrate its ideals while continuing to criticize its shortcomings, a liberal patriotism that says we will make sacrifices for our country because we love what is good about America. In the wake of the Vietnam War, political leftists tended to immerse themselves in either radical individualism -- often devoid of politics -- or cosmopolitanism with a global perspective. This, it seems to me, left an opening on the national level that the right-wing, beginning during the era of Ronald Reagan, exploited successfully.
To return to political prominence, Trutnau stresses the left must end its knee-jerk slamming of America. It must stop being a mirror opposite of the right-wing that views America as always righteous. We need a patriotic left that "stands between Cheney and Chomsky," he quotes Michael Tomasky. We need to love our country, but love it for what we value. We need a liberal patriotism, not the right's patriotism of closed-minded obedience, not their patriotism of only symbolism, but patriotism that is open-minded and action oriented. And that means we need to be open to what in the past we automatically rejected. Trutnau ends his book with a critique of the sources he used for his research. Trutnau was only able to peruse the CBS archives, as ABC didn't have any and NBC wouldn't let him look at theirs. The other main media source for the monograph was the New York Times. Despite the limited scope of his sources, I think Trutnau has gone a long way towards exposing the hypocrisy any right thinking person knows exists in our media systems. Trutnau even goes so far as to imply that the 1968 Democratic Convention fiasco in Chicago was a media creation. For anyone interested in media studies, this book is a must have.
This book is 5 stars, if i could i would rate it 10/10!
85%of100 = FIVE STARS ***** THE BEST BOOK ON MIAMI VICE !!!!!!!!!!.......2007-01-07
This is by far the most insightful book I have read about Miami Vice to date. After having recently seen the movie in 2006 I decided to buy this book. It reads well and is superbly researched. Recently I read a book quite similar by T.Gitlin as well as an article where he writes: Two exalted, prizewinning journalists willingly embedded themselves in the disinformation exercises of the most mendacious administration in living memory. Their bosses have been busy controlling the damage but cannot relinquish their favorite hobby: whistling in the dark. Miller's and Woodward's woeful stories are different, to be sure, but the common elements outweigh the differences.
They tell an epic story of ingratiation bonded with ideology, of journalistic surrender to power. This refers to the Miller case of course. It is this type of corruption and political scandal that surrounds Miami Vice (in the old series and the new film) which is tackled by Trutnau in his book. Gitlin addresses another issue the Vietnam Trauma: "My generation of the New Left--a generation that grew as the [Vietnam] war went on--relinquished any title to patriotism without much sense of loss. All that was left to the Left was to unearth righteous traditions and cultivate them in universities. The much-mocked political correctness of the next academic generations was a consolation prize. We lost--we squandered the politics--but won the textbooks." Also dealt with in-depth in the book on vice.
The Vietnam Trauma is - in my opinion - obvious in many other films of the 80s, such as Rambo, for example. Even though there were a bunch of jokers below who made false claims about this book, such as "horrendous editing" "typos, bad grammar issues, incomplete sentences, and items left out of references." I would like to see just ONE SINGLE EXAMPLE of these claims - there aren't any, and thus cannot be quoted by the alias used for "C. Thomas "Voltaire" and "L. Chin" who are most likely one and the same person who have nothing else to do, but post false information about a good and solid book. At any rate, I have found some good text samples, of the Vietnam Trauma in the book: In the series there can be found a definite "unease" in terms of anti-war notions. Gone is the glorification of defeating Communism, the official threat to America with its conservative and neoconservative politics. Among references to social or historical issues, the Vietnam War figures prominently in Miami Vice, implicitly as well as explicitly. Issues relating to this war are often directly geared toward the male protagonist and his personal background.
This section then continues to deal with the topic in-depth: At times it is the war in general that is used to set the thematic framework around which the series evolves. Due to the various ways Miami Vice refers to Vietnam in order to emphasize the position of the male protagonist, one can readily identify it as trauma, due to the specific way the series references it: "The theme of Vietnam veterans is occasionally softened in the German versions of individual series. Characters in Miami Vice have a Vietnam history comparable to that of private detective Thomas Magnum."
The Vietnam trauma is presented for the first time in episode I1. Here two Vietnam badges appear in a frame - part of scene that foreshadows a later one in which the male protagonist (in this case Crockett) deals with a fellow veteran. In this scene he disingenuously questions his former friend about the friend's possible involvement in criminal activity, even though he knows for a fact that the man is involved in crime. The badges foreshadow this scene in that the two stand for different values, one being honor, the other, dishonor. It is in this opposition between good and bad that reference is made to the Vietnam War. Now revealed, it serves as the narrative basis in which the male protagonist is placed.
The war medals underline Crockett's power position, since he is the man who has had to fight to survive, in the past and now, and it would seem, for all time. In this way he becomes the upholder of moral values, the neoconservative ideals that every good fighter against evil has to represent and which his former friend seems to have lost. As it turns out, the former friend is a liar, who has not only betrayed their friendship, but has also become a corrupt criminal and social outcast. Thus, Crockett and the man, both traumatized by their experiences in Vietnam, become polarized characters: one moral, the other immoral - a situation which readily enhances the male protagonist and his adherence to virtue and rectitude in the face of corruption: "Miami Vice and its moment in American TV history comes at the end of a decade of attempts to reconstruct the credibility of male institutional authority from the vacuum created by Vietnam."
Back from Vietnam to the movie I just watched. The biggest problem I have is the enormously bad plotting in the film - with a big major PLOT NO-NO - I cannot believe no one caught, especially Michael Mann. It occurs when the female associated with Tubbs gets the "warning" in form of flowers from the mobsters, knowing who she is. And no police protection, or anything thereafter, before she is kidnapped? D.U.H!?
Things start out promising enough when Crocket, Tubbs and their team raid one of Montoya's drug warehouses and take away hundreds of pounds of heroin to use as barter with the kingpin. "Oh, boy!" I said to myself as it looked like I was in store for a non-stop action flick. Unbeknownst to me, it would be another 90 (yes, 90) minutes before there was any kind of gunplay. During the interim, mostly taking place at night, we follow the undercover cops as they hop from Miami to Haiti to Cuba. They talk to the drug lords, they talk to their bosses and Sonny talks a lot to Isabella (Gong Li), Montoya's business manager and soon to be Sonny objet d'amour.
It's worth asking exactly why Miami Vice was made at all, since the only thing tying this movie to the series is the title and the names of the characters (about half the movie doesn't even take place in Miami). The logical thing would seem to have been to make it a 1980s period piece; that was, after all, the Golden Age of Cocaine, and with Farrell trying so damn hard to recreate Don Johnson (he even mimics Johnson's voice, to hilarious effect), they should have just given him his houseboat and alligator and been done with it. It also would have been a chance for Farrell and Foxx to raid Johnson's and Philip Michael Thomas' old wardrobes, and throw on the pink and turquoise jackets that would have added a little color to this drearily monochromatic picture.
The movie is thus not so good but I found it easier to understand the back story after having read this book. The psychological aspect and impact of the series is well-researched as well.
So, I would rate the book 8.5/10 scale, or in amazon stars that would be 5 stars *****
Happy reading and happy 2007 to all.
Terrible.......2006-11-17
It is too difficult to get past the horrendous editing of this book to read much. There are more typos, bad grammar issues, incomplete sentences, and items left out of references than there are good points.
UnFlawed NON-psycho-babble, ON target in every way, 5 STARS!!!!!.......2006-10-20
Hello, I am writing a review on this book, of which I also, fortunately had the opportunity of reading the e-book version, which is fully illustrated.
I was surprised to read the foregoing review rating the book wit one star, seemed to me that if no stars had been available that person would have given it zero. When I look at the other reviews by L. Chin of several books, which I have read myself, it appears that they are on the surface and not well balanced, as every reviewer should be. However, I would like to start off by reviewing this individuals foregoing text, since as it is painfully obvious that person did either not properly read the book or has no real background on writing reviews, research or the art of writing a book.
Let me point out why:
L. Chin states:
Trutnau's approach is that of a bad psychologist or a breathless art student in search of obscure references, hyper-intellectualizing and interpreting things that either do not exist, or are irrelevant or self-explanatory, in order to fit the series to a severely flawed theory: that "Miami Vice" channeled conservative Reaganite values.
My response:
I believe that the meta-text surrounding the series does indeed warrant a psychological analysis and interpretations. It is troublesome, when "reviewer" Chin talks about "irrelevant or self-explanatory" things (?) WITHOUT GIVING AT LEAST ONE CONCRETE EXAMPLE! The references are excellent, and far from obscure, indeed I would call them quite surprising in terms of what they reveal. L. Chin did not get the point that what was intended has only to do with Reagan and conservative values on the surface. The author does actually quite the opposite. He shows up contradictions within the male image that are visible in the series. I also was unable to discern any "flawed theory," but appreciate the method of textual deconstruction based on a socio-political model employed by Trutnau.
L. Chin states:
"Miami Vice" was a show about cops and law enforcement. Beyond this one obvious conventional framework, "Vice" was revolutionary. With startling boldness for a network TV series, put out a powerfully anti-Reaganite political view. The stories exposed the corruption at the heart of the 1980s drug war and US-Latin American politics.
My response: It is precisely the contradictions within the Reaganite framework that Trutnau addresses and evaluates. It bothers me a bit that Mr.Chin does not seem to have any background on cultural, film aesthetics or art, since if he had he would be able to appreciate the intertextual parts this book deals with in depth.
L. Chin states:
The proper background to understand "Vice" can be found in the real histories of the drug wars, such as the work of Gary Webb ("Dark Alliance", Peter Dale Scott ("Cocaine Politics"), or the real-life case of Kiki Camarena.
My response:
The books mentioned here are good ones, yet they do not offer a neoconservative framework and differentiation that is necessary to bring out the underlying values and contradictions in VIce. There are many others though which are much better written: I would recommend Watching Television by Todd Gitlin as well as The Twilight of Dreams Why America is Wracked by Culture Wars by Todd Gitlin as well as several of his journal articles dealing with 1980s America. Reagan's America: Innocents at Home by Garry Wills is also excellent.
L. Chin states:
Trutnau addresses none of this. Instead, he searches desperately for Fruedian and Jungian symbols, sometimes laughably. In fact, he goes overboard to REINTERPRET far beyond what the original producers and writers intended. Trutnau seems not to understood the series at all. Those expecting an exciting and fresh take will be sorely disappointed.
It is also a very boring and clinical read, constructed like a thesis.
My response:
Overintepretation is far what can be read here. BTW, dear L. Chin, even in grade school nowadays people use spell-check, why not use it yourself, since otherwise, your review seems to be written in as hurry, or at least write it, AFTER you head for the bathroom: it is spelt "Freudian and Jungian symbols" NOT Fruedian and Jungian symbols. Apart from that quite neat that someone is applying such a critical framework to the series.
Oh what a revelation: Yes, the book is based on a thesis - as the author states on page one!
THE FACT OF THE MATTER IS: TO DATE THERE IS NO OTHER MONOGRAPH ON THE SERIES OUT THERE, BUT MAYBE THAT WILL CHANGE, HOPEFULLY SOON.
I am hoping that more people will read this book, since to me; there is nothing comparable out there right now, apart from bare surface critiques of the series. The images in the e-book work well in enhancing and clarifying the points the author makes.
For all of the authors work and writing such a neat book on vice I give 5 stars in total. (Not 4, despite the fact it could have been illustrated like the e-book available on eBay)
It would be great if the author of this book would bring out a few essays comparing the series to the most recent vice feature film, I would love to know what he thinks about it.
Chris Kent, Dallas, Texas
October 20, 2006
Flawed psycho-babble, off target in every way.......2006-10-18
Trutnau's approach is that of a bad psychologist or a breathless art student in search of obscure references, hyper-intellectualizing and interpreting things that either do not exist, or are irrelevant or self-explanatory, in order to fit the series to a severely flawed theory: that "Miami Vice" channeled conservative Reaganite values.
"Miami Vice" was a show about cops and law enforcement. Beyond this one obvious conventional framework, "Vice" was revolutionary. With startling boldness for a network TV series, put out a powerfully anti-Reaganite political view. The stories exposed the corruption at the heart of the 1980s drug war and US-Latin American politics. The proper background to understand "Vice" can be found in the real histories of the drug wars, such as the work of Gary Webb ("Dark Alliance", Peter Dale Scott ("Cocaine Politics"), or the real-life case of Kiki Camarena.
Trutnau addresses none of this. Instead, he searches desperately for Fruedian and Jungian symbols, sometimes laughably. In fact, he goes overboard to REINTERPRET far beyond what the original producers and writers intended. Trutnau seems not to understood the series at all. Those expecting an exciting and fresh take will be sorely disappointed.
It is also a very boring and clinical read, constructed like a thesis.
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One Man's Family Album: An Inside Look at Radio's Longest Running Show
Carlton Morse
Manufacturer: Seven Stones Pr
ProductGroup: Book
Binding: Paperback
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ASIN: 0940249057 |
From the Publisher
A cast of one: an actor's dream - or an actor's nightmare? An exploration of the one-person show, from its disreputable origins in 18th century England to Ruth Draper's monologues and the development of such popular shows as Julie Harris' The Belle of Amherst, John Gielgud's Ages of Man, Hal Holbrook's Mark Twain Tonight! and Spalding Gray's outlandish Swimming to Cambodia. Includes introduction by Julie Harris, interviews with actress Pat Carroll and playwright William Luce, rare photos, appendix of shows, bibliography, index.
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One Man Show
Manufacturer: Loose Change Publications
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Binding: Paperback
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ASIN: 0944707076
Release Date: 2004-10-01 |
Product Description
"Don't go they say if you have any brains" Thus starts the story of Henry Miller,Miller & Lux Land and Cattle. Miller at one time owned over a million acres of Central California and ajoining lands in Nevada, Oregon and Washington. Miller arrived in California at just the right time, he built his empire of cattle, sheep, hogs, land and water rights all from a $6.00 stake. Hundreds of early photos, letters, and interviews of the men who worked with him to build this empire.
Product Description
Roy Dotrice's now legendary portrayal of the seventeenth-century English diarist John Aubrey ran for 213 performances at London's May Fair Theatre, creating a world record for a one-man show.
In this astonishing tour-de-force, he vividly recreates a day in the life of the seventy-year-old Aubrey in his chaotic London lodgings, surrounded by a confusion of books, curios and stuffed animals.
Through his reminiscences we are introduced to a colourful succession of former friends, both famous and obscure. His stories are by turns touching, bawdy and scurrilous, though always tempered by a rich humanity and unfailing sense of humour, painting an unforgettable portrait of England during the seventeenth century.
Customer Reviews:
History lessons were never as enjoyable!.......2007-04-17
I first came across this play when I heard it on the radio (BBC) in England in 1974. I enjoyed it so much I went and saw Roy Dotrice perform it on stage, at around the time this recording was made. An astounding performance which vividly portrays life in 17th Century England. Abounds with remarkably funny anecdotes on people, both famous and unknown, of his (John Aubrey's) time.
A continuing theme is one of "'Twas not so in Queen Elizabeth's time", the complaints of the older generation about the youth of today - whenever today happens to be.
A failing of the recording is that, from time to time, as Roy Dotrice moves about the stage his voice can get quite muffled and faint, due to a shortage of microphones, maybe. Don't make the mistake of thinking this is a dry and boring monologue, it's anything but that.
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- I love Dustin!
- Great read for kids and adults
- Who says life's problems can't be funny?
- I love this book!
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Dustin Grubbs: One Man Show
John J. Bonk
Manufacturer: Little, Brown Young Readers
ProductGroup: Book
Binding: Hardcover
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ASIN: 0316156361 |
Book Description
Maybe wanting to be an actor is kind of an ambitious career goal for an 11-year-old, but this doesnt stop Dustin Grubbs. He refuses to accept defeat, like when the school play hes assistant directing and starring in, The Castle of The Crooked Crowns, seems doomed to failure at every turn. Then Jeremy Jason Wilder, international star of Dustins favorite sitcom Double Take, moves to Buttermilk Falls. Can Dustin keep his cool, or will Jeremy steal the show? Packed with hysterical one-liners, Dustin Grubbs: One Man Show is the story of a sixth-grader with big dreams, lots of insecurities, and wacky characters that will have middle grade readers slapping themselves silly!
Customer Reviews:
I love Dustin!.......2007-07-25
What a readable, laugh-out-loudable, can't-put-downable book! I love this story! Author John Bonk has a way with words and sense of humor like no author children's author in recent history. I'm recommending this book to all my young friends (and some older ones, too!) I can't wait to meet Dustin again and hear what he's up to.
Great read for kids and adults.......2007-07-24
As a drama teacher I am always looking for books to inspire my students. This book made me laugh out loud. I had great fun reading it and will definitely encourage my students to give it a read.
Who says life's problems can't be funny?.......2006-04-06
Dustin Grubbs has plenty of problems. His dad ran off to be a stand-up comic and his mom isn't handling it well. And Dustin? Well, he wants to be a star and he doesn't think Mom's going to handle that so well. But a kid's gotta do whatever it takes to be a star -- even if he has to be sneaky about it. Even if he hurts a friend. Or maybe, not.
I found this book a delight. In Dustin Grubbs: One Man Show, author John Bonk shows the same kind of skilled comedic touch of Gordan Korman's No More Dead Dogs. I heartily recommend snagging this book just for Granny's birthday part alone. But don't try to read this one over lunch -- it's snort-milk-from-your-nose funny.
I love this book!.......2005-10-04
Dustin Grubbs is a sixth grader with a passion--and that passion is acting. When he lands the lead role in the school play, he is determined to put on the best possible show around. But when someone famous moves into town and tries to steal Dustin's limelight, it's every actor for himself in this hilarious read from John J. Bonk.
In Bonk's literary debut, he has created an "everyman" in the form of Dustin Grubbs. Dustin is self determined, resourceful, and creative. But Dustin is not without his faults. He snubs his best friend in order to rub shoulders with a famous star and in doing so, he alienates his friend and finds out that being famous doesn't mean you're necessarily nice.
All of Bonk's characters are well rounded and quirky. Dustin's family reminded me a lot of my own. The protective mother, the wacky grandmother, the divorced parents...readers of all ages will see some aspect of themselves in this wonderfully enchanting book. This is a book that relies on inner spirit to tell a story.
Armchair Interviews says: In an age of Harry Potter and Eragon it's nice to read a simple and compelling story like this.
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One Man Show
Michael Innes
Manufacturer: Harper Perennial
ProductGroup: Book
Binding: Paperback
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ASIN: 0060806729 |
Customer Reviews:
The purloined painting.......2001-09-03
John Innes Mackintosh Stewart (pseudonym Michael Innes) was born in 1906 in Edinburgh, Scotland. He was educated at Oriel College, Oxford, and his mysteries reflect both his scholarship, and the year he spent in Vienna, studying Freudian psychoanalysis.
"One-Man Show" (1952), also titled "A Private View" is later Appleby. Sir John has already been knighted and married, and has worked his way up to the position of Assistant Commissioner at New Scotland Yard. He and his wife, Lady Judith (a sculptress by profession) play equal roles in solving the double mystery of who murdered the young artist, Gavin Limbert, and who stole two very famous paintings from the Duke of Horton's estate. (The Duke also plays a prominent role in the early Appleby mystery, "Hamlet, Revenge!" (1937).)
This story begins when Lady Judith drags her unsuspecting husband off to a memorial exhibition of the works of Gavin Limbert, a young artist who was thought to have committed suicide. When Limbert's `chef d'oeuvre' is stolen from the gallery, right under Appleby's nose, he feels compelled to reopen the case on the painter's mysterious demise.
Appleby's assistant, Inspector Cadover is already acquainted with the case and he serves as a stiff upper-lip to his chief's intuitive, sometimes playful method of investigation. When Appleby disappears after a nocturnal ruckus in a junk shop, Cadover takes over the case and brings it to a successful conclusion---just as he later takes on Appleby's role at New Scotland Yard after Sir John's retirement (for more about Cadover, read "The Case of the Journeying Boy" by Michael Innes (1949).)
This particular Appleby is an equal mixture of mystery and adventure---Appleby personally engages the villains in glorious, but somewhat ignominious battle; Judith hides in a closet and overhears an artist plotting murder, etc. There is a wonderful chase scene that ends when Lady Judith and the Duke of Horton save Appleby from a particularly appalling fate.
Don't let the author's gift for playful, erudite dialogue disguise his mastery of character. "One-Man Show" contains a portrait of an amnesiac young woman that is probably the most sensitive and believable in all of mystery literature (eat your heart out, Dame Agatha!)
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All Star Western Theater - Combination Hard To Beat and One Man's Poison (2 Shows, Audio CD) Oldtime Radio Shows
Manufacturer: Radio Revival
ProductGroup: Book
Binding: Audio CD
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ASIN: B000U0ELA0 |
Product Description
This is an Audio CD of The All Star Western Theater, an oldtime radio show from the 1940's. If you love a good western (with musical highlights), you'll love these. Here are the exciting episodes on this disc:
Combination Hard To Beat
One Man's Poison
This listing is in compliance with existing copyright laws and Amazon's policies. These are public domain oldtime radio shows legally produced by Radio Revival.
Book Description
Synopsis: The Kid is down and out and wasted after the events at the top. Seeks vengeance on the Telchines. Hermes is here, too. Ed (The End of the Century Club) Hilyer is the artist.
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Charlie Chaplin's One-Man Show
Dan Kamin
Manufacturer: The Scarecrow Press, Inc.
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Binding: Hardcover
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ASIN: 081081675X |
Book Description
Analyzes Chaplin's physical virtuosity and the principles behind his gags.
Books:
- After the Affair: Healing the Pain and Rebuilding Trust When a Partner Has Been Unfaithful
- After The Rain
- Alpha Flight Classic, Vol. 1 (Uncanny X-Men)
- Armadillo Rodeo
- Bambi vs. Godzilla: On the Nature, Purpose, and Practice of the Movie Business
- Blood Done Sign My Name: A True Story
- Chance and Circumstance: Twenty Years with Cage and Cunningham
- Chance and Circumstance: Twenty Years with Cage and Cunningham
- Colored Lights: Forty Years of Words and Music, Show Biz, Collaboration, and All That Jazz
- Comprehending Math: Adapting Reading Strategies to Teach Mathematics, K-6
Books Index
Books Home
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