Waterfront Spectacular is the story of the creation of Docklands. One of the most ambitious urban renewal projects ever undertaken, it is an insight into the vision, planning, obstacles and challenges that have gone into transforming what was once an industrial wasteland into a beautiful harbour - for the people of Melbourne and, indeed, the world.
Billionaires and Bagmen offers a surprising solution to the question many people are asking: How can we take our lives back from an over-reaching government, Wall Street power brokers, lobbyist-written laws, the billionaires who buy them off and candidates we don’t like? Sean Cogan, is funny, prickly, charismatic economist turned venture capitalist, comes up with the idea that his town should simply ignore Big Brother's rules and write its own.
He is convinced that the government is no longer “of, by and for the people,” that the President and all three branches of government are bought, paid for, and held in the grip of powerful billionaires, corrupt multinational corporations and their bagmen: the politicians and lobbyists who carry out their agendas. From a savvy newspaper reporter to a secretive former CIA agent who knows how the game is played to the idiot alcoholic mayor of the town who tries to sabotage the initiative, events start to spin out of control.
Things go from bad to worse when the powers that be in Washington become concerned that this independence movement could take on a life of its own. Cogan and his team of supporters, old high school friends, plow ahead in spite of the collusion of spies, lobbyists, a controversial talk show host and a whole boatload of other unsavory characters. It’s an exciting, scary and dangerous ride.
In October 1990, the Library of Congress announced its list of twenty-five culturally, historically, and aesthetically significant films to be added to the National Film Registry. The River, written and directed by Pare Lorentz in 1937, was inducted along with Scorsese's Raging Bull and Capra's It's a Wonderful Life. Originally published in 1967, Pare Lorentz and the Documentary Film was the first book devoted exclusively to the works of Lorentz. Robert L. Snyder focuses on the films Lorentz made for the United States Film Service - The River, The Plow That Broke the Plains, and The Fight for Life. With the exception of a few vintage World War I training films, these three films were the first made by the government for general viewing by the American public. It was Lorentz's idea to produce a series of films about the pressing problems facing the nation during the Great Depression - drought, floods, poverty, and slums. With an initial budget of $6,000 and the enormous drive and energy of a young director who had never made a motion picture, the beginnings were anything but auspicious.
The results, however, were sensational and often made national headlines. In spite of inadequate budgets, bureaucratic red tape, professional jealousies, Lorentz developed new filming techniques and set new standards in his documentaries.
Snyder has written a perceptive account of the production of these classic films and the contemporary reaction to them, along with a critical evaluation of each work.
This is an important book for anyone interested in documentary film and the history of the Depression era.
Two steam locomotives collide head-on in a cornfield at the edge of Nashville on July 9, 1918, taking the lives of more than a hundred people and injuring at least 300 others. This tragic tale, set against a backdrop of wartime urgency and human error, unfolds in the midst of the racial and societal divisions of the early twentieth century: a riveting story of decided historical impact.
One day she is Linda Farley, a senior in a San Diego high school, with a talent for art, an annoying younger brother, two loving parents, and a prospective boyfriend. Three days later, she is Lainie Foster, hiding with her mother and brother in Olympia, Washington. That's how fast things change after Linda's mother tells her that her father has been caught by the feds in a Mafia money laundering scheme and that the rest of the family has been placed in the Witness Protection Program. By the rules she's given, she must stay out of school, cut off contact with anyone back home, and never tell anyone what has happened. Linda -- now Lainie -- does her best, but in navigating her new life, she faces a number of questions. How could her father do something so contrary to her image of him? Why is her mother so familiar with their new city? How can she pursue a career in art without going to school? What must she do to save her brother from the worst effects of the upheaval? And who is that dark-haired woman she keeps spotting in front of the house? Then there's the biggest question of all: Is she Linda or is she Lainie? Because, in the end, is the choice really anyone's but hers? ///////////////////////////////////////////////// Anne L. Watson, a retired historic preservation architecture consultant, is the author of numerous novels, plus books on such diverse subjects as soapmaking and baking with cookie molds. She currently lives in Friday Harbor, Washington, in the San Juan Islands, with her husband and fellow author, Aaron Shepard.
///////////////////////////////////////////////// SAMPLE "Lainie," Mom said, her voice a little gentler, "we have to follow the rules, whether we like them or not." "The rules are nuts, Mom," I protested. "Like making us keep our old initials.
So the Mafia is too stupid to check the passenger lists for trains and planes leaving Southern California? You think they won't look for two A.
F.'s and an L.F. with one-way tickets to the same place?" Mom moved to the right to let a tailgating Jeep speed ahead. "That's one reason we're splitting up," she said. "WITSEC has never lost anyone who followed the rules," she said. "WITSEC?" I yelped. "Who the hell is that?" "The Witness Security Program. That's its other name." Sheesh. WITSEC. Like the FBI was such a buddy, we needed to give them a nickname. My face itched, and I rubbed it hard. "Don't do that," Mom said. "You'll rub off your makeup." "It feels like dirt. I don't know how you put up with it." "You get used to it.
Especially when you have more important things to worry about." Well, we had that, in spades. I'd just dumped someone I really wanted to go out with. I wouldn't be going to art school next year, because that's what Linda Farley would have done. I had to be someone else, probably forever. Compared to that, grease all over my face really was a detail.
I gave up and quit talking about it. Whining wasn't going to do any good. Mom kept quiet too, watching the traffic.
In the front seat, Alan sang some dumb song from a TV kids' show, over and over. But, as Mom had said, I had more important things to worry about. We took the Alameda Street exit and pulled into the train station. "What are you going to do with the car when you get to the airport?" I asked. "Leave it in a parking lot with the window down and the keys in the ignition." Even the Mafia wouldn't have a chance if she did that. The locals would have that car in a chop shop faster than the Godfather could blink.
A practical handbook for anyone who struggles to understand themselves and others emotionally, psychologically, and spiritually that is based on the conviction that only God really knows our hearts, the innermost parts of ourselves. Only He can show us what is true and false about our search for healing, self-affirmation, and the grace to change.