Election

• Every two years the senior members of the Wo Shing Triad, the oldest gang in Hong Kong, elect an up-and-coming younger boss as their chairman. The two candidates they are voting on couldn t be farther apart in personality; Lok (Simon Yam) is a levelheaded businessman and Big D (Tony Leung Ka-Fai) is a loud, obnoxious, violent criminal. When the voting does not go how some people would have liked,

Tracy Flick, a straight-A go-getter, is determined to be president of Carver High's student body. Popular teacher Jim McAllister decides to derail Tracy's obsessive overachieving by recruiting an opposition candidate.
Genre: Feature Film-Comedy
Rating: R
Release Date: 2-JAN-2007
Media Type: DVDMatthew Broderick makes up for years of wet-noodle performances with his low-key but unsparing characterization of Jim McAllister, a high school teacher at George Washing! ton Carver High School in Omaha, Nebraska. Driven by a strange mixture of loathing and lust for pathologically overachieving student Tracy Flick (Reese Witherspoon), McAllister encourages a dim but popular athlete, Paul (Chris Klein from American Pie), to run against her in the election for student-council president. Director-cowriter Alexander Payne (Citizen Ruth) turns this deceptively simple premise into a complex and scathing comedy of ambition, corruption, and desire, all at its most naked and petty. Every scene contains some painfully funny nuance that will make you wince in a mixture of astonishment and empathy. Witherspoon flips effortlessly back and forth from adolescent vulnerability to steely-eyed strength; she's becoming a contemporary Carole Lombard. The movie itself feels like a magnificent throwback to the richly layered comedies of the '30s, which drew their humor from sharply drawn characters and twisting plots instead of explosions of bodily ! fluids. With a wealth of smart, cutting details, Election rewar ds multiple viewing. --Bret FetzerReese Witherspoon (Legally Blonde) is Tracy Flick, a straight "A" go-getter who's determined to be president of Carver High's student body. But when popular teacher Jim McAllister (Matthew Broderick, The Producers) observes the zealous political locomotive that is Tracy, he decides to derail her obsessive overachieving by recruiting an opposition candidate (Chris Klein, American Pie) - with disastrous results! Here's a smart, witty and hilarious jab at high school politics helmed by award-winning director Alexander Payne (Sideways).Matthew Broderick makes up for years of wet-noodle performances with his low-key but unsparing characterization of Jim McAllister, a high school teacher at George Washington Carver High School in Omaha, Nebraska. Driven by a strange mixture of loathing and lust for pathologically overachieving student Tracy Flick (Reese Witherspoon), McAllister encourages a dim but popular athlet! e, Paul (Chris Klein from American Pie), to run against her in the election for student-council president. Director-cowriter Alexander Payne (Citizen Ruth) turns this deceptively simple premise into a complex and scathing comedy of ambition, corruption, and desire, all at its most naked and petty. Every scene contains some painfully funny nuance that will make you wince in a mixture of astonishment and empathy. Witherspoon flips effortlessly back and forth from adolescent vulnerability to steely-eyed strength; she's becoming a contemporary Carole Lombard. The movie itself feels like a magnificent throwback to the richly layered comedies of the '30s, which drew their humor from sharply drawn characters and twisting plots instead of explosions of bodily fluids. With a wealth of smart, cutting details, Election rewards multiple viewing. --Bret FetzerMatthew Broderick makes up for years of wet-noodle performances with his low-key but unsparing charac! terization of Jim McAllister, a high school teacher at George ! Washingt on Carver High School in Omaha, Nebraska. Driven by a strange mixture of loathing and lust for pathologically overachieving student Tracy Flick (Reese Witherspoon), McAllister encourages a dim but popular athlete, Paul (Chris Klein from American Pie), to run against her in the election for student-council president. Director-cowriter Alexander Payne (Citizen Ruth) turns this deceptively simple premise into a complex and scathing comedy of ambition, corruption, and desire, all at its most naked and petty. Every scene contains some painfully funny nuance that will make you wince in a mixture of astonishment and empathy. Witherspoon flips effortlessly back and forth from adolescent vulnerability to steely-eyed strength; she's becoming a contemporary Carole Lombard. The movie itself feels like a magnificent throwback to the richly layered comedies of the '30s, which drew their humor from sharply drawn characters and twisting plots instead of explosions of bodily fl! uids. With a wealth of smart, cutting details, Election rewards multiple viewing. --Bret FetzerEvery two years the senior members of the Wo Shing Triad, the oldest gang in Hong Kong, elect an up-and-coming younger boss as their chairman. The two candidates they are voting on couldn’t be farther apart in personality; Lok (Simon Yam) is a levelheaded businessman and Big D (Tony Leung Ka-Fai) is a loud, obnoxious, violent criminal. When the voting does not go how some people would have liked, lines are divided and a gang war begins to form.

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  If the Watergate scandal was a previous generation's National Nightmare, then maybe the Clinton scandal was our National Wet Dream, and who better to narrate it than the screenwriter Joe Eszterhas?  In American Rhapsody, Eszterhas, whose credits include Basic Instinct and Showgirls, and Charlie Simpson's Apocalypse, for which he was nominated for a National Book Award, takes us through the events that threatened to topple a president and left most of the nation's citizens with, at the very least, a bad taste in their mouths. 
   Taking full advantage of his considerable journalistic and storytelling talents, Eszterhas gives us every fact, rumor, or innuendo surroundin! g the president's foibles in the context of late century American politics and entertainment.  Here Washington and Hollywood do more than just flirt with each other; they share the same bed.  From scandalmongers Matt Drudge (who began as a Hollywood gossip) and Ken Starr, to would-be president paramours Sharon Stone and Barbra Streisand, to his final, unimpeachable witness, Willardâ€"none other than President Clinton's talking penisâ€"Eszterhas gives us the goods on the story that nobody could stop talking about and, thanks to American Rhapsody, will be impossible to think about the same way again.

American Rhapsody is a gleeful act of outrage, simultaneously an assault on the Clintons and a bridge-burning, tell-all Hollywood memoir in the wicked spirit of You'll Never Eat Lunch in This Town Again. Joe Eszterhas's narrative is a torrent of consciousness with no consistent sense of direction, but it all erupts from a plausible organizin! g principle best articulated in the chapter "Bubba in Pig Hea! ven": Ho llywood is where Clinton really belongs. The author claims Bill watches Blazing Saddles six times a year, and says that Gennifer Flowers got him blazing by enacting a Sharon Stone-like crotch-shot scene years before Basic Instinct. When a sarcastic Clinton allegedly told a Hollywood producer that his enemies would soon be accusing him of coupling with a cow, the producer sent him Eszterhas's 1989 screenplay Sacred Cow, in which a president does just that. Eszterhas claims Spielberg dropped the film because of his friendship with Clinton. But he still thinks Clinton would be great in the role.

The Lewinsky saga really should be ho-hum by now, but American Rhapsody's Evel Knievel-like leaps of free association and mad brio breathe life into it. You've never been properly introduced to Linda Tripp and Lucianne Goldberg until you've read "The Ratwoman and the Bag Lady of Sleaze," its uproarious take on the pair. Am! erican Rhapsody gives dozens of stars time in the sweaty spotlight: Matt "the Scavenger" Drudge, heroic Larry Flynt (whose threat to report Republican scandals Eszterhas credits with quashing impeachment)--almost every big political scandal victim in memory. And there are lots of Hollywood types behaving badly: Bob Dylan, Warren Beatty, Ronald Reagan, Farrah Fawcett, Sharon Stone, Robert Evans, Sly Stallone (who wanted to portray Jesus onscreen), and even Joe Eszterhas. The fantasy chapters, printed in boldface, are sometimes funny (e.g., "Kenneth W. Starr Confesses"), but mostly they're both over the top and below the belt (e.g., "Willard Comes Clean," the confessions of the president's penis). What holds your interest is the main narrative, a heady mix of showbiz gossip, personal essay, and Lester Bangs-style prose mania. --Tim Appelo

  If the Watergate scandal was a previous generation's National Nightmare, then maybe the Clint! on scandal was our National Wet Dream, and who better to narra! te it th an the screenwriter Joe Eszterhas?  In American Rhapsody, Eszterhas, whose credits include Basic Instinct and Showgirls, and Charlie Simpson's Apocalypse, for which he was nominated for a National Book Award, takes us through the events that threatened to topple a president and left most of the nation's citizens with, at the very least, a bad taste in their mouths. 
   Taking full advantage of his considerable journalistic and storytelling talents, Eszterhas gives us every fact, rumor, or innuendo surrounding the president's foibles in the context of late century American politics and entertainment.  Here Washington and Hollywood do more than just flirt with each other; they share the same bed.  From scandalmongers Matt Drudge (who began as a Hollywood gossip) and Ken Starr, to would-be president paramours Sharon Stone and Barbra Streisand, to his final, unimpeachable witness, Willardâ€"none other than President Clinton's talking penis! â€"Eszterhas gives us the goods on the story that nobody could stop talking about and, thanks to American Rhapsody, will be impossible to think about the same way again.

From the Trade Paperback edition.American Rhapsody is a gleeful act of outrage, simultaneously an assault on the Clintons and a bridge-burning, tell-all Hollywood memoir in the wicked spirit of You'll Never Eat Lunch in This Town Again. Joe Eszterhas's narrative is a torrent of consciousness with no consistent sense of direction, but it all erupts from a plausible organizing principle best articulated in the chapter "Bubba in Pig Heaven": Hollywood is where Clinton really belongs. The author claims Bill watches Blazing Saddles six times a year, and says that Gennifer Flowers got him blazing by enacting a Sharon Stone-like crotch-shot scene years before Basic Instinct. When a sarcastic Clinton allegedly told a Hollywood pr! oducer that his enemies would soon be accusing him of coupl! ing with a cow, the producer sent him Eszterhas's 1989 screenplay Sacred Cow, in which a president does just that. Eszterhas claims Spielberg dropped the film because of his friendship with Clinton. But he still thinks Clinton would be great in the role.

The Lewinsky saga really should be ho-hum by now, but American Rhapsody's Evel Knievel-like leaps of free association and mad brio breathe life into it. You've never been properly introduced to Linda Tripp and Lucianne Goldberg until you've read "The Ratwoman and the Bag Lady of Sleaze," its uproarious take on the pair. American Rhapsody gives dozens of stars time in the sweaty spotlight: Matt "the Scavenger" Drudge, heroic Larry Flynt (whose threat to report Republican scandals Eszterhas credits with quashing impeachment)--almost every big political scandal victim in memory. And there are lots of Hollywood types behaving badly: Bob Dylan, Warren Beatty, Ronald Reagan, Farrah Fa! wcett, Sharon Stone, Robert Evans, Sly Stallone (who wanted to portray Jesus onscreen), and even Joe Eszterhas. The fantasy chapters, printed in boldface, are sometimes funny (e.g., "Kenneth W. Starr Confesses"), but mostly they're both over the top and below the belt (e.g., "Willard Comes Clean," the confessions of the president's penis). What holds your interest is the main narrative, a heady mix of showbiz gossip, personal essay, and Lester Bangs-style prose mania. --Tim Appelo

  If the Watergate scandal was a previous generation's National Nightmare, then maybe the Clinton scandal was our National Wet Dream, and who better to narrate it than the screenwriter Joe Eszterhas?  In American Rhapsody, Eszterhas, whose credits include Basic Instinct and Showgirls, and Charlie Simpson's Apocalypse, for which he was nominated for a National Book Award, takes us through the events that threatened to topple a president and le! ft most of the nation's citizens with, at the very least, a ba! d taste in their mouths. 
   Taking full advantage of his considerable journalistic and storytelling talents, Eszterhas gives us every fact, rumor, or innuendo surrounding the president's foibles in the context of late century American politics and entertainment.  Here Washington and Hollywood do more than just flirt with each other; they share the same bed.  From scandalmongers Matt Drudge (who began as a Hollywood gossip) and Ken Starr, to would-be president paramours Sharon Stone and Barbra Streisand, to his final, unimpeachable witness, Willardâ€"none other than President Clinton's talking penisâ€"Eszterhas gives us the goods on the story that nobody could stop talking about and, thanks to American Rhapsody, will be impossible to think about the same way again.

From the Trade Paperback edition.Traveling to the continent s wild perimeter in search of glorious North American waterbirds... this was the adventure of a lifetime. Maryland photogra! pher, Middleton Evans, made 38 trips over a five-year period to complete his wish list of alluring species, captivating behaviors and pristine habitats.

In all, Evans encountered 180 species on trips to thirteen states and Canada, Mexico and the Bahamas. A remarkable trip to Florida in 1998 inspired the project with ten days of daily surprises, including a Great Blue Heron grappling a plump muskrat.

On a wing and a prayer, Evans dropped his current Baltimore project and dreamed up shots to fill a unique coffee table book celebrating North America's waterbirds at their finest. God poured out blessings time and again, as the veil lifted to reveal profound moments.

Highlights include an unusually friendly King Eider, dancing Western Grebes, inquisitive Brown Boobies, a preening Roseate Spoonbill and huddling American Flamingo chicks. Yet nothing would eclipse climbing into a Bald Eagle nest on Middleton Island, Alaska!

An introduction describes how Middleton's odys! sey became a spiritual journey, punctuated by arduous hikes, f! requent perils, joyous camaraderie and moments of sheer epiphany. A Photography Notes section at the end of Rhapsody details the inspirations and circumstances behind each of the book's 320 photographs. Rhapsody in Blue makes a wonderful gift for any nature lover, engaging the heart, mind and soul with each turn of the page.The following values are the attributes of this product: Style=Open-Front, Color / Finish=Rhapsody Blue, Material=Plastic, Shape=ElongatedToilet seats are non-returnable once opened.

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• ISBN13: 9780801090912
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"I cannot recommend Taylor Anderson too highly." -David Weber, author of Out of the Dark

Lieutenant Commander Matthew Reddy and the crew of the USS Walker find themselves caught between the nation they swore to defend and the allies they promised to protect. For even as the Allies and the Empire of New Britain Isles stand united against the attacks of both the savage Grik and the tenacious Japanese, the "Holy Dominion"-a warped mixture of human cultures whose lust for power overshadows even the Grik-is threatening to destroy them both with a devastating weapon neither can withstand.

An Email Excha! nge Between David Weber and Taylor Anderson, author of Firestorm: Destroyermen.

Taylor Anderson: Hi David! I just now--literally--got back from the WorldCon in Reno. It was fun--and I was also able to personally thank Steve Stirling for the nice blurb he gave my first book. Of course, I am also humbly honored by the very nice blurb you just gave me! If we're not careful, people might begin to suspect we are friends! Of course my meager, good opinion of everything you have written is a matter of record--and espoused at every opportunity!

David Weber: Friends! Friends!? How could anyone possibly suspect such a thing?! But I digress. You're certainly welcome to the cover blurb, since it's only accurate. I mean,! us being friends and all I probably would have lied for you i! f I'd ne eded to, but what the heck? It's always nicer when you can say nice things because they're accurate. Helps add to your reputation for infallibility, you know.

Anyway, I've got How Firm a Foundation, which is, what--Safehold #4?--coming out in September. You've got one coming out next month, too, as I recall. So you want to tell me what you're going to do to Walker's crew and their friends this time?

Taylor Anderson: I am SOOOOO stoked to read How Firm a Foundation. Most of my reading lately has been old tech manuals, and I need some David Weber! I love how your "Merlin" manages to prod the Safehold tech development along. Artificial being or not, it has to be frustrating to have all that information--that will save lives--running around in his/her head and have to be so careful about revealing it in a logical progression. I'm still improving the "tech" in Firestorm: Destroyermen--which comes out October 4th--but the c! ontrast in how it is applied is fun to compare to the Safehold series.

Your "Merlin" knows…everything, but has to hold back while everyone else accepts what is possible, whereas my Destroyermen know what is possible, but don't necessarily know how, or how best to achieve it. Different frustrations. Your guys have to be a lot more careful! Of course the Grik are still there, with their mad Japanese advisor--but the Grik are starting to "get wise" almost in spite of Kurokawa. He gives them technology, but retains his own agenda. Battle will rage on the land, sea, and in the air!

David Weber: Well, as you know, I "snippet" excerpts of the books on my website, so we're several thousand words into How Firm a Foundation, already. That makes things…interestin! g from my perspective, since the fans can't wait to start sugg! esting w hat my characters should be "inventing" next. I haven't even got steam engines past the proscriptions of the Inquisition yet, and some of these guys seem to think I should already be designing King Edward VII-class, pre-dreadnought battleships! I did just give the Charisians breech-loading caplocks, though. That's going to make life interesting for the other side. And Merlin is about to find out (sort of) what I stashed--I'm sorry, what the Archangel Langhorne stashed--under the Temple. It is a bit darker book, though, since the Church gets in a few licks of its own this time around. Your guys have had that experience, too, I think, haven't they?

One thing I'm pondering about is introducing a better propellant than black powder. I'd have to be really careful about that, dealing with the anti-technology proscriptions, but back when Safehold was first settled, the Church did set up the rote preparation and production of fertilizers on a relatively large! -scale. It's occurred to me that if I want to introduce nitrocellulose, I might have a platform for that in the fertilizer industry. Or perhaps I should say in the fertilizer pre-industry, since we're not exactly talking about current day DuPont levels of production. What do you think? Practical or would I be stretching things too far?

Taylor Anderson: I haven't done "snippets," but I still get a lot of suggestions and speculation on my web site and through direct contacts. I think it's fun and exciting that so many people are thinking about our books. Some of the suggestions are a little strange--okay, sometimes all I can do is just stare--but Destroyermen is a kind of strange story! The contrast between "They couldn't really do that," and "Why don't they have atomic weapons yet?" from one contact to the next can be amusing though. Things take time, particularly when your characters have to find the things to build the things to build the! things they need.

If you're asking my opinion on pro! pellants , I'd have to suggest sticking with black powder for a while. Your caplock breechloaders will be easy to convert, certainly. I'm converting rifle-muskets to a type of "Allin" breechloader myself. But you can actually get better performance out of black powder in such weapons since they weren't designed (or alloyed and treated) for the higher pressures "smokeless" produces. You'd have to make some major leaps in metallurgy to support jacketed bullets as well, and without them, you're stuck with black powder velocities anyway. Besides, your battles are so much more artistic with plenty of fire and smoke!

Of course, then comes logistics! Ha! As you always show so well, getting "new" stuff to the pointy end--and supplying it--is the greatest challenge of all…but then that's pretty fun to write and read about too, isn't it? Wow. I can't wait to be taunted with what you Langhorne stashed! People who know we are friends ask me all the time what "it" is and don't r! eally believe me when I tell them "I don't know!" If I did, I wouldn't rat--and I don't WANT to know until it unfolds on the pages in front of me!

David Weber: I'm inclined to stick with black powder for small arms for quite a while, for a lot of reasons, including the ones you've mentioned. I'm not too sure about how major a jump I'd have to make to support jacketed bullets--the Safehold-ian tech structure doesn't match up perfectly with any particular, in Earth's history, thanks to all of the "technologies without the science" tucked away in the Holy Writ. That means it wouldn't be beyond the reach of allowable technologies (and Safehold-current techniques) to form copper jackets and then compress the lead into them. I'm inclined to agree with you about the conversion process, and I'm also inclined to think that converting the smokeless powders would also require a drop in caliber, if I want to take advantage of the higher velocities flat! ter trajectories without beating my poor riflemen to death!

I was looking at improved propellants more from the perspective of naval gunnery, field artillery, and shell-fillers (I know, I know--not a "propellant". So sue me!) and that sort of thing. Can't have really long-range gunnery without predictable propellant burn times, and I don't think I can get that kind of quality control out of black powder. At the same time, I have to be thinking in terms of reasonably attainable technologies. And you'd better believe I plan on putting my head together with yours when I actually start converting to cartridges and repeaters!

Of course, my life is even more interesting in the next couple of months than yours is, because I [he said, blushing modestly and looking down at his toes] have a new book coming out in October, as well! I finally got around to writing that young adult novel I've wanted to write for so long for Baen's publishing, A Beautiful Friendship, next month. Trust me; it's a very different change of pace from ! the Safehold books!

Taylor Anderson: Oh I know about A Beautiful Friendship, you prolific devil. I've already pre-ordered it too. You're right of course. No real reason why better steels would be proscribed I guess. That's what I meant about jacketed bullets, by the way. Not the bullets themselves, but the barrels that will have to survive them--especially if you increase your rate of fire dramatically! Hehe. Once you eliminate that gas-gushing vent in a muzzle-loader, black powder is amazingly consistent in cartridges--but you still need a whopping heavy (and abusive) bullet to carry your energy along. Flat shooters they ain't.

It's no secret that "my" Destroyermen have been working on guncotton and other things. They have the recipe--from that same, valuable little manual we both have!--but the recipe needs a little adjustment when you're not sure what to use for cotton, for example!

Experimentation can be exciting, and ! a lot of the fun is letting the characters come up with their ! own angl es. Like I've said, as capable as my Destroyermen are, there are a lot of things they don't know how to do, and they often come up with weird, "wrong," but adequate procedures. Also, with their fascination for gizmos, the Lemurians are beginning to come up with some slap your forehead notions and applications that might never have occurred to humans--which begs the question: why did they occur to me?

I'm all for juicing up naval artillery--or any artillery at all, as you know--but at sea, particularly, greater range is wasted without some advanced means of fire control. Even rifling won't help much. It's all in the timing, if you know what I mean. Oh, I've got the perfect repeater for you! I can't--actually won't use it--for the same reason I won't use another conversion we discussed, and I would love to see you use (hint). They just wouldn't make sense for my guys and their different starting point. For YOU however…they might even pass the proscriptions!

David Weber: Oh, yeah. I just finished, like a week or so ago, posting somewhere around a 5,000-word dissertation on the requirements for long-range naval gunnery on the Safehold forum on my website, because some of my readers were wondering how soon the Imperial Charisian Navy is going to go to long-range gunnery, by which some of them seemed to be thinking 20,000 or 30,000 yards. I had to explain that without centralized fire control to make sure all guns fired at exactly the right moment and on the right bearing, without inclinometers to be sure they fired at the right point in the ship's roll, without the ability to predict target movement, without accurate range-finding, and--especially--without predictable and repeatable propellant burn times (not to mention monitoring board erosion, temperature, humidity, propellant temperature, etc.), accurate naval gunnery at anything much over 6,000 yards is going to be problematical at best. I think that ! sort of "taking things for granted" is part of the price we pa! y for li ving at the "user end" of a technological world in the first place, but it starts coming home to you when you do the kind of thing you and I are doing in our books which is trying to build a technological infrastructure from scratch and figuring out how the wheel was invented in the first place!

Although, you know, thinking about it, what we're both doing in our different ways that's even more significant than the technology, I think, is looking at the values of the fictitious societies we've created. When you come down to it, technology is just tools -- it's what people do with those tools that distinguishes them from one another. Dark Age mentalities can do terrifying amounts of damage with modern technology. God knows we've seen enough of that in recent years, haven't we? I first came up with the concept for the Safehold books something like twenty years ago, and I've been mostly faithful to that original concept, but I can't pretend it hasn't been modified by th! ings that have happened in the real world since. I actually make an effort to avoid having that happen, but I don't think any author can do that, really. After all, we live in the real world! But what my heroes are doing on Safehold and what your Destroyermen and their allies are doing on your alternate Earth is trying to push back the darkness, and I think that's the real reason a lot of their fans want to know what happens next in both universes. I know I sure do, at any rate!

Taylor Anderson: Ha! Few things could be more difficult to comprehend than all the variables that prevent accurate long range naval gunnery. Just figuring out all those variables is hard enough, and then compensating for them all presents an incredibly daunting challenge. The first "modern" computers, in all their complexity, were devoted to just that. Powered torpedoes add even more wild variables. I'll have to read your post to see how you managed to explain it all in a me! re 5,000 words! I imagine that if anyone could do it, it would! be you!

Ultimately however, I couldn't agree with you more; the people are the story. The technology is fun to research, bend to our specific applications, write about, and kick around with each other, but our characters--defined by their character--drive the stories. The "Safehold" and the people who inhabit it, that Nimue Alban's…memories…awoke to was every bit as alien as the world Matt Reddy and his crew of USS Walker encounter in Destroyermen. Both worlds are as remote as they can possibly be to what they knew before, and full of unfamiliar threats and challenges. It is how they--and those around them--deal with their apparently insurmountable obstacles that form the "souls" of each story. Both have a vision for how best to protect and secure the people--and worlds--they have inherited, and both are determined to accomplish their task regardless of the cost, particularly to themselves. In this day and age, it may seem quaint to some that people mig! ht be so determined to "do the right thing, as they see it, when nobody is looking," in a sense. But I believe that quality is still admired, and is, I hope, the most resonant chord we have struck with both our tales.

Firefighter paramedic Mallory "Ice" James commands a crew of smokejumpersâ€"twenty women and men who eat together, sleep together, and parachute into the face of raging forest fires together. Discipline and teamwork mean the difference between life and death on the line, and she's earned her reputation as cool and controlled in the face of danger. "Hot Shot" Jace Russo never met a rule she wouldn't break and doesn't plan to stop just because the woman setting the terms is drop-dead gorgeous and hotter than the blazes they're supposed to be dousing. Mallory and Jace may not like each other much, but lust isn't something either can controlâ€"and they soon discover ice burns as fiercely as flame.

#1 New York Times bestselling author Iris Johans! en turns up the heat in this explosive new psychological thril! ler. Th is time a gifted arson investigator teams up with a mysterious operative to stop a killer raging completely out of control...

For Kerry Murphy, the inferno is never far away. The flames of that long-ago night still burn in her nightmares: the heat, the choking smoke, the helplessness. She can never run fast enough...

Now Kerry works as an arson investigator with her evidence-sniffing dog, Sam. Together they're a great team, but her life is about to change in the time it takes to strike a match. The deadly flames of her past are back, and from out of the ashes a stranger appears. Who is Silver? And why has he chosen her in the desparate race to find a killer determined to ignite hell on earth? Kerry and Silver may not have a chance against a psychopath as coldhearted as his method is red-hot. To save themselves and the innocent lives at stake, Kerry will have to do what she hoped she'd never have to do: fight fire with fire.


F! rom the Hardcover edition.Arson investigator Kerry Murphy has a unique talent for sniffing out the cause of fires like the one that killed her mother years ago. She also has a secret, known only to the mysterious stranger named Silver, a "consultant" who needs her cooperation in stopping the psychopath who burned his brother alive and who's holding national security hostage to his own demented ego. Silver has an uncanny gift for getting under Kerry's skin, which is both the good and bad news--good because it doubles their chances of finding the man behind the terrifying weapon of the title, and bad because Kerry can't afford to be vulnerable to Silver or any other man. Johansen has written a taut thriller that's not quite as combustible as its title but one that will keep readers fired up enough to stick with it to the last page. --Jane Adams

Two worlds collide when Poppy, a street orphan who makes a living by stealing, and Justin, the son of a wealthy jeweler! , meet and become friends. Poppy plans to change her thieving ! ways, bu t when Justin loses money at his father’s jewelry store and Poppy is accused of stealing it, she flees back onto the streets. Justin insists on searching for herâ€"just as the Great Chicago Fire of 1871 breaks out.

Alternately narrated by Poppy and Justin, this is a gripping story of right and wrong, trust and forgiveness, and finding hope in the ashes of destruction.The heat is on and time is running out! Howie Long, Hollywood's hottest new action hero. stars with Scott Glenn, William Forsythe and Suzy Amis in a searing, pulse-pounding, edge-of-your-seat adventure! "The match is lit." These chilling words spark a deadly chain if events when a prison break pits fearless smokejumper Jesse Graves (Long) against two devastating, seemingly unstoppable forces of nature: a raging inferno and a cunning, psychotic killer. Packed with spectacular stunts, scorching suspense and a cast that'll blow you away.

I cannot recommend Taylor Anderson too highly." -David Weber, au! thor of Out of the Dark

Lieutenant Commander Matthew Reddy and the crew of the USS Walker find themselves caught between the nation they swore to defend and the allies they promised to protect. For even as the Allies and the Empire of New Britain Isles stand united against the attacks of both the savage Grik and the tenacious Japanese, the "Holy Dominion"-a warped mixture of human cultures whose lust for power overshadows even the Grik-is threatening to destroy them both with a devastating weapon neither can withstand.

"

An Email Exchange Between David Weber and Taylor Anderson, author of Firestorm: Destroyermen.

Taylor Anderson: Hi Dav! id! I just now--literally--got back from the WorldCon in Reno.! It was fun--and I was also able to personally thank Steve Stirling for the nice blurb he gave my first book. Of course, I am also humbly honored by the very nice blurb you just gave me! If we're not careful, people might begin to suspect we are friends! Of course my meager, good opinion of everything you have written is a matter of record--and espoused at every opportunity!

David Weber: Friends! Friends!? How could anyone possibly suspect such a thing?! But I digress. You're certainly welcome to the cover blurb, since it's only accurate. I mean, us being friends and all I probably would have lied for you if I'd needed to, but what the heck? It's always nicer when you can say nice things because they're accurate. Helps add to your reputation for infallibility, you know.

Anyway, I've got How Firm a Foundation, which is, what--Safehold #4?--coming out in September. You've got one coming out next month, too, as I recall. So you want to t! ell me what you're going to do to Walker's crew and their friends this time?

Taylor Anderson: I am SOOOOO stoked to read How Firm a Foundation. Most of my reading lately has been old tech manuals, and I need some David Weber! I love how your "Merlin" manages to prod the Safehold tech development along. Artificial being or not, it has to be frustrating to have all that information--that will save lives--running around in his/her head and have to be so careful about revealing it in a logical progression. I'm still improving the "tech" in Firestorm: Destroyermen--which comes out October 4th--but the contrast in how it is applied is fun to compare to the Safehold series.

Your "Merlin" knows…everything, but has to hold back while everyone else accepts what is possible, whereas my Destroyermen know what is possible, but don't necessarily know how, or how best to achieve it. Different frustrations. Your guys have to be a lot m! ore careful! Of course the Grik are still there, with their ma! d Japane se advisor--but the Grik are starting to "get wise" almost in spite of Kurokawa. He gives them technology, but retains his own agenda. Battle will rage on the land, sea, and in the air!

David Weber: Well, as you know, I "snippet" excerpts of the books on my website, so we're several thousand words into How Firm a Foundation, already. That makes things…interesting from my perspective, since the fans can't wait to start suggesting what my characters should be "inventing" next. I haven't even got steam engines past the proscriptions of the Inquisition yet, and some of these guys seem to think I should already be designing King Edward VII-class, pre-dreadnought battleships! I did just give the Charisians breech-loading caplocks, though. That's going to make life ! interesting for the other side. And Merlin is about to find out (sort of) what I stashed--I'm sorry, what the Archangel Langhorne stashed--under the Temple. It is a bit darker book, though, since the Church gets in a few licks of its own this time around. Your guys have had that experience, too, I think, haven't they?

One thing I'm pondering about is introducing a better propellant than black powder. I'd have to be really careful about that, dealing with the anti-technology proscriptions, but back when Safehold was first settled, the Church did set up the rote preparation and production of fertilizers on a relatively large-scale. It's occurred to me that if I want to introduce nitrocellulose, I might have a platform for that in the fertilizer industry. Or perhaps I should say in the fertilizer pre-industry, since we're not exactly talking about current day DuPont levels of production. What do you think? Practical or would I be stretching things too far?

Taylor Anderson: I haven't done "snip! pets," b ut I still get a lot of suggestions and speculation on my web site and through direct contacts. I think it's fun and exciting that so many people are thinking about our books. Some of the suggestions are a little strange--okay, sometimes all I can do is just stare--but Destroyermen is a kind of strange story! The contrast between "They couldn't really do that," and "Why don't they have atomic weapons yet?" from one contact to the next can be amusing though. Things take time, particularly when your characters have to find the things to build the things to build the things they need.

If you're asking my opinion on propellants, I'd have to suggest sticking with black powder for a while. Your caplock breechloaders will be easy to convert, certainly. I'm converting rifle-muskets to a type of "Allin" breechloader myself. But you can actually get better performance out of black powder in such weapons since they weren't designed (or alloyed and treated) for the highe! r pressures "smokeless" produces. You'd have to make some major leaps in metallurgy to support jacketed bullets as well, and without them, you're stuck with black powder velocities anyway. Besides, your battles are so much more artistic with plenty of fire and smoke!

Of course, then comes logistics! Ha! As you always show so well, getting "new" stuff to the pointy end--and supplying it--is the greatest challenge of all…but then that's pretty fun to write and read about too, isn't it? Wow. I can't wait to be taunted with what you Langhorne stashed! People who know we are friends ask me all the time what "it" is and don't really believe me when I tell them "I don't know!" If I did, I wouldn't rat--and I don't WANT to know until it unfolds on the pages in front of me!

David Weber: I'm inclined to stick with black powder for small arms for quite a while, for a lot of reasons, including the ones you've mentioned. I'm not too sure abou! t how major a jump I'd have to make to support jacketed bullet! s--the S afehold-ian tech structure doesn't match up perfectly with any particular, in Earth's history, thanks to all of the "technologies without the science" tucked away in the Holy Writ. That means it wouldn't be beyond the reach of allowable technologies (and Safehold-current techniques) to form copper jackets and then compress the lead into them. I'm inclined to agree with you about the conversion process, and I'm also inclined to think that converting the smokeless powders would also require a drop in caliber, if I want to take advantage of the higher velocities flatter trajectories without beating my poor riflemen to death!

I was looking at improved propellants more from the perspective of naval gunnery, field artillery, and shell-fillers (I know, I know--not a "propellant". So sue me!) and that sort of thing. Can't have really long-range gunnery without predictable propellant burn times, and I don't think I can get that kind of quality control out of black po! wder. At the same time, I have to be thinking in terms of reasonably attainable technologies. And you'd better believe I plan on putting my head together with yours when I actually start converting to cartridges and repeaters!

Of course, my life is even more interesting in the next couple of months than yours is, because I [he said, blushing modestly and looking down at his toes] have a new book coming out in October, as well! I finally got around to writing that young adult novel I've wanted to write for so long for Baen's publishing, A Beautiful Friendship, next month. Trust me; it's a very different change of pace from the Safehold books!

Taylor Anderson: Oh I know about A Beautiful Friendship, you prolific devil. I've already pre-ordered it too. You're right of course. No real reason why better steels would be proscribed I guess. That's what I meant about jacketed bullets, by the way. Not the bullets themselves, but the ! barrels that will have to survive them--especially if you incr! ease you r rate of fire dramatically! Hehe. Once you eliminate that gas-gushing vent in a muzzle-loader, black powder is amazingly consistent in cartridges--but you still need a whopping heavy (and abusive) bullet to carry your energy along. Flat shooters they ain't.

It's no secret that "my" Destroyermen have been working on guncotton and other things. They have the recipe--from that same, valuable little manual we both have!--but the recipe needs a little adjustment when you're not sure what to use for cotton, for example!

Experimentation can be exciting, and a lot of the fun is letting the characters come up with their own angles. Like I've said, as capable as my Destroyermen are, there are a lot of things they don't know how to do, and they often come up with weird, "wrong," but adequate procedures. Also, with their fascination for gizmos, the Lemurians are beginning to come up with some slap your forehead notions and applications that might never have occurred ! to humans--which begs the question: why did they occur to me?

I'm all for juicing up naval artillery--or any artillery at all, as you know--but at sea, particularly, greater range is wasted without some advanced means of fire control. Even rifling won't help much. It's all in the timing, if you know what I mean. Oh, I've got the perfect repeater for you! I can't--actually won't use it--for the same reason I won't use another conversion we discussed, and I would love to see you use (hint). They just wouldn't make sense for my guys and their different starting point. For YOU however…they might even pass the proscriptions!

David Weber: Oh, yeah. I just finished, like a week or so ago, posting somewhere around a 5,000-word dissertation on the requirements for long-range naval gunnery on the Safehold forum on my website, because some of my readers were wondering how soon the Imperial Charisian Navy is going to go to long-range gunnery,! by which some of them seemed to be thinking 20,000 or 30,000 ! yards. I had to explain that without centralized fire control to make sure all guns fired at exactly the right moment and on the right bearing, without inclinometers to be sure they fired at the right point in the ship's roll, without the ability to predict target movement, without accurate range-finding, and--especially--without predictable and repeatable propellant burn times (not to mention monitoring board erosion, temperature, humidity, propellant temperature, etc.), accurate naval gunnery at anything much over 6,000 yards is going to be problematical at best. I think that sort of "taking things for granted" is part of the price we pay for living at the "user end" of a technological world in the first place, but it starts coming home to you when you do the kind of thing you and I are doing in our books which is trying to build a technological infrastructure from scratch and figuring out how the wheel was invented in the first place!

Although, you know, thinking about i! t, what we're both doing in our different ways that's even more significant than the technology, I think, is looking at the values of the fictitious societies we've created. When you come down to it, technology is just tools -- it's what people do with those tools that distinguishes them from one another. Dark Age mentalities can do terrifying amounts of damage with modern technology. God knows we've seen enough of that in recent years, haven't we? I first came up with the concept for the Safehold books something like twenty years ago, and I've been mostly faithful to that original concept, but I can't pretend it hasn't been modified by things that have happened in the real world since. I actually make an effort to avoid having that happen, but I don't think any author can do that, really. After all, we live in the real world! But what my heroes are doing on Safehold and what your Destroyermen and their allies are doing on your alternate Earth is trying to push back the dar! kness, and I think that's the real reason a lot of their fans ! want to know what happens next in both universes. I know I sure do, at any rate!

Taylor Anderson: Ha! Few things could be more difficult to comprehend than all the variables that prevent accurate long range naval gunnery. Just figuring out all those variables is hard enough, and then compensating for them all presents an incredibly daunting challenge. The first "modern" computers, in all their complexity, were devoted to just that. Powered torpedoes add even more wild variables. I'll have to read your post to see how you managed to explain it all in a mere 5,000 words! I imagine that if anyone could do it, it would be you!

Ultimately however, I couldn't agree with you more; the people are the story. The technology is fun to research, bend to our specific applications, write about, and kick around with each other, but our characters--defined by their character--drive the stories. The "Safehold" and the people who inhabit it, that Nimue Alban! 's…memories…awoke to was every bit as alien as the world Matt Reddy and his crew of USS Walker encounter in Destroyermen. Both worlds are as remote as they can possibly be to what they knew before, and full of unfamiliar threats and challenges. It is how they--and those around them--deal with their apparently insurmountable obstacles that form the "souls" of each story. Both have a vision for how best to protect and secure the people--and worlds--they have inherited, and both are determined to accomplish their task regardless of the cost, particularly to themselves. In this day and age, it may seem quaint to some that people might be so determined to "do the right thing, as they see it, when nobody is looking," in a sense. But I believe that quality is still admired, and is, I hope, the most resonant chord we have struck with both our tales.

I cannot recommend Taylor Anderson too highly." -David Weber, author of Out of the Dark

L! ieutenant Commander Matthew Reddy and the crew of the USS W! alker find themselves caught between the nation they swore to defend and the allies they promised to protect. For even as the Allies and the Empire of New Britain Isles stand united against the attacks of both the savage Grik and the tenacious Japanese, the "Holy Dominion"-a warped mixture of human cultures whose lust for power overshadows even the Grik-is threatening to destroy them both with a devastating weapon neither can withstand.

"A raging forest fire in California's Lassen Volcanic National Park traps exhausted firefighters, including Ranger Anna Pigeon, in its midst. Afterward, Anna finds two from her group have been killed. One a victim of the flames. The other, stabbed through the heart. Now, as a rampaging winter storm descends, cutting the survivors off from civilization, Anna must uncover the murderer in their midst.A raging fire in a national park seems an unlikely setting for a murder, but that's exactly the circumstances that crime-fighting park ran! ger and medic Anna Pigeon confronts in this mystery thriller. A suspicious fire breaks loose in Northern California's Lassen Volcanic Park and Pigeon assists in battling the blaze and treating the wounds of other fire fighters. As if that's not enough, Pigeon finds herself without food and water trapped with a group of fire fighters, one of whom is a murderer. She tries to figure out who the culprit is before he, or the weather, strikes again.

His mother is not his mother. His father is not his father. And if Jack he hadn’t broken the high school rushing record that night, nothing would have changed. He’d just be going out for pizza, playing football, trying yet again to score with his girlfriend, P.J.
     But he did break the record. He appeared on the news. And now they have found him.
     Ripped from the only world he has ever known, Jack plunges into a space-timeâ€"bending game of survival with no way out. The rules are shrouded in sec! rets they say he can’t handle. But some things he learns fas! t: Trust no one. Never forget that your friends could reveal themselves as your enemies at any second. Every turn leads to betrayal. And if you don’t go along with it, you die.
     After centuries of abuse, the earth is dying, and it’s up to Jack to reverse the decline before the Turning Point, when nothing will ever be the same again. Beaten into shape by a ninja babe and a huge telepathic man’s best friend, Jack hurtles across the ocean to save the future from the present and to solve the mystery of his purpose. Exactly who, or what, is Firestorm, and what does it have to do with Jack? And what comes next when everything you have ever known turns out to be wrong?

Practical suggestions on how to avoid and overcome the destructive interpersonal conflicts many churches have experienced with leaders, members, and pastors.

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Doubt (movie tie-in edition)

• ISBN13: 9781559363471
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

From Miramax Films comes one of the most honored and acclaimed motion pictures of the year, Doubt. Based on the Pulitzer Prize and Tony Award-winning play, Doubt is a mesmerizing, suspense-filled drama with four riveting performances from Meryl Streep, Philip Seymour Hoffman, Amy Adams and Viola Davis that will have you pinned to the edge of your seat. Sister Aloysius Beauvier (Streep), the rigid and fear-inspiring principal of the Saint Nicholas Church School, suffers an extreme dislike for the progressive and popular parish priest Father Flynn (Hoffman). Looking for wrongdoing in every corner, Sister Aloysius believes she's uncovered the ultimate sin when she hears Father Flynn has taken a special in! terest in a troubled boy. But without proof, the only thing certain is doubt.

"One of the best pictures of the year," (USA Today, Rolling Stone, New York Post, San Francisco Examiner, Roger Ebert).

Bonus Features include From Stage To Screen, Scoring Doubt, The Sisters Of CharityIt's always a risk when writers direct their own work, since some playwrights don't travel well from stage to screen. Aided by Roger Deakins, of No Country for Old Men fame, who vividly captures the look of a blustery Bronx winter, Moonstruck's John Patrick Shanley pulls it off. If Doubt makes for a dialogue-heavy experience, like The Crucible and 12 Angry Men, the words and ideas are never dull, and a consummate cast makes each one count. Set in 1964 and loosely inspired by actual events, Shanley focuses on St. Nicholas, a Catholic primary school that has accepted its first African-American student, Donald Miller (Joseph Foster), who serves! as altar boy to the warm-hearted Father Flynn (Phillip Seymou! r Hoffma n). Donald may not have any friends, but that doesn't worry his mother, Mrs. Miller (Viola Davis in a scene-stealing performance), since her sole concern is that her son gets a good education. When Sister James (Amy Adams) notices Flynn concentrating more of his attentions on Miller than the other boys, she mentions the matter to Sister Aloysius Beauvier (Meryl Streep), the school's hard-nosed principal. Looking for any excuse to push the progressive priest out of her tradition-minded institution, Sister Aloysius sets out to destroy him, and if that means ruining Donald's future in the process--so be it. Naturally, she's the least sympathetic combatant in this battle, but Streep invests her disciplinarian with wit and unexpected flashes of empathy. Of all the characters she's played, Sister Aloysius comes closest to caricature, but she never feels like a cartoon; just a sad woman willing to do anything to hold onto what little she has before the forces of change render her--! and everything she represents--redundant. --Kathleen C. Fennessy


Stills from Doubt (Click for larger image)

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Based on the Pulitzer Prize and Tony Award-winning play, Doubt is a mesmerizing, suspense-filled drama with riveting performances from Meryl Streep, Phillip Seymour Hoffman, Amy Adams, and Viola Davis that will have you pinned to the edge of your seat. Sister Aloysius Beauvier(Streep), the rigid and fear-inspiring principal of the Saint Nicholas Church School, suffers an extreme dislike for the progressive and popular parish priest Father Flynn(Hoffman). Looking for wrongdoing in every corner, Sister Aloysius believes she's uncovered the ultimate sin when she fears Father Flynn has taken a special interest in a troubled boy. But without proof, the only thing certain is doubt.

Now a major motion picture! Starring Meryl Streep, Philip Seymour Hoffman! , and Amy Adams. Written and directed by John Patrick Shanley from his Pulitzer Prizeâ€"winning play.

“The best new play of the season. That rarity of rarities, an issue-driven play that is unpreachy, thought-provoking, and so full of high drama that the audience with which I saw it gasped out loud a half-dozen times at its startling twists and turns. Mr. Shanley deserves the highest possible praise: he doesn’t try to talk you into doing anything but thinking-hard-about the gnarly complexity of human behavior.”â€"Terry Teachout, The Wall Street Journal

“A breathtaking work of immense proportion. Positively brilliant.”â€"Melissa Rose Bernardo, Entertainment Weekly

“#1 show of the year. How splendid it feels to be trusted with such passionate, exquisite ambiguity unlike anything we have seen from this prolific playwright so far. In just ninety fast-moving minutes, Shanley creates four blazingly individual people. Doubt is! a lean, potent drama . . . passionate, exquisite, important a! nd engro ssing.”â€"Linda Winer, Newsday

John Patrick Shanley is the author of numerous plays, including Danny in the Deep Blue Sea, Dirty Story, Four Dogs and a Bone, Psychopathia, Sexualis, Sailor’s Song, Savage in Limbo, and Where’s My Money? He has written extensively for TV and film, and his credits include the teleplay for Live from Baghdad and screenplays for Congo; Alive; Five Corners; Joe Versus the Volcano, which he also directed; and Moonstruck, for which he won an Academy Award for best original screenplay.

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Get Smart's Bruce and Lloyd Out of Control Poster Movie 11x17 Masi Oka Nate Torrence Jayma Mays

• Approx. Size: 11 x 17 Inches - 28cm x 44cm
• Size is provided by the manufacturer and may not be exact
• The Amazon image in this listing is a digital scan of the poster that you will receive
• Get Smart's Bruce and Lloyd Out of Control 11 x 17 Inches Style A Mini Poster
• Packaged with care and shipped in sturdy reinforced packing material

Superstars Billy Crystal, Whoopi Goldberg, and Bette Midler are just some of the big names who laugh it up in this richly funny behind-the-scenes look at the art of creating comedy! When celebrities need a hilarious punchline, they GET BRUCE! -- Bruce Vilanch, the comic writer behind Hollywood's biggest events! As the writer of the Oscars(R), the Emmys, and the Grammys award shows, laugh master Bruce is not only Hollywood's most wanted man, but he's been its best-kept secret ... until now! Featuring outrageous on-screen moments with! Roseanne, Lily Tomlin, Paul Reiser, and many more, this fun film is your all-access pass to Tinseltown's most glittering nights ... with the man who keeps everyone looking like a star!Polls show that the majority of Americans oppose recent US wars and Wall Street bailouts, yet most remain passive and appear resigned to powerlessness. In Get Up, Stand Up, Bruce Levine offers an original and convincing explanation for this passivity. Many Americans are deeply demoralized by decades of oppressive elitism, and they have lost confidence that genuine democracy is possible. Drawing on phenomena such as learned helplessness, the abuse syndrome, and other psychological principles and techniques for pacifying a population, Levine explains how major US institutions have created fatalism. When such fatalism and defeatism set in, truths about social and economic injustices are not enough to set people free.

However, the situation is not truly hopeless. History tells us that f! or democratic movements to get off the ground, individuals mus! t recove r self-respect, and a people must regain collective confidence that they can succeed at eliminating top-down controls. Get Up, Stand Up describes how we can recover dignity, confidence, and the energy to do battle. That achievement fills in the missing piece that, until now, has undermined so many efforts to energize genuine democracy.

Get Up, Stand Up details those strategies and tactics that oppressed peoples have successfully employed to gain power. We the People can unite, gain strength, wisely do battle, and wrest power away from the ruling corporate-government partnership (the "corporatocracy"). Get Up, Stand Up explains how.Polls show that the majority of Americans oppose recent US wars and Wall Street bailouts, yet most remain passive and appear resigned to powerlessness. In Get Up, Stand Up, Bruce Levine offers an original and convincing explanation for this passivity. Many Americans are deeply demoralized by decades of oppressive elit! ism, and they have lost confidence that genuine democracy is possible. Drawing on phenomena such as learned helplessness, the abuse syndrome, and other psychological principles and techniques for pacifying a population, Levine explains how major US institutions have created fatalism. When such fatalism and defeatism set in, truths about social and economic injustices are not enough to set people free.

However, the situation is not truly hopeless. History tells us that for democratic movements to get off the ground, individuals must recover self-respect, and a people must regain collective confidence that they can succeed at eliminating top-down controls. Get Up, Stand Up describes how we can recover dignity, confidence, and the energy to do battle. That achievement fills in the missing piece that, until now, has undermined so many efforts to energize genuine democracy.

Get Up, Stand Up details those strategies and tactics that oppressed peoples have succ! essfully employed to gain power. We the People can unite, gain! strengt h, wisely do battle, and wrest power away from the ruling corporate-government partnership (the "corporatocracy"). Get Up, Stand Up explains how.Polls show that the majority of Americans oppose recent US wars and Wall Street bailouts, yet most remain passive and appear resigned to powerlessness. In Get Up, Stand Up, Bruce Levine offers an original and convincing explanation for this passivity. Many Americans are deeply demoralized by decades of oppressive elitism, and they have lost confidence that genuine democracy is possible. Drawing on phenomena such as learned helplessness, the abuse syndrome, and other psychological principles and techniques for pacifying a population, Levine explains how major US institutions have created fatalism. When such fatalism and defeatism set in, truths about social and economic injustices are not enough to set people free.

However, the situation is not truly hopeless. History tells us that for democratic movements to get off! the ground, individuals must recover self-respect, and a people must regain collective confidence that they can succeed at eliminating top-down controls. Get Up, Stand Up describes how we can recover dignity, confidence, and the energy to do battle. That achievement fills in the missing piece that, until now, has undermined so many efforts to energize genuine democracy.

Get Up, Stand Up details those strategies and tactics that oppressed peoples have successfully employed to gain power. We the People can unite, gain strength, wisely do battle, and wrest power away from the ruling corporate-government partnership (the "corporatocracy"). Get Up, Stand Up explains how.Get Smart's Bruce and Lloyd Out of Control reproduction Approx. Size: 11 x 17 Inches - 28cm x 44cm Style A mini poster print

Pop Culture Graphics, Inc is Amazon's largest source for movie and TV show memorabilia, posters and more: Offering tens of thousands of items to choose from! . We also offer a full selection of framed posters..

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Captivity

• ISBN13: 9780895873538
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

CAPTIVITY - DVD MovieWhen someone releases the chimpanzees at the South Carolina Primate Project, its director, Dana Armstrong, is forced to confront the complexity of both her past and the present as she struggles to preserve the chimps' sanctuary.

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Appaloosa

• In Marshal Virgil Cole and deputy Everett Hitchs line of work, you shoot quick, you shoot clean, and you reload straightaway. No remorse. No looking back. No feelings. Feelings get you killed. Paired as rivals in A History of Violence, Ed Harris (who also directs, produces and co-scripts) and Viggo Mortensen stand together as longtime friends and for-hire peacekeepers Cole and Hitch in this charac

In Marshal Virgil Cole and deputy Everett Hitchs line of work, you shoot quick, you shoot clean, and you reload straightaway. No remorse. No looking back. No feelings. Feelings get you killed. Paired as rivals in A History of Violence, Ed Harris (who also directs, produces and co-scripts) and Viggo Mortensen stand together as longtime friends and for-hire peacekeepers Cole and Hitch in this character-driven, bullet-hard Western based on Robert B. Parkers novel. Blood will spill in the town called Ap! paloosa.The Western has been an endangered species, on and off, for something like 40 years now. Welcome to Appaloosa, Ed Harris's film of the Robert B. Parker novel--first because it exists at all, but even more because Harris as star, director, and co-screenwriter (with Robert Knott) has managed to bring it to the screen with no hint of fuss or strain, as if the making of no-nonsense, copiously pleasurable Westerns were still something Hollywood did with regularity. Harris plays Virgil Cole, one of those ace gunfighter-lawmen whose name need only be mentioned to make a saloon go still. Cole and his shotgun-toting partner Everett Hitch (Viggo Mortensen) accept a commission to enforce law and order in the New Mexico town of Appaloosa. That basically means protect it from rapacious rancher Randall Bragg (Jeremy Irons, looking right at home on the range), who murdered the previous town marshal like swatting a fly. Life becomes complicated when, about the time Bragg h! as been jailed to await trial, a fancy-dressing piano player c! alling h erself Mrs. French (Renée Zellweger) steps down off the train. Cole commences to have feelings, and as he ruefully reminds Hitch, "Feelin's can get ya killed."

In his second directorial effort (following the 2000 biopic Pollock), Harris takes his cue from novelist Parker's often deadpan-comic touch, allowing action and character to accumulate in accordance with an overall eccentric rhythm. (The film's main disappointment is that it would benefit from more running time to allow things to stew a bit longer, especially in the second half.) The character work is choice, from the moment Tom Bower, James Gammon, and Timothy Spall step into view as Appaloosa's civic leaders; the director's father Bob Harris contributes a cameo as a mellifluous-tongued circuit judge, and an age-thickened Lance Henriksen turns up midfilm as gunman Ring Shelton, trailing affability and menace. In collaboration with Dances With Wolves cameraman Dean Semler, Harris sets up shots an! d scenes in such a way that we often see into and out of Appaloosa's various buildings simultaneously, to excellent dramatic and atmospheric effect, and there's a thrillingly vertical dynamics to a scene involving a train at an isolated water stop. The action is lethal when it needs to be, but never dwelt upon. "That was over quick," Hitch observes after one gun battle. Cole's response says it all: "Everybody could shoot." --Richard T. Jameson

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