Background
Huston, John was born on August 5, 1906 in Nevada, Missouri, United States. Son of Walter and Rhea (Gore) Huston.
(In response to the countless requests to reprint the last...)
In response to the countless requests to reprint the last complete edition of DeadBase, this anniversary edition contains a complete reprint of DeadBase XI plus 400 new pages of updates to the master list of Grateful Dead shows, updates to GarciaBase and WeirBase, and new sections for NedBase, Phil Lesh and Friends, The Dead, and Furthur. Along with new reviews, photos and a brand new discography, this book continues the tradition of providing the most complete collection of Grateful Dead related data available.
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(Wise Blood: A Re-Consideration is a collection of ninetee...)
Wise Blood: A Re-Consideration is a collection of nineteen new essays on Flannery O'Connor's 1952 novel about the spiritual journey of a young man raised in a fundamentalist Christian family. Following the pattern of previous books in the Dialogue series, it offers analyses by established and emerging scholars in North America. The volume comprises five sections: Religious and Philosophical Thought; Comedy, Humor, and Animality in Wise Blood; Influences on Wise Blood; Structural Issues; and Gender, Culture, and Genre. An intensely religious novel by a Catholic author, Wise Blood continues to draw keen attention from literary scholars, theologians, preachers, and lay readers. This volume encompasses many new critical perspectives that will encourage greater insights, deeper understandings, and further investigations of the complexities of O'Connor's modern classic set in the Deep South.
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(If you're a dinosaur, all of your friends are dead. If yo...)
If you're a dinosaur, all of your friends are dead. If you're a pirate, all of your friends have scurvy. If you're a tree, all of your friends are end tables. Each page of this laugh-out-loud illustrated humor book showcases the downside of being everything from a clown to a cassette tape to a zombie. Cute and dark all at once, this hilarious children's book for adults teaches valuable lessons about life while exploring each cartoon character's unique grievance and wide-eyed predicament. From the sock whose only friends have gone missing to the houseplant whose friends are being slowly killed by irresponsible plant owners (like you), All My Friends Are Dead presents a delightful primer for laughing at the inevitable.
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( Rare photographs of Chinatown at the turn of the 20th c...)
Rare photographs of Chinatown at the turn of the 20th century offer priceless glimpses of the rich street life of the district before it was leveled by the great earthquake and fire of 1906. Contains 130 of Genthe's finest Chinatown photos, many painstakingly reproduced from original glass negatives or lantern slides, and complemented with Tchen's text outlining the turbulent history of Chinese-Americans in California.
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(Student Edition, 196 pages Directed by John Huston Produc...)
Student Edition, 196 pages Directed by John Huston Produced by Sam Spiegel John Woolf (uncredited) Screenplay by John Huston James Agee Based on The African Queen by C. S. Forester Starring Humphrey Bogart Katharine Hepburn Robert Morley Music by Allan Gray Cinematography Jack Cardiff Editing by Ralph Kemplen Studio Horizon Pictures Romulus Films Ltd[1] Distributed by United Artists (US) Independent Film Distributors (UK) Release date(s) February 20, 1952 Running time 105 minutes Country United States United Kingdom Language English LOOSE LEAF UNBOUND EDITION NO BINDER.
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( The 18th century was a wealth of knowledge, exploration...)
The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars. The Age of Enlightenment profoundly enriched religious and philosophical understanding and continues to influence present-day thinking. Works collected here include masterpieces by David Hume, Immanuel Kant, and Jean-Jacques Rousseau, as well as religious sermons and moral debates on the issues of the day, such as the slave trade. The Age of Reason saw conflict between Protestantism and Catholicism transformed into one between faith and logic -- a debate that continues in the twenty-first century. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ Library of Congress W012464 Half-title: Mr. Cleaveland's sermon, at the ordination of his son, the Rev. John Cleaveland, Jun. "The charge, given to the Rev. John Cleaveland, by the Rev. Daniel Hopkins, of Salem."--p. [28]-31. "The right hand of fellowship, tendered by the Rev. Daniel Breck, of Topsfield."--p. [32]-34. A confession of faith, submitted to the ordaining council, by Mr. John Cleaveland, Jun. .."--p. [35]-40. Newbury-Port [Mass.] : Printed and sold by John Mycall, [1785]. 40p. ; 8°
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( Manhattan medium Thomas John has been hailed as "the Ho...)
Manhattan medium Thomas John has been hailed as "the Hollywood psychic with the highest batting average" by The Hollywood Reporter, and as a psychic medium with "an impressive connection that impresses even the most skeptical minds" by TheExaminer.com. Now he shares what he's seen and heard on the Other Side. In this book, John shares with us fifteen fascinating stories of what happens when clients ask him to contact their dead friends and relatives. Included here are the story of a 30-something New Yorker who was unable to stop fantasizing about suicide until he conveys healing words from her dead fiancé; an account of an encounter with a grieving young woman in a drugstore--and the message he conveys from her dead six-year-old son; and a disturbing story of an unsolved murder case solved by information he received from the other side. Above all, this is a book filled with comfort, love, forgiveness, and hope. For Thomas John, death is not the end, it is just the beginning. Our friends and relatives are still with us. They care for us. They watch over us. And, in times of particular need, they offer us their help.
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( From George Washington's desire (in the heat of the Rev...)
From George Washington's desire (in the heat of the Revolutionary War) for a proper set of Chinese porcelains for afternoon tea, to the lives of Chinese-Irish couples in the 1830s, to the commercial success of Chang and Eng (the "Siamese Twins"), to rising fears of "heathen Chinee," New York before Chinatown offers a provocative look at the role Chinese people, things, and ideas played in the fashioning of American culture and politics. Piecing together various historical fragments and anecdotes from the years before Chinatown emerged in the late 1870s, historian John Kuo Wei Tchen redraws Manhattan's historical landscape and broadens our understanding of the role of port cultures in the making of American identities. Tchen tells his story in three parts. In the first, he explores America's fascination with Asia as a source of luxury items, cultural taste, and lucrative trade. In the second, he explains how Chinese, European-Americans in Yellowface, and various caricatures became objects of curiosity in the expansive commercial marketplace. In the third part, Tchen focuses on how Americans' attitude toward the Chinese changed from fascination to demonization, leading to the passage of the Chinese Exclusion Acts beginning in 1882.
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(This is a working manuscript dated November 30, 1939. Con...)
This is a working manuscript dated November 30, 1939. Contains a review of the play which opened at the Ethel Barrymore Theater in New York on Novemeber 27, 1939. Also contains the stage directions, dialogue, and changes. Text printed on one side of page only. 121 pages.
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((Easy Piano Vocal Selections). Ten terrific songs from ev...)
(Easy Piano Vocal Selections). Ten terrific songs from everyone's favorite orphan: Annie * Easy Street * I Don't Need Anything but You * It's the Hard-Knock Life * Maybe * A New Deal for Christmas * N.Y.C. * Something Was Missing * Tomorrow * You're Never Fully Dressed Without a Smile.
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( Wild at Heart helped men get their hearts back. Waking...)
Wild at Heart helped men get their hearts back. Waking the Dead will help us all find the life Christ promised. Jesus said, “I have come that they may have life, and have it to the full.” That’s the offer of Christianity, from God himself. Just look at what happens when people are touched by Jesus―the blind see, the lame walk, the deaf hear, the dead are raised to life. In other words, to be touched by God is to be restored. To become all God meant you to be. That is what Christianity is supposed to do for you―make you whole, set you free, bring you fully alive. But Jesus also warned that the path to that life is narrow, and few people would find it. You’ll notice few have. Waking the Dead will help you find that life, see the fierce battle over your heart, and embrace all that God has for you. There is so much more. Do you want it? Praise for Waking the Dead: “John’s words have empowered and encouraged me. I am so grateful that my heart is awake and alive, and I, even as a tender, deeply feminine woman, am fierce and capable of great things . . . of being a vital part of the advancement of the kingdom. And that alone is what my heart is after.” ―Jenny from Columbia, SC “I have been half-alive for too long now . . . I’m awake and alive again; clarity is what I needed. I feel like I just got drenched with cool water on a very hot day.” ―Chris from Colorado Springs, CO “It’s one thing to want a deeper connection with God―it’s a whole different level to realize that my heart is the treasure of God . . . This is a book of incredible wealth.” ―Tim from San Luis Obispo, CA
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Save money with this combo Kindle E-book: 1) The Golden Lions: The Battle of the Bulge My Dad never wanted to be a hero. No war needs to be promoted from the acts of violence and inhumanity. The men, who served in the Battle of the Bulge, need to be remembered for their sacrifice and courage. Survival and duty were the only options. This book is based on truthful events. Many gaps exist in the record. No one knows exactly what happened, except for the men, who experienced the horror. The threads are true from my Dad’s testimony, other men, who served, and the historical record. From my perspective, I hope; this book presents a realistic view of combat and the aftermath for the men, who fought during the Battle of the Bulge, against the Nazis threat for domination. The war changed my Dad and the world. 2) Whispers in the Wind For about 10 years, Amy and Chris lived in a new neighborhood with their friend and neighbor, the Professor. He wasn’t bothersome to anyone, even after he discovered that a destructive force was increasing beneath what was seen. The threat to his friends and others needed to be eliminated at all costs. If destruction came to the city, many would die, unless he responded with his experience and knowledge. An adventure was about to begin into the underworld with unexpected results. 3) Impossible Time An alien race invades the Earth for their hunger and revenge. All flesh must be absorbed. A stranger saves four people and takes them to the time matrix. While they enjoy his hospitality, the aliens invade his sanctuary. All realities are in jeopardy, unless the past is changed. Three are sent back in time to investigate and prevent the disaster. With any decision, interference could cause a change, which initiated the nightmare. The books are also available in paperback formats. Download, read, and review on Amazon. Inform your friends on Twitter and Facebook.
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(Captain Bligh's Portable Nightmare is the account of an e...)
Captain Bligh's Portable Nightmare is the account of an extraordinary journey, a great achievement in the history of European seafaring and a personal triumph for a man that has been misjudged by history -- Captain William Bligh, the supposedly cruel and foul-mouthed commander of The Bounty. John Toohey's account of Bligh's life will re-evaluate the Captain's role as an English hero. At dawn on 28 April 1789, Captain William Bligh and eighteen men from the Bounty were herded onto a 23 foot boat and abandoned in the middle of the Pacific. Captain Bligh's Portable Nightmare is the extraordinary story of the 6,705 kilometre journey that the boat made to Java. It was an amazing feat of navigation and discipline that involved attacks by islanders, continuous storms, crippling illness and near starvation. Through the narration of the journey John Toohey skilfully interweaves the story of Bligh's life and re-evaluates his reputation in history. Like Simon Schama's Dead Certainties, Toohey speculates on the unwritten truths of Bligh's life -- his guilt over Captain Cook's death in Kealakekua Bay, the myths surrounding the Bounty expedition, the trials and retributions that followed his return to England, fighting next to Nelson at the Battle of Copenhagen. John Toohey reveals Bligh as a man of his times, misunderstood by later generations. Combining extensive research with story-telling this is an extraordinary tale, an intriguing biography and a wonderful piece of history.
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( Juárez was Warner Brothers' cinematic attempt to answer...)
Juárez was Warner Brothers' cinematic attempt to answer the major international question of the 1930s: would democracy or dictatorship prevail? Eager to further the foreign policy objectives of its friend Franklin Delano Roosevelt and equally willing to add to its prestigious and profitable biography series, the stuido set a record high budget and assembled special film stock, extensive scholarly research, a loose time schedule, a renowned director, and a stellar cast that included Paul Muni, Brian Aherne, and Bette Davis. The film was meant to be an ideologically clear-cut statement against fascism. The ways in which this artistic propaganda backfired make Juárez a significant historical document for students of film, Latin American history, and U.S. foreign relations.
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(Student Unbound Loose Leaf Edition 215 pages "THE AFRICAN...)
Student Unbound Loose Leaf Edition 215 pages "THE AFRICAN QUEEN" DRAFT SHOOTING SCRIPT. Screenplay by James Agee, John Huston, and Peter Viertel. Based on a novel by C.S. Forester [Student Edition] LOOSE LEAF UNBOUND EDITION NO BINDER.
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Huston, John was born on August 5, 1906 in Nevada, Missouri, United States. Son of Walter and Rhea (Gore) Huston.
Doctor of Humane Letters (honorary), Monmouth College, West Long Branch, New Jersey, 1981.
Huston had begun in movies as a screenwriter: A House Divided (31, William Wyler); Law and Order (32, Edward L. Calm); Murders in the Rue Morgue (32, Robert Florey); Death Drives Through (35, Cahn); Rhodes of Africa (36, Berthold Viertel); Jezebel (38, Wyler); The Amazing Dr. Clitterhouse (38, Anatole Litvak); Juarez (39, William Dieterle); Dr Ehrlich’s Magic Bullet (40, Dieterle); High Sierra (41, Raoul Walsh); and Sergeant York (41, Howard Hawks). Later on, he had a hand in the scripts for The Killers (46, Robert Siodmak); The Stranger (46, Orson Welles); and Three Strangers (46, Jean Negulesco). And as a director, he was usually involved in reworking the scripts he shot.
But Huston showed his allegiance to the golden age in that he preferred to work from proven books and plays. Indeed, sometimes he showed a Selznick-like urge to cover the respectable literary waterfront: Melville, Tennessee Williams, Flannery O’Connor, Arthur Miller, Kipling, C. S. Forester, B. Traven and so on (it’s a surprise that Huston ducked out of the Selznick A Farewell to Anns). There is hardly an original in Huston’s career. Yet the diverse materials are shaped to his vision, as well as to his shortcomings.
Still, there are Huston films that are hard to deny: The Treasure of the Sierra Madre is so happy with its own story it has a chipper fatalism, Walter Huston and Bogart are fine, and you feel you re in Mexico; The Asphalt Jungle is a taut thriller, a model story of a brilliant plan and its certain disaster full of Huston’s strengths—story atmosphere and lively supporting actors: Calhern, Hayden, and Sam Jaffe; Beat the Devil is startlingly loose and free, and very funny—it gets better as time passes—and who else would have dared do it?; Fat City is close to a great film, dark, sordid, despairing, and deeply provincial, free from Huston’s besetting cynicism, and with fine performances from Stacy Keaeh and Jeff Bridges; and The Man Who Would Be King would have pleased Kipling himself . Then there is Moby Dick, a big failure in its day, forced into some awkward process shots, yet beautiful in its windblanched coloring, true to Melville and with Gregory Peck far better than one might have expected.
That’s a rich handful to go with Chinatown, the links to father Walter and daughter Anjelica (very honest actors), the sheer dazzle of his own legend, and the wonder of just how he got away with being thought of for so long as a great director.
He also acted more: good in The Cardinal (63, Otto Preminger) and The Wind and the Lion (75, John Milius), but variously wasted, foolish, and shameless in The Bible (as Noah); De Sade (69, Cy Endfield and Roger Corman); Man in the Wilderness (71, Richard C. Sarafian); Sherlock Holmes in New York (76, Boris Sagal); Angela (77, Sagal); The Great Battle (78, Umberto Lenzi); The Visitor (79. Giuli Parasisi); Jaguar Lives! (79, Ernest Pintoff); Winter Kills (79, William Richert); Head On (80, Michael Grant); narrating Cannery Roic (82, David S. Ward); and Lovesick (83, Marshall Brickman).
( Juárez was Warner Brothers' cinematic attempt to answer...)
( From George Washington's desire (in the heat of the Rev...)
(In response to the countless requests to reprint the last...)
(Captain Bligh's Portable Nightmare is the account of an e...)
( Manhattan medium Thomas John has been hailed as "the Ho...)
(Wise Blood: A Re-Consideration is a collection of ninetee...)
( Rare photographs of Chinatown at the turn of the 20th c...)
(Student Edition, 196 pages Directed by John Huston Produc...)
( The 18th century was a wealth of knowledge, exploration...)
(Save money with this combo Kindle E-book: 1) The Golden ...)
(The authors recount their amazing yearlong journey crossi...)
(Student Unbound Loose Leaf Edition 215 pages "THE AFRICAN...)
(This is a working manuscript dated November 30, 1939. Con...)
(If you're a dinosaur, all of your friends are dead. If yo...)
(Movie starring Humphrey Bogart and Audrey Hepburn. VHS)
(Award Bks 2nd printing 1975 softcover/pb 160pp.)
( Wild at Heart helped men get their hearts back. Waking...)
(Like New covers over Like New Pages. Published by Cherry ...)
(1973 Bantam Mass Market Paperback.)
((Easy Piano Vocal Selections). Ten terrific songs from ev...)
Served to major United States Army, 1942-1945.
Huston was always readv to be presented as the movie director who told manly, energetic stories, and liked to end them on a wry chuckle. He was himself a writer, a painter, a boxer, a horseman, a wanderer, a gambler, an adventurer, and a womanizer. More than most, he relished the game of getting a movie set up and the gamble of out-daring and intimidating the studios. His best pictures reflect those tastes and that attitude and had an expansive, airy readiness for ironic endings, fatal bad luck, and the laughter that knows men are born to fail.
He was assisted in this broad, fetching act by his own rough-hewn face, his gambler's insolence, and his courtly eloquence. He was a character, at least as large as those in his films; there are also stories of a hard, mean streak that did not stop short of cruelty. Roaming all over the world, he could seem Hemingwayesque, though he possessed a serene confidence denied to the writer. And he was such a character that eventually people thought to use him in front of the camera. For lie always had his act: that’s what makes Peter Yiertel’s novel. White Hunter; Black Heart, so fascinating and so frightening. Viertel (who worked on several Huston ventures, including The African Queen) loved and admired the man: but he knew the malign devil who was dangerous to be with.
That’s what makes Huston’s Noah Cross in Chinatown (74, Roman Polanski) one of his greatest gifts to the screen: a man of the West, a pioneer and maker of cities, a realist, a killer, and a man of unflawed confidence and selfishness—a terrible, charismatic paradox, a bastard and an aristocrat.
The act and the legend keep getting in the way of the movies he made. His troubles with MGM over The Red Badge of Courage had been publicized by Lillian Ross in her book Picture and accepted as a fable of individual enterprise thwarted by the stupid system. But Red Badge remains as a series of gracious battle scenes, a noble aspiration, but a folly and a mess. Much later, Huston was reported as devoted to the point of his own extinction, surviving on oxygen, as he shot The Dead (in California). No doubt about the courage or the gambling perseverance. But that movie is muddled and a travesty ol the Joyce story, for all the care and delicacy in art direction and the array of Dublin players.
Yes, Huston was always ambitious to exceed the set limits of American genres, and surely he loved distant and difficult locations (not only for the films, but for the chance of adventure they provided). Yes, he was a born storyteller, and someone who easily got bored with his own movies if the story proved slack or misbegotten. How often? Well, if Huston was a grand or good director, we have to reconcile ourselves to the banality and sheer boredom of. at least. Across the Pacific; We Were Strangers; The Barbarian and the Geisha; Freud: The Secret Passion; The List of Adrian Messenger: The Bible; Sinful Davey; A Walk With Love and Death (the first movie chance for his daughter, Anjelica, yet an ordeal for her, too—a warning even?); The Kremlin Letter; The Life and Times of Judge Roy Bean; The Mackintosh Man; Victory; Phobia; and Annie.
Then there are the famous or alleged successes that crack apart on investigation because of arty pretension (Moulin Rouge and Under the Volcano, for instance) or because of the star-struck kindness of critics. The Maltese Falcon was a striking debut, and it did put Lorre and Greenstreet together, as well as allowing Mary Astor to be Brigid O’Shaughnessy. But it’s overrated, talkv, slow, and often clumsy in its shooting. Bogart goes in and out of moods in uncertainty, and Mary Astor’s Brigid cannot help but illustrate Huston’s misogyny. The African Queen is a beloved film for many, yet is it about real people or the chutzpah of brave casting and actors’ schtick? Prizzi’s Honor has several droll passages, and in casting his daughter as Mae Rose, Huston pulled off a coup and helped heal old wounds. But the picture is so lugubriously slow, and Nicholson seems so unsure about the mood to play it in—-just like Bogart years before (Huston was not known for directing actors—he cast them and watched how the cards played). Nor did Huston see that Richard Condon’s novel might have translated better to the screen if Mae Rose had been at its center.
But Huston never quite trusted women as characters. He married a lot—Evelyn Keyes and the model/dancer Ricki Soma were two of his wives— and there were many affairs. But in the movies women are sometimes nowhere to be seen (Red Badge, Treasure of the Sierra Madre, Moby Dick, and most of The Man Who Would be King—and wouldn’t Huston have preferred a Misfits without Monroe?). Elsewhere they are exotic adornments, prizes for the men, or emblems of treachery as witness Brigid O’Shaughnessy, Monroe in The Asphalt Jungle (an unwitting doll), and Lily Langtry in Roy Bean. There are so few films in which women matter. As for love stories, The African Queen is the best that Huston could do— and that, really, is just another version of Heaven Knows, Mr. Allison, the intriguing but truly safe (because impossible) mismatch, so that love and sex need not be explored. There is no real female challenge to the male smoke-room atmosphere of the films. But there is a list of female onlookers as wan and powerless as Jacqueline Bisset in Under the Volcano, Lauren Bacall in KL'IJ Largo, Elizabeth Tavlor in Reflections in a Golden Eye, and Dominique Sanda in The Mackintosh Man.
Married Evelyn Keyes, July 23, 1946. Married Enrica Soma, 1949 (deceased 1969). Children: Walter Anthony, Anjelica.
Married Celeste Shane, 1972 (divorced 1975).