Meet Bryn, the self-proclaimed unluckiest girl in the world. She lives for sailboat racing, but doesnt own a boat. She has friends, but none who arent crazy. Her Dad hates his job. Her Mom hates anything fun. But when an eccentric old salt turns up at their yard sale, Bryns life is about to set an entirely new course.
This volume continues to explore the life of Nigel Quiney during the decade of the nineteen-seventies. Both his companies - Nigel Quiney Designs, and Ridley Quiney & Co Ltd - are successful and expanding. By then the decade of the 'sixties and Swinging London was maturing and London had become an extremely popular tourist destination drawn to the creativity of the theatre, music, fashion, designs and the arts generally. It was in this decade that Nigel began to explore the Far East as a source for new products and suppliers for the family business of RQ and Hong Kong was the first of many destinations that he explored. Later in 1976, having accepted one of the official invitations to visit China he flew the tortuous journey to Peking and then by train to Dairen and then Tientsin. In Dairen he was privileged to be shown the underground tunnels and excavations which took many years to create and were part of a defence system should the Russians invade. Back in Peking he was wandering around filming in Tiananmen Square which was packed with people and giant wreaths out to commemorate the death of Chou En-Lai. He was ushered away by his Chinese interpreter just before the authorities swooped and confiscated all film and arrested the few foreigners who were later jailed. He had escaped by just minutes. The same year Nigel was introduced to the amazing aspects of Bombay and touring Rajasthan by car. There he stayed at several palaces that had only just been turned into hotels where he and his two friends were the only guests. In the latter part of this decade Nigel explored Singapore, Malaysia, Thailand, The Philippines, Indonesia and South Korea looking for new suppliers which culminated in Ridley Quiney being the first importer of throw-away thin carrier bags into the UK. This memoir also records the love affair between Nigel and an American pop singer which sadly failed even after trips to Moscow and Ibiza. Later another affair, was also doomed. This was also the decade when industrial unrest in coal mining, steel production and manufacturing was producing strikes as the demand and competition from abroad threatened their survival. Also the decade when our various governments seemed unable to deal with these problems to the point that the UK was likened to a Banana Republic.Nigelaas love affair with America blossomed and in this period he took on the share of a flat in New York previously used by his friend, the musician and composer, Richard Rodney Bennett. In this exciting city Nigel promoted his Nigel Quiney Design products by taking space annually at trade shows and when not working took full advantage of the cityaas varied gay life. In Los Angeles, Nigel continued his close relationship with Edward and Gillian Thorpe and introduced his widowed mother to these trips where she became very much part of the entourage.
Originally published in 1961 by the founder of Rodale Inc., The Synonym Finder continues to be a practical reference tool for every home and office. This thesaurus contains more than 1 million synonyms, arranged alphabetically, with separate subdivisions for the different parts of speech and meanings of the same word.
This frank and honest memoir follows the life of Nigel Quiney aged twenty-one returning to London from the USA. He re-joins the family business of paper importers Ridley Quiney & Co. and leaves home. The new decade of the 'sixties is an exciting time and gay life is beginning to be more interesting, with more clubs and bars and even places where dancing is possible, subject to police raids. With his own studio he now has the freedom to entertain friends and it is in this period that he falls in love with Gordon Heath, the American actor/singer and begins a torrid affair with him. When this relationship finally finishes he resumes again his interest in design which culminates in his producing a range of unique gift-wrapping papers which immediately become best sellers. Thanks to the politics of the family business his gift-wraps were not taken up and thus he created his own business, Nigel Quiney Designs. This launches him into the excitement of Swinging London with increasing sales both at home and across the USA. With an expanding business he travels back to the USA where he indulges in the expanding gay life in New York and Los Angeles as well as promoting his gift-wrapping papers. In holiday times he discovered the joys of being gay in Ibiza and Morocco at a time when little tourism existed there. In the mid-sixties he meets Ted and Gillian Thorpe. She, under the name of Eliot George wrote one of the first gay novels to be published - The Leather Boys, subsequently made into a successful film. Later when she was furthering her career by writing screen plays in Hollywood she and Nigel met. The following year Ted was looking for someone to share expenses when he planned to cross the USA in his Lotus Elan and Nigel put himself forward as his traveling companion. This started a life-long friendship and the two cross country drives produced many memorable and hilarious situations at a time when the English were a very rare event for Americans to come across. This is the second of four memoirs.
What do Howard Hughes and 50 Cent have in common, and what do they tell us about Americans and our desires? Why did Sean Connery stop wearing a toupee, and what does this tell us about American customers for any product? What one thing did the Beatles, Malcolm Gladwell and Nike all notice about Americans that helped them win us over? Which uniquely American traits may explain the plights of Krispy Kreme, Ford, and GM, and the risks faced by Starbuck's? Why, after every other plea failed, did "Click It or Ticket" get people to buy the idea of fastening their seat belts? To paraphrase Don Draper's character on the hit show Mad Men, "What do people want?" What is the new American psyche, and how do America's shrewdest marketers tap it? Drawing from dozens of disciplines, the internationally acclaimed marketing expert Harry Beckwith answers these questions with some surprising, even startling, truths and discoveries about what motivates us.
In I Don’t Know What I Want . . . But I Know It’s Not This, career consultant Julie Jansen won over readers with the same comforting, clear headed approach that she brings to her many Fortune 500 clients. Now she tackles a problem that affects every working person, regardless of occupation: difficult people. Whether the problem is an "abusive" boss, "toxic" coworker, or "difficult" assistant, Jansen shows how to master the eleven keys to getting along with even the most dysfunctional colleagues. Featuring self-assessment exercises designed to identify the root causes of problem behavior and smart, viable solutions and tips for managing different kinds of difficult people—from subordinates to superiors—this invaluable resource is a savvy, humane guide to reducing stress, establishing workplace harmony, and making sure that no one stands in the way of your career goals.
"By legitimizing a stark, one-size-fits-all industrial model of education, the No Child Left Behind legislation has denied the inherent complexity and richness of what teachers do. Discussing teaching in terms of chaos theory, Dexter Chapin explains that while excellent teaching may occur at the edge of chaos, it is not chaotic. There are patterns common to master teachers that connect the components of effective teaching to give meaning and stability to the classroom, allowing master teachers to get up morning after morning and make a genuine, positive difference in students' lives. Master Teachers presents teaching as a complex, adaptive exercise undertaken at the edge of chaos where creativity and invention are maximized."--BOOK JACKET.
Richard Rodgers was an icon of the musical theater, a prolific composer whose career spanned six decades and who wrote more than a thousand songs and forty shows for the American stage. In this absorbing book, Geoffrey Block examines Rodgers’s entire career, providing rich details about the creation, staging, and critical reception of some of his most popular musicals. Block traces Rodgers’s musical education, early work, and the development of his musical and dramatic language. He focuses on two shows by Rodgers and Hart (A Connecticut Yankee and The Boys from Syracuse) and two by Rodgers and Hammerstein (South Pacific and Cinderella), offering new insights into each one. He concludes with the first serious look at the five neglected and often maligned musicals that Rodgers composed in the 1960s and 1970s, after the death of Hammerstein.
ONE OF THE NEW YORK TIMES 10 BEST BOOKS OF THE YEAR • Titled after perhaps Stephen Sondheim's most autobiographical song, from Sunday in the Park with George—Finishing the Hat not only collects his lyrics for the first time, it offers readers a rare personal look into his life as well as his remarkable productions. Stephen Sondheim’s career spanned more than half a century; his lyrics are synonymous with musical theater and popular culture. Sondheim—the winner of seven Tonys, an Academy Award, seven Grammys, a Pulitzer Prize and more—treats us to never-before-published songs from each show, songs that were cut or discarded before seeing the light of day, along with the lyrics for all of his musicals from 1954 to 1981, including West Side Story, Company, Follies, A Little Night Music and Sweeney Todd. He discusses his relationship with his mentor, Oscar Hammerstein II, and his collaborations with extraordinary talents such as Leonard Bernstein, Arthur Laurents, Ethel Merman, Richard Rodgers, Angela Lansbury, Harold Prince and a panoply of others. The anecdotes—filled with history, pointed observations and intimate details—transport us back to a time when theater was a major pillar of American culture. Best of all, Sondheim appraises his work and dissects his lyrics, as well as those of others, offering unparalleled insights into songwriting that will be studied by fans and aspiring songwriters for years to come. Accompanying Sondheim’s sparkling writing are behind-the-scenes photographs from each production, along with handwritten music and lyrics from the songwriter’s personal collection. Penetrating and surprising, poignant, funny and sometimes provocative, Finishing the Hat is not only an informative look at the art and craft of lyric writing, it is a history of the theater that belongs on the same literary shelf as Moss Hart’s Act One and Arthur Miller’s Timebends. It is also a book that will leave you humming the final bars of Merrily We Roll Along, while eagerly anticipating the next volume.