When Troy Parker returns home, a pregnant Casey Owens rejects him outright asserting he lost his right to honesty when he abandoned her to pursue his fortune in Kentucky. Jimmy Sweeney, friend and ally to Casey, never cared for Troy and is more than willing to take part in her deception. Jack Foster has a few tricks of his own, beginning with reconciling his daughter Felicity Wilkins with the Foster family. Her mother, Delaney Wilkins, wants nothing to do with family reunions, knowing some relations are best left buried. But as time passes, lies unravel. Casey can no longer deny her feelings for Troy and confronts him about the pregnancy. Felicity is doing some confronting of her own now that she’s learned a disturbing truth. Yet it’s Delaney's confession that causes families to collide as folks take sides, shattering both past and future generations, ensnaring Casey and Felicity in painful complications for which neither is prepared... Family feuds run deep and wide, threatening even the most solid of unions. Find out who survives the perils in this chapter of Ladd Springs…
Sweetie Ladd was Fort Worth's own "Grandma" Moses, a folk artist who captured the city's history in watercolor and lithograph. In her sixties when she began painting, Ladd once told a fellow artist she didn't know how she achieved her distinctive style. "Just paint poorly, dear," she advised. In truth, she had attended painting workshops in Paris, Spain, and Mexico and studied under Fort Worth artist Bror Utter. After she took a class on perspective, her teacher advised her to discontinue formal training and paint what came naturally. Sweetie Ladd's Historic Fort Worth presents twenty-eight paintings from the Landmark Series, paintings of historic Fort Worth structures, many of which no longer stand today: the T&P Station, Lake Como Pavilion, the Nine-Mile Bridge Casino, the Worth Hotel, the lobby of the Majestic Theater, Goat Island, and the Lake Erie Interurban. The book also contains the "Cries of Fort Worth" series based on Wheatley's "Cries of London." These ten paintings portray such old-time peddlars as the ice man, the scissor man, the bottleman, and the tamale seller. Ladd didn't simply draw the buildings or landmarks. She put them in an action setting. "The Day Fort Worth Burned" shows several young children watching the flames from a field. Two of the children are Sweetie Ladd and her sister, who were in that very field that day. Two young boys also watching could have been the Monnig brothers, Otto and Oscar. She remembered they were there that day. Other pictures include names longtime Fort Worth residents will find familiar: the horse-drawn Ballard Ice Cream Truck passes in front of the Scott home, now known as Thistle Hill; Mrs. Baird's Bread is the sign on a horse-drawn carriage in "The Breadman"; a Stripling's delivery cart is in front of the J. E. Moore home (now part of the Woman's Club); a horse-drawn funeral procession passes in front of the old Washer Brothers building; and Fuqua's Grocery sits next to Anderson Drugs in "Extra--Extra," one of the "Cries" series in which a young boy passes out the Fort Worth Star-Telegram. Sweetie Ladd's paintings were shown at the Woman's Club of Fort Worth and accepted in juried shows of the University of Texas at Arlington, the Fort Worth Art Museum, and the Texas Fine Arts Association. These historical paintings are now owned by the Fort Worth Public Library and have been reproduced with their cooperation. Cissy Stewart Lale's text elucidates each painting, explaining details and their historical significance. The book begins with brief essays on Mrs. Ladd and Fort Worth history.
After years of battling the Ladd family, Annie Owens has finally procured her daughter’s legacy, title to Ladd Springs, a mecca of streams and springs in the eastern Tennessee mountains—only she can’t afford to keep it. Cal Foster’s father owns the biggest bank in town and has devised a way to help Annie retain the property, but when hotel developer Jillian Devane offers to buy the land outright, Annie is torn. She’s tempted by the huge sum of money—money that will secure her daughter Casey’s future, something Cal cannot guarantee. According to Annie’s sister, Lacy Ward, an insider with the Ladd family, Jillian’s proposal is tainted by revenge—the depth of which Annie has no idea. She only knows the woman is out to compete with the upcoming Ladd hotel making any deal with Jillian Devane tantamount to betrayal. When Cal is offered a position with Hotel Ladd, Annie is backed against a wall. Selling to Jillian will end any hope for a future together with Cal, a man she has come to love. But it isn’t until Casey’s romance with Troy Parker blows apart that Annie’s decision is made. Will “selling out” exile Annie from the Ladd family, including any chance for happiness with Cal Foster? Or can she find a way to make amends, ending a long-standing feud once and for all? Find out in this episode of Ladd Springs...
Felicity Wilkins might own Ladd Springs but when Jeremiah Ladd struts back into town with retaliation on his mind, she realizes how little her possession means. Not far behind him, Jillian Devane arrives on scene and between the two of them, everything Felicity holds dear is in jeopardy. Travis Parker knows the players and knows the law. Problem is, Jeremiah and Jillian don’t play by the rules and thwart his every effort to bring them to justice. Complicating the situation is the impending trial against Travis' twin brother Troy. Jack Foster continues to pursue his revenge against Troy, aided by his mother, Victoria. It's a battle that threatens to blow up the small town until a secret box of letters discovered in an attic changes everything. Cal Foster alone understands the valuable find, and uses it to protect his new family from the bloodlust of past quarrels they had nothing to do with. But one explosive evening on hotel property threatens Felicity’s entire world, throwing her at odds with Travis, and placing her life in grave danger. Will Jeremiah and Jillian finally exact their revenge on Hotel Ladd? Will Jack and Victoria prevail in their vendetta? Family feuds pack a powerful punch leaving no one untouched in the grand finale, Losing Ladd...
Behind Closed Doors A fascinating account of the challenges, failures, and triumphs of three men and one woman, beginning in high school seminary days. Set against the backdrop of todays turbulent conflicts over celibacy, challenges to authority, sexual revolution, and church politics, the fictional memoirs, Behind Closed Doors, follows the lives principally of engaging characters through youth and beyond in the San Francisco Bay Area and in worldwide intrigue. Ladd Franklin is enamored of Willow Caprice, a classmates sister, with whom he strikes up a controversial friendship in the seminary and during his priesthood. Ladd enters the field of international relief services. This assignment brings him into critical episodes on several continents. Eventually, he contends with Soviet Union officials and is present in St. Peters Square at the time of the assassination attempt on Pope John Paul II. David Carmichael is ambitious, looking forward to advancing his career, interacting with his two colleagues throughout these episodes. David is continually opposed by members of GOD (Guardians of Doctrine). The third major protagonist is Tyler Stone, sensitive and caring, who finds the demands of celibacy particularly burdensome. In the course of his priesthood, Tyler is accused of sexual molestation and is brought to trial. The novel dramatically explores the turmoil convulsing the Church and the world in the new millennium. Behind Closed Doors makes for very interesting reading. I hope the author writes more. John R. Quinn, archbishop emeritus of San Francisco and author of Ever Ancient, Ever New: Structures of Communion in the Church
Grad student, Lisa Richardson, scours the high country in search of her beloved boreal toad. The amphibian is in danger of extinction, a fate she is determined to change. Single-minded in her focus, Lisa doesn’t realize that she’s being followed by a mysterious stranger. Enter McIntyre Walsh. Ex-marine with a heart of gold, this man lives and breathes duty. Protection. Content with his self-exile on a mountaintop in Colorado, he inadvertently witnesses a female hiker in danger, a situation he cannot ignore yet is unable to rectify. When their paths cross, Lisa and Walsh refuse to stray from their avowed goals and carry on—despite the other. It isn’t until a killer ramps up his game that both are forced to relent. Battling the rugged terrain of the Rocky Mountains and an undeniable attraction between them, Lisa and Walsh must work together against the odds if they intend to get off the mountain alive.
Site-specific performance – acts of theatre and performative events at landscape locations, in village streets, in urban situations. In houses, chapels, barns, disused factories, railway stations; on hillsides, in forest clearings, underwater. At the scale of civil engineering; as intimate as a guided walk. Leading theatre artist and scholar Mike Pearson draws upon thirty years practical experience, proposing original approaches to the creation and study of performance outside the auditorium. In this book he suggests organizing principles, innovative strategies, methods and exercises for making theatre in a variety of contexts and locations, and through examples, case studies and projects develops distinctive theoretical insights into the relationship of site and performance, scenario and scenography. This book encourages practical initiatives in the conception, devising and staging of performances, while also recommending effective models for its critical appreciation.
Smart. Funny. Fearless."It's pretty safe to say that Spy was the most influential magazine of the 1980s. It might have remade New York's cultural landscape; it definitely changed the whole tone of magazine journalism. It was cruel, brilliant, beautifully written and perfectly designed, and feared by all. There's no magazine I know of that's so continually referenced, held up as a benchmark, and whose demise is so lamented" --Dave Eggers. "It's a piece of garbage" --Donald Trump.
One of the movies' greatest actors and most colorful characters, a real-life tough guy with the prison record to prove it, Robert Mitchum was a movie icon for an almost unprecedented half-century, the cool, sleepy-eyed star of such classics as The Night of the Hunter; Heaven Knows, Mr. Allison; Cape Fear; The Longest Day; Farewell, My Lovely; and The Winds of War. Mitchum's powerful presence and simmering violence combined with hard-boiled humor and existential detachment to create a new style in movie acting: the screen's first hipster antihero-before Brando, James Dean, Elvis, or Eastwood-the inventor of big-screen cool. Robert Mitchum: "Baby, I Don't Care" is the first complete biography of Mitchum, and a book as big, colorful, and controversial as the star himself. Exhaustively researched, it makes use of thousands of rare documents from around the world and nearly two hundred in-depth interviews with Mitchum's family, friends, and associates (many going on record for the first time ever) ranging over his seventy-nine years of hard living. Written with great style, and vividly detailed, this is an intimate, comprehensive portrait of an amazing life, comic, tragic, daring, and outrageous.
