Not only as an Author but also as an Artist it has always been for me a hard and enduring task to attempt to reflect the true nature or depth of clarity needed, to not only address my own personal struggle with the truth with which I have felt compelled to try to bring into the light, but also to address within the context of this semi-religious story, an attempt to try to explain or at least define a universal truth if only to demonstrate to my readership a somewhat unorthodox approach to a perception of reality that we all question concerning our lives every day, as well as our love, and our losses, and our mortality, and our relationships with each other. As I know that these thoughts and ideas are not simply mine alone, or simply unique to me in my own enduring experience, and so I can only hope and pray that I have at least found a trace of commonality in the writing of this book, that can help to assist and to allow my readership to take particular note of the messages to be found in this the final chapter of the Angel Babies. Clive Alando Taylor
It was very much my intention not to state the name of any particular place in the script as I thought that the telling of the story of the Angel Babies is in itself about believing in who you are, and also about facing up to your fears. The Angel Babies is also set loosely in accordance with the foretelling of the Bibles Revelations. I thought it would be best to take this approach, as the writing of the script is also about the Who, What, Where, When, How and Why scenario that we all often deal with in our ongoing existence. It would also not be fair to myself or to anyone else who has read the Angel Babies to not acknowledge this line of questioning, for instance, who are we? What are we doing here? Where did we come from? And when will our true purpose be known? And how do we fulfil our true potential to better ourselves and others, the point of which are the statements that I am also making in the Angel Babies and about Angels in particular, Is that if we reach far into our minds we still wonder Where did the Angels come from and what is their place in this world. I know sometimes that we all wish and pray for the miracle of life to reveal itself but the answer to this mystery truly lives within us and around us, I only hope that you will find the Angel Babies an interesting narrative and exciting story as I have had in bringing it to life, after all there could be an Angel Baby being born right now.
Imaginary friends are healthy, right? They come and go, but what happens when they return and not alone? The Adventures of Angel Babies: Ankerank Returns introduces Ankerank, an imaginary friend of sorts, who has come back to visit a little girl named Boomer and her family. Boomer's family soon realizes Ankerank has morphed; he is not imaginary, but a very real, animated Angel Baby who has returned to Earth with his fellow Angel Babies on a mission to earn their permanent wings--and then some. Although Boomer let go of Ankerank shortly after her sister, BeBe, was born, Ankerank, a playful imp, kind in heart, cannot let Boomer go, much to his elders' dismay. Boomer's family gets caught up in Ankerank's mission, which is thwarted by mishaps and shenanigans. As the Angel Babies plunge ahead to succeed in their mission, their presence captivates the town's folk launching us into a heartwarming, vividly whimsical, hilarious ride of a tale laced with mayhem, antics, humor, and love for the enjoyment of all ages. Fasten your seatbelts, hold on to your funny bone, and let your heart soar
When lives are dominated by hunger, what becomes of love? When assaulted by daily acts of violence and untimely death, what happens to trust? Set in the lands of Northeast Brazil, this is an account of the everyday experience of scarcity, sickness and death that centres on the lives of the women and children of a hillside "favela". Bringing her readers to the impoverished slopes above the modern plantation town of Bom Jesus de Mata, where she has worked on and off for 25 years, Nancy Scheper-Hughes follows three generations of shantytown women as they struggle to survive through hard work, cunning and triage. It is a story of class relations told at the most basic level of bodies, emotions, desires and needs. Most disturbing - and controversial - is her finding that mother love, as conventionally understood, is something of a bourgeois myth, a luxury for those who can reasonably expect, as these women cannot, that their infants will live.
From every “beautiful mornin’” to “some enchanted evening,” the songs of Oscar Hammerstein II are part of our daily lives, his words part of our national fabric. Born into a theatrical dynasty headed by his grandfather and namesake, Oscar Hammerstein II breathed new life into the moribund art form of operetta by writing lyrics and libretti for such classics as Rose-Marie (music by Rudolf Friml), The Desert Song (Sigmund Romberg), The New Moon (Romberg) and Song of the Flame (George Gershwin). Hammerstein and Jerome Kern wrote eight musicals together, including Sweet Adeline, Music in the Air, and their masterpiece, Show Boat. The vibrant Carmen Jones was Hammerstein’s all-black adaptation of the tragic opera by Georges Bizet. In 1943, Hammerstein, pioneer in the field of operetta, joined forces with Richard Rodgers, who had for the previous twenty-five years taken great strides in the field of musical comedy with his longtime writing partner, Lorenz Hart. The first Rodgers and Hammerstein work, Oklahoma!, merged the two styles into a completely new genre—the musical play—and simultaneously launched the most successful partnership in American musical theater. Over the next seventeen years, Rodgers and Hammerstein wrote eight more Broadway musicals: Carousel, Allegro, South Pacific, The King and I, Me and Juliet, Pipe Dream, Flower Drum Song, and The Sound of Music. They also wrote a movie musical (State Fair) and one for television (Cinderella). Collectively their works have earned dozens of awards, including Pulitzers, Tonys, Oscars, Grammys, and Emmys. Throughout his career, Hammerstein created works of lyrical beauty and universal feeling, and he continually strove—sometimes against fashion—to seek out the good and beautiful in the world. “I know the world is filled with troubles and many injustices,” he once said. “But reality is as beautiful as it is ugly . . . I just couldn’t write anything without hope in it.” All of his lyrics are here—850, more than a quarter published for the first time—in this sixth book in the indispensable Complete Lyrics series that has also brought us the lyrics of Cole Porter, Lorenz Hart, Ira Gershwin, Irving Berlin, and Frank Loesser. From the young scribe’s earliest attempts to the old master’s final lyric—“Edelweiss”—we can see, read, and, yes, sing the words of a theatrical and lyrical genius.
In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.
In a prolific career spanning six decades, actor Burt Reynolds was one of the world's most famous stars of film and television. As much a folk hero as a Hollywood celebrity, he began as a stuntman and bit player in B Westerns and TV shows before landing a starring role on NBC's Riverboat (1959-1961). His breakthrough role in Deliverance (1972) made him famous and the sleeper hit Smokey and the Bandit (1977) made his name a household word. This first critical overview of Reynolds' work examines his complete filmography, featuring candid discussions with costars and collaborators, exclusive behind-the-scenes photos and a wealth of film stills.
