This book is a true story of survival and valor that was written by William P. Chad during the second part of the 20th Century A.D. He has dedicated it to his mother Makroohi. Together they emigrated to The United States of America from Lebanon at the end of WWI after been exiled from Malatya, their homeland of Western Turkey, former Armenian territories. William spent most of his adult life writing it. He did a great job in describing the WWI Era events with the accuracy and confidence of someone who was both directly involved and afflicted by them like a war correspondent. He lived through those horrific events. In his tedious work, William strived for perfection and has achieved it. Then he passed away and the work has passed on to us. The content of this book is a time window into WWI Era when tragedy has struck not only the Armenian but also the Greek, Nestorian and Syrian Peoples for their Christian belief. Millions have perished at the hands of Ottoman Turks and their proxies, Kurd mercenaries. It is estimated that between 3.5 Million people have lost their lives during this era. These events are considered to be the first Holocaust of the 20th Century. "Is it easy to kill, to shed blood?" Hakim asked. "There is nothing to it, nothing at all. After the first kill, all the others are." Hakim interrupted him nervously, "I have robbed, but I have never killed, not even a sheep." "You will," the Chieftain said. "I will have to murder?" Hakim questioned. "To kill Armenians is not murder. It is legalized execution. We Kurds are not guilty of murdering the Giaourji. We are merely the instruments performing a service. We do not slay, we execute. Is the knife that stabs the life out of a sheep guilty of murder? Enough nonsense Now go and pass the word to our men of what we are supposed to engage in by Executive Permission: Kill, Kill, and Kill " Hakim stood up for a second then sat down again. "How will I know a Turk from an Armenian, hah? They all dress alike..." Hakim insisted. "Pull their pants down; a Christian is never circumcised." It is our hope that such tragedies can be prevented if we strive to raise the awareness of all Peoples on Earth no matter their religious belief... Amen All truth passes through three stages: First it is ridiculed; second, it is violently opposed; and third, it is accepted as self-evident." Arthur Schopenhauer (1778-1860)

NEFFE A story that doesn't justify the streets but glorifies a destiny unfolding through time. As you read this book, as you digest each portion of my poured out soul, I need you to understand that these words are not just apart of me but apart of you. No matter who you are No matter how old you are No matter your race, religion, economical status, sexuality, gender, occupation, or IQ. I challenge you to journey through these pages of broken promises, revived hopes, and countless dreams without being able to relate. I dare you to continue over looking the dysfunctional instabilities that society tends to disregard behind heavy coats of bull...and expose them for the traumatizing burdens they weigh down to be. I encourage you to read my story and deny a need to call out the counterfeit, unveil the hypocrite and assist with reconstructing the destruction of innocence. I warn you as this book is in your possession to wake up the worrier within and re-affirm that life is not about being perfect but being in position I plead that you take heed and rise above the circumstances trusting that there is a bigger promise awaiting your arrival. as I testify to you, The truth The whole truth And nothing but.....

"Gene, you are going to go places you never dreamt of seeing and you will minister to people you never could imagine you would reach. Don't be afraid. I will be your seal of approval and, as long as you yield to My will, I will be with you. " This was the word given to an unlikely recipient, a self conscious young boy who was awaiting such a word to bring direction to his future. That prophetic message would begin a journey which has spanned over forty years and taken him from storefront churches and concert halls in the sixties, as part of one of America's first integrated Gospel groups, to ministry opportunities (to this day) both in the United States and abroad. Within the pages of this book, Gene, chronicles that journey in a frank, intimate and inspiring manner. He shares as an encouragement to his readers, the way God took a willing ordinary vessel and used it in unimaginable ways.

In the memoirs of no other contemporary theater personality (i.e., William Dunlap, Edward Cape Everard, James Fennell, William Wood), has a figure quite like John Durang emerged. His eagerness in grasping opportunities, expanding his skills, shaping his career, and establishing a home are unique, not only in themselves, but also in his articulation of these enterprises. Looking at his life through the lens of American national development illuminates the role of the theater in this critical and ongoing process, while also revealing the forms and repertory that shaped this theater. Remarkably few significant biographies are available of American dance and theatrical figures whose lives preceded the twentieth century. A small handful of memoirs by actors of the period fill in a small part of this gap, but memoirs-like John Durang's-need context and connections to be fully appreciated. The role of dance and theater in shaping the young United States is highlighted in this biography. John Durang: Man of the American Stage by Professor Lynn Matluck Brooks serves both general and theater-educated readerships. Interested groups include readers of American studies, dance, and theater.

Siblings Sarah Siddons (1755-1831) and John Philip Kemble (1757-1823) were the most famous British actors of the late-18th and early-19th centuries. Through their powerful acting and meticulous conceptualisation of Shakespeare's characters and their worlds, they created iconic interpretations of Shakespeare's major roles that live on in our theatrical and cultural memory. This book examines the actors' long careers on the London stage, from Siddons's debut in 1782 to Kemble's retirement in 1817, encompassing Kemble's time as theatre manager, when he sought to foreground their strengths as Shakespearean performers in his productions. Over the course of more than thirty years, Siddons and Kemble appeared opposite one another in many Shakespeare plays, including King John, Henry VIII, Coriolanus and Macbeth. The actors had to negotiate two major Shakespeare scandals: the staging of Vortigern - a fake Shakespearean play - in 1796 and the Old Price Riots of 1809, during which the audience challenged Siddons's and Kemble's perceived attempts to control Shakespeare. Fiona Ritchie examines the siblings' careers, focusing on their collaborations, as well as placing Siddons's and Kemble's Shakespeare performances in the context of contemporary 18th- and 19th-century drama. The volume not only offers a detailed consideration of London theatre, but also explores the importance of provincial performance to the actors, notably in the case of Hamlet - a role in which both appeared across Britain and in Ireland.

Fred Schepisi is one of the crucial names associated with the revival of the Australian film industry in the 1970s. The Films of Fred Schepisi traces the lead-up to his critical successes in feature filmmaking, via his earlier award-winning success as a producer in advertising commercials in the 1960s and the setting up of his own company. Unlike some directors, he derived from this experience a sure sense of the commercial aspects of filmmaking, as well as its aesthetic considerations. The volume also considers stories of his early education in a Catholic seminary, which he drew on in his semiautobiographical film, The Devil's Playground, the success of which launched him as an exciting new feature director. The volume expands on Schepisi's success story to chart his development as a director in demand in other countries, notably in the US and the UK, as well as continuing to make major films in Australia. Brian McFarlane argues that Schepisi's career is symptomatic of Australian directors who have made their presences felt on the international stage. Whereas other key directors of the Australian film revival, such as Peter Weir and Bruce Beresford, have been the subject of book-length critical studies, Schepisi's career has not to-date been so explored. McFarlane takes a critical account of Schepisi's film output-including such standouts as The Chant of Jimmie Blacksmith, Plenty, Roxanne, Six Degrees of Separation, Mr. Baseball, and Last Orders-and he augments analysis with interviews with the director. By discussing the production histories and both critical and popular receptions, McFarlane's study shines a new light on Schepisi's work and his rise to prominence in the global film industry.

Best known for her appearances in the six Technicolour 'Neverland' movies, Maria Montez is a film icon. Growing up as one of ten children in the Dominican Republic, her rise as a film star in the United States seemed unlikely. In 1939, Montez set off on her own to New York City to fulfill her aspirations of movie stardom. Despite having no substantial acting experience, Montez managed to sign with major agent Louis Schurr who helped her secure a contract with Universal Studios before she moved out to Hollywood. Following her arrival in Los Angeles, Montez began cultivating the larger-than-life persona for which she is known. Her beauty, personality, and series of publicity antics, including dramatic restaurant entrances, endeared her to the press. She even created her own fan club face=Calibri>- The Montez for Stardom Club. Her ambitious self-promotion bolstered the success she found with her first big lead in Arabian Nights, released in 1943. From then on, the studio referred to her as 'The Queen of Technicolour'. Author Tom Zimmerman puts Montez's life in historical context, including her role as a cultural icon and a living representation of the United States' Good Neighbor Policy with Latin American countries. With her thick Dominican accent, Montez struggled to make herself intelligible to an American audience. However, unlike some of her Latin contemporaries, she did not present a caricature of her culture or use her accent for comedic purposes, giving her credibility with a Latin American audience. Zimmerman skillfully recounts the story of Montez's fiery ambition and her ascent to Hollywood fame, giving her the opportunity to live on in public memory.

Born in a small railroad city in the far corner of Northern Vermont on a bitter cold January day, Cora and her twin sister were births number twelve and thirteen to an already over populated family that was suffering from poverty, mental, verbal, manipulation and incest abuse. At a very young age Cora learned how to become extremely loyal to disloyal people in her life. Feeling like she was always a shadow behind her twin sister, Cora grew up feeling like she did not exist even though she knew she was very much alive. Even when she had doubt, she knew she was alive by placing her hand on her chest to feel her heart beat just to reassure herself. After years of humilation Cora decides to head into Canada to escape, only to find herself so conditioned to a disloyal and abusive life that she returns back to Vermont and marries right into the life she struggled so hard to get away from. After thirty years of living with a replica of her father, Cora finally with the help of Alanon and several counselors learns that she has been addicted to addicts her whole entire life. finally breaking free she removes herself from the only life she ever knew. Today Cora still lives in that small railroad city that is once again in ression and is in a shockingly state of prescription drug abuse and is still home to some families who suffer from the same unfortunate fate as she did. Even though she does not feel like a shadow any longer, she struggles every day to stay focused in her own recovery while she fights anexity and heart ache over watching her own sibblings and loved ones who struggle to fight their own addictions and recovery.

If you want to C reason for taking the time to read my story, then here they are: A Child who survives a Coma that later Causes him Confusion and Creates a Comma, from Convictions of Crime to a life and a Career with a Car Company that made him a number one Commercial sales professional in the Country and then Conquered the Cancer that Claimed the life of his father, which Created in him a Cause to Convey to his Children that Courage is what Chances are made of and is the only Cord to Contention and a will to Continue."

Few European male actors have been as iconic and influential for generations of filmgoers as Alain Delon. Emblematic of a modern, European masculinity, Delon's appeal spanned cultures and continents. From his breakthrough as the first on-screen Tom Ripley in Purple Noon in 1960, through two legendary performances in Rocco and His Brothers and The Leopard in the early 1960s, to his roles in some of Jean-Pierre Melville's most celebrated films noirs, Delon came to embody the flair and stylishness of the European thriller as one of France's most recognizable film stars. This collection examines the star's career, image and persona. Not only focusing on his spectacular early performances, the book also considers less well documented aspects of Delon's long career such as his time in Hollywood, his work as director, producer and screenwriter, his musical collaborations, his TV appearances, and his enduring role as a fashion icon in the 21st century. Whether the object of reverence or ridicule, of desire or disdain, Delon remains a unique figure who continues to court controversy and fascination more than five decades after he first achieved international fame.