A collection of dark and sad poetry based on personal experience. All works are original as well as the photos included.

From the late 1800s to the early 1900s, Australian settler colonists mobilised their unique settler experiences to develop their own vision of what ‘empire’ was and could be. Reinterpreting their histories and attempting to divine their futures with a much heavier concentration on racialized visions of humanity, white Australian settlers came to believe that their whiteness as well as their Britishness qualified them for an equal voice in the running of Britain’s imperial project. Through asserting their case, many soon claimed that, as newly minted citizens of a progressive and exemplary Australian Commonwealth, white settlers such as themselves were actually better suited to the modern task of empire. Such a settler political cosmology with empire at its center ultimately led Australians to claim an empire of their own in the Pacific Islands, complete with its own, unique imperial governmentality. -- .

The TRIPS Agreement was implemented in the WTO to gain access to a functioning dispute settlement mechanism that could authorize trade sanctions. Yet TRIPS and the WTO Dispute Settlement Understanding are based on systems that developed independently in WIPO and GATT. In this book, Matthew Kennedy exposes the challenges created by the integration and independence of TRIPS within the WTO by examining how this trade organization comes to grips with intellectual property disputes. He contrasts the way intellectual property disputes between governments have been handled before and after the establishment of the WTO. Based on practical experience, this book provides a comprehensive review of the issues that arise under the DSU, TRIPS, GATT 1994 and other WTO agreements in intellectual property matters. These range from procedural pitfalls to substantive treaty interpretation and conflicts as well as remedies, including cross-retaliation.

The TRIPS Agreement was implemented in the WTO to gain access to a functioning dispute settlement mechanism that could authorize trade sanctions. Yet TRIPS and the WTO Dispute Settlement Understanding are based on systems that developed independently in WIPO and GATT. In this book, Matthew Kennedy exposes the challenges created by the integration and independence of TRIPS within the WTO by examining how this trade organization comes to grips with intellectual property disputes. He contrasts the way intellectual property disputes between governments have been handled before and after the establishment of the WTO. Based on practical experience, this book provides a comprehensive review of the issues that arise under the DSU, TRIPS, GATT 1994 and other WTO agreements in intellectual property matters. These range from procedural pitfalls to substantive treaty interpretation and conflicts as well as remedies, including cross-retaliation.

The Advanced School of Collective Feeling explores the advent of radical new conceptions of the body—a phenomenon known in the 1920s and ’30s as “physical culture”—and their impact on the thinking of some of modern architecture’s most influential figures. Using archival photographs, diagrams, and plans, the book reconstructs a constellation of provocative domestic projects by Marcel Breuer, Charlotte Perriand, Richard Neutra, and others. This obscure chapter in the modern movement gestures towards a remarkable synthesis of the individual and the collective, a perspective that holds enormous potential for articulating an architecture of today.

Full-page newspaper ads announced the date. Reserved seats went on sale at premium prices. Audience members dressed up and arrived early to peruse the program during the overture that preceded the curtain's rise. And when the show began, it was-a rather disappointing film musical. In Roadshow!, film historian Matthew Kennedy tells the fascinating story of the downfall of the big-screen musical in the late 1960s. It is a tale of revolutionary cultural change, business transformation, and artistic missteps, all of which led to the obsolescence of the roadshow, a marketing extravaganza designed to make a movie opening in a regional city seem like a Broadway premier. Ironically, the Hollywood musical suffered from unexpected success. Facing doom after its bygone heyday, it suddenly broke box-office records with three rapid-fire successes in 1964 and 1965: Mary Poppins, My Fair Lady, and The Sound of Music. Studios rushed to catch the wave, but everything went wrong. Kennedy takes readers inside the making of such movies as Hello, Dolly! and Man of La Mancha, showing how corporate management imposed financial pressures that led to poor artistic decisions-for example, the casting of established stars regardless of vocal or dancing talent (such as Clint Eastwood in Paint Your Wagon). And Kennedy explores the impact of profound social, political, and cultural change. The traditional-sounding Camelot and Doctor Dolittle were released in the same year as Sergeant Pepper's Lonely Hearts Club Band, representing a vast gulf in taste. The artifice of musicals seemed outdated to baby boomers who grew up with the Cuban missile crisis, the Kennedy and Martin Luther King Jr. assassinations, race riots, and the Vietnam War. From Julie Andrews to Barbra Streisand, from Fred Astaire to Rock Hudson, Roadshow! offers a brilliant, gripping history of film musicals and their changing place in our culture.

Full-page newspaper ads announced the date. Reserved seats went on sale at premium prices. Audience members dressed up and arrived early to peruse the program during the overture that preceded the curtain's rise. And when the show began, it was--a rather disappointing film musical.
In Roadshow , film historian Matthew Kennedy tells the fascinating story of the downfall of the big-screen musical in the late 1960s. It is a tale of revolutionary cultural change, business transformation, and artistic missteps, all of which led to the obsolescence of the roadshow, a marketing extravaganza designed to make a movie opening in a regional city seem like a Broadway premier. Ironically, the Hollywood musical suffered from unexpected success. Facing doom after its bygone heyday, it suddenly broke box-office records with three rapid-fire successes in 1964 and 1965: Mary Poppins, My Fair Lady, and The Sound of Music. Studios rushed to catch the wave, but everything went wrong. Kennedy takes readers inside the making of such movies as Hello, Dolly and Man of La Mancha, showing how corporate management imposed financial pressures that led to poor artistic decisions-for example, the casting of established stars regardless of vocal or dancing talent (such as Clint Eastwood in Paint Your Wagon). And Kennedy explores the impact of profound social, political, and cultural change. The traditional-sounding Camelot and Doctor Dolittle were released in the same year as Sergeant Pepper's Lonely Hearts Club Band, representing a vast gulf in taste. The artifice of musicals seemed outdated to baby boomers who grew up with the Cuban missile crisis, the Kennedy and Martin Luther King Jr. assassinations, race riots, and the Vietnam War.
From Julie Andrews to Barbra Streisand, from Fred Astaire to Rock Hudson, Roadshow offers a brilliant, gripping history of film musicals and their changing place in our culture.

The King is dead, and so are his sons. All except one. Matthew, son of King Turin, nephew of the newly appointed steward Janus, comes to terms with his father's death, realizing that there might be more to the story than he previously thought. Matthew gives up his right to the throne, and sets out on a quest to find those he believed long dead, the entire time guided by a mysterious lamb. Bloodline is a story of love, friendship, and the pursuit to unite a kingdom.

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.Delve into what it was like to live during the eighteenth century by reading the first-hand accounts of everyday people, including city dwellers and farmers, businessmen and bankers, artisans and merchants, artists and their patrons, politicians and their constituents. Original texts make the American, French, and Industrial revolutions vividly contemporary.++++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: ++++British LibraryT149595Last 3 pages bear: Privilege du Roy. Paris]: Printed in Paris by Lewis Coignard, 1705. 40,249, 3]p.; 8

Joan Blondell: A Life between Takes is the first major biography of the effervescent, scene-stealing actress (1906-1979) who conquered motion pictures, vaudeville, Broadway, summer stock, television, and radio. Born the child of itinerant vaudevillians, she was on stage by age three. With her casual sex appeal, distinctive cello voice, megawatt smile, luminous saucer eyes, and flawless timing, she came into widespread fame in Warner Bros. musicals and comedies of the 1930s, including Blonde Crazy, Gold Diggers of 1933, and Footlight Parade. Frequent co-star to James Cagney, Clark Gable, Edward G. Robinson, and Humphrey Bogart, friend to Judy Garland, Barbara Stanwyck, and Bette Davis, and wife of Dick Powell and Mike Todd, Joan Blondell was a true Hollywood insider. By the time of her death, she had made nearly 100 films in a career that spanned over fifty years. Privately, she was unerringly loving and generous, while her life was touched by financial, medical, and emotional upheavals. Meticulously researched, expertly weaving the public and private, and featuring numerous interviews with family, friends, and colleagues, Joan Blondell: A Life Between Takes traces the changing face of Twentieth Century American entertainment through the career of this extraordinary actress.