"The Peter Shue Story/The Life Of The Party" is based on crime, punishment & entrapment. Peter Shue had the power to transport his dreams into reality. Peter a black pioneer of his time became the Great Gatsby of New York City party life. Everyone who attended Peter's parties from the average Joe and Jane to people like Wendy Williams, Madonna, Diddy, Mike Tyson, Mary J., Keith Sweat, Heavy D., Richard Pryor, Wesley Snipes, Woody Harrelson, Charles Oakley, Eddie Murphy just to name a few (Included in the book) Peter Shue treated everyone like VIP'S.
Struggling to get out of the game Peter Shue meets the unscrupulous Hollywood vixen/ Miss Pop Star who is known worldwide by many media outlets. "Hell has no fury as a woman scorned" Miss Pop Star desperately wants Peter to be her Boy Toy; father her children and in her attempts to win him over, she showers him with a myriad of exotic trips, expensive gifts, lot of money and wild sex.
Also included in the book NYC newspaper article Witness Tattles on star's Ex-Pal by Helen Peterson.© Daily News, L.P. (New York) Used with Permission; Official US Court Transcripts.
The Life Of The Party is a fact based portrait of a man in a world of fame, power and a need to control. Get your fill of adult thrills, fun and excitement as you turn the pages of this book.
Gangsters and Movie Stars, first there was Bugsy Siegel and Virginia Hill. Now there is Peter Shue and ???
Soon, however, Gregory's Faustian pact with success unravels around him, and he must turn to darker, more duplicitous means to secure his fame. Set in the dangerous world where real life and literary ambition collide, Kill Your Darlings is an unforgettable novel of ego and delusion, villainy and the betrayal of love.
And they will stop at nothing to make sure that doesn't happen.
In the downtown art world/club scene of New York City, Steven and Lori, an artist and a writer, are in the middle of a bad break up. Instead of being able to simply move on, they are stuck with each other, bound by a contract to do a book on vampires. When they stumble across the real thing, will their feelings for each other intensify as they're reunited to battle monsters they scarcely believe exist?
Finnegan's research shows that lynching rates depended on factors other than caste conflict and the interaction of race and southern notions of honor. Although lynching supported the ends of white supremacy, many mobs lynched more for private retaliation than for communal motives, which explains why mobs varied greatly in size, organization, behavior, and purpose.
The resistance of African Americans was vigorous and sustained and took on a variety of forms, but depending on the circumstances, black resistance could sometimes provoke rather than deter lynching. Ultimately, Finnegan shows how out of the tragedy of lynching came the triumph of the civil rights movement, which was built upon the organizational efforts of African American anti-lynching campaigns.
Terence had a considerable impact on the Revival of Letters; his comedies were studied and were frequently adapted into new works by such men as Steele, Chapman, and, most famously, Molire. Indeed, had there been no Terence, it is doubtful that the Comedy of Manners could have arisen when it did, and all comic writing for the stage, from Moilre through the Restoration drama to the present day, would be diminished for lack of him. Appropriately, the language of this translation is from the Restoration. Graves has based his version on the one made in 1689 by Laurence Echard; he has corrected inaccuracies, eliminated defects and obscurities, but retained the period tone.
Including in this book are the major comedies: The Fair Andrian, The Mother-In-Law, The Self-Tormentor, The Eunuch, The Tricks of Phormio and The Brothers. A close reading of Terence is a fine corrective to any idea that may still be current, about the glory that was Greece and grandeur that was Rome during the Hellenistic period. It is an assurance that in some respects at least, this age is not depraved at all.
Robert Graves (1895-1985) was a distinguished poet, novelist, essayist, critic, classicist and historian and produced over 140 different works. Although briefly, he also served as professor of poetry at the University of Oxford. Some of his most famous works include I, Claudius, Claudius the God, The White Goddess, Lawrence and the Arabs, and The Greek Myths.
In this bold and consistently thought-provoking collection of presentist readings, the contributors:argue that the ironies generated by our involvement in time are a fruitful, necessary and an unavoidable aspect of any text's being, and that presentism allows us to engage with them more fully and productively demonstrate how these ironies can function as agents of change, flowing unstoppably back into the events of the past, colouring how we perceive them and modifying our sense of what they signify show that a critic's inability to step beyond time and specifically the present does not, as has been argued elsewhere, 'contaminate' readings of Shakespeare's plays, but rather points to shades of implication suddenly available here and now within the wide range of plays examined suggest that presentism might not merely challenge or expand our sense of what Shakespeare's plays are able to tell us, but may in fact offer the only effective purchase on these texts that is available to us.
Presentist criticism is an open-ended and on-going project, located at a particularly interesting and demanding juncture in modern Shakespeare studies. At this crucial point, then, Presentist Shakespeares is a compelling collection of readings by a distinguished team of authors, but it is also much more: it is a landmark, which reflects, develops and even rejoices in the intedeterminacy of the field.
Contributors include: Catherine Belsey, Michael Bristol, Linda Charnes, John Drakakis, Ewan Fernie, Evelyn Gajowski, Hugh Grady, Terence Hawkes and Kiernan Ryan.