Bøger af Bill Reed

Their fifty-seven-year honeymoon is a statement unto itself. From celebrating their love in southern Florida on OUR BEACH, to meeting HOT LIPS THE BEAR... We are sitting at the picnic table laughing at this pesky squirrel, when a grizzly bear stuck her head through the brush at the end of the table. About forty-five minutes ago, I made a mistake that could cost both of us our lives! I left our pepper spray in the car! Their memories and experiences span over 60 years. Not only do their short stories encompass joy and laughter, they also portray the heartache and honor of a Marine. After many disturbing days and nights, Rose tried to help, telling me, "if you keep telling yourself, this is only a dream, maybe soon you will start to believe, and then maybe you can get some sleep. After a period of time, it started to work, to a certain degree. Their adventures began many, many miles apart, Rose in Wisconsin and Bill in Mississippi. They each started their high-spirited exploring at a very early age and when they met in their twenties, it could only be described as fate. Their love for life, adventure and especially for each other exploded and they became one. This was truly a union made in heaven. True love took them on the ride of their lives and the open road was their avenue to A LIFETIME OF ADVENTURES!

'Don't let them cut me up! Bury me behind the mountains!'Fear, violence and race prejudice are themes with which we are all sadly familiar. Bill Reed's three plays-on-a-theme, based on the life and times of Truganinni -- the supposed last Tasmanian Aborigine and, at the end, so socially visible -- develop these themes based on the dispossession and final degradation of the Tasmanian original people. In her own lifetime, Truganinni lived through the devastating years of her people's decimation and virtually sealed off her own bat the last chapter of the massacre of a unique race of people. She witnessed horrific personal and family-clan tragedy and the raw-boned racial society of the time... the killing diseases, the outright butcheries, the set-squares of despise that literally made her people prefer dying to living under the White colony. Yet Truganinni survived to become one of Hobart's most recognisable and colourful characters. She came to enjoy her 'Queen-Victorian' walks through the town's streets as much as her daily pot of ale. She was thought to be the last of her race after the reputed last male William Lanne, or King Billy, died an alcoholic and had his body mutilated in the name of science. It was little wonder she had such dread of dying and pleaded not to be carved up as he had been. For a time her well-wishers kept the promise to keep her remains safe, but within a few decades her body was officially removed from a secret grave and displayed in the Hobart Museum as a specimen alongside the skeletons of 'scientifically-interesting' animals. It was more than 125 years after her death in 1876 that her ashes were scattered on the waters of her beloved Derwent. These three plays offer very different theatrical possibilities: the first is a mime against a background of rhythmic verse; the second is a farce-melodrama; and the third is a tragedy. Either presented singularly or as a whole, they provide, among other things, an excellent vehicle for a varied and dynamic course in drama.

Use your local pool to get fit; to develop your muscles; to exercise while you enjoy yourself, even while pregnant; to help with muscle aches, to free you from general immobility and minor disability or just to help get away from things.

'... the Theatre of the Absurd and the Theatre of Cruelty are even more pervasively embodied in the plays of Alexander Buzo, Thomas Keneally and Bill Reed. In Buzo's case it is Absurdism which is especially apparent; in Keneally and Reed, Artaudian 'myth' and language-in-space...'It was Reed in Burke's Company who pioneered Artaudian techniques in a play of stature. If the play is given imaginative production, it powerfully exemplifies one of Artaud's most famous metaphors. The figures on stage will suggest universal human victims burning at the stake, signaling through the flames.'Professor Dennis CarrollContemporary Australian Theatre, Currency Press-----------------This is a reprint of one of the most successful award-winning plays of Bill Reed. Over the years it has been performed both on the professional and amateur stages around Australia and overseas, and published by Heinemann Educational and also in Currency Press's 'Plays of the 60s'. Bill Reed has been involved in drama and publishing most of his existence in Australia, Britain, Canada and the Subcontinent. He has written nine professionally-produced plays and thirteen novels, including '1001 Lankan Nights, book 1 and 2'. He has won national awards for drama, short stories and novels. He now lives mostly in Sri Lanka.

This is the hardback version. Legendary man-of-many-faces Leonard Reed and historic Black show business come alive through the eyes of someone who saw it all. From beginnings in medicine shows, Al Capone, speakeasies, Vaudeville, on up through The Cotton Club, The Apollo Theater, TV, and his professional partnership with boxing great Joe Louis, Reed was-in his own words-"too Black to be White, and too White to be Black." His behind-the-scenes struggles through theatre's most celebrated haunts are told through no-holds-barred interviews, rich research, and more than fifty rare illustrations that capture the glamour and excitement of the Golden Age of show biz and African-American golf.

This is an introduction to the spicier, kinky side of life. This book explores various kinks in a how to approach them with an emphasis on safety. If you have ever had kinky thoughts or wanted to explore new things in a safe manner, this is a good starting point. Everything is covered from meeting someone for the first time to strap-on play and scene etiquette.

From the early days of minstrelsy to Black Broadway, this book presents the story of African American entertainment as seen through the eyes of its most famous as well as some of its most obscure practitioners. It examines the African American participation in show business since the beginning.