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1000 tulosta hakusanalla Fred Beake
Cruising with Fred and His Unsinkable "MOLLY BROWN"
Capt. Gardner Martin Kelley
AuthorHouse
2011
sidottu
Cruising with Fred and His Unsinkable "MOLLY BROWN"
Capt. Gardner Martin Kelley
AuthorHouse
2011
pokkari
My Best Friend Fred 2
S. L. Webster; Stacey L. Webster
Createspace Independent Publishing Platform
2017
nidottu
Horse Tails by Famous Fred: Based on a true story
Patricia Probert Gott
Createspace Independent Publishing Platform
2011
nidottu
We Three: Fred, the Ferry Boat, and Me
William T. Harper
Createspace Independent Publishing Platform
2011
nidottu
Much of what happened in these pages could have happened last November or just aboout any November. Most of these events happened in November of 1993, which is significant because of the horrific floods that inundated the Nation's heartland that year. However, little did we think about some of those imminent dangers that awaited us that fall when we steered the "Harper's Ferry" sailboat out of its home port into the mammoth Lake Superior for the last time.We were literally and figuratively launching a journey that, to the best of anyone's knowledge, had never been taken before. No one, as far as we knew, ever piloted a 47-foot, deep-draft Gulfstar sailboat all the way from Washburn, Wisconsin to Freeport, Texas. It was the first leg of a water-logged odyssey that would take "We Three: Fred, the Ferry Boat, and Me" some 2,400 miles through three of the Great Lakes and down the nation's Inland Waterways - the Chicago, the Illinois, and the Mississippi rivers - to the Gulf of Mexico.In making this epic voyage, never did we think we would be risking our lives many times during the month-long journey. I, for one, thought it was simply going to be like a walk in the park. It turned out to be more like a walk in a park full of muggers.
Tom Yuschak uses his experience at a high risk, high potential payoff start-up company to discuss the traits of rising to the level of professional excellence even when faced with high profile, high pressure situations or when the future of the company itself, or your role in it, is in doubt. How to be a Fred is highly relevant in a time when employees are continually expected to do more with less, and in an age of corporate takeovers, mergers and mass layoffs. Tom Yuschak explores the traits associated with being extraordinary and then discusses how to use your true priorities and perspective to keep high pressure work from turning into high stress. He then discusses how to make yourself in-demand so you can become essential to the company you work for without letting the company become essential to your personal success.
The Adventures of Fred & Hodges: The Meeting
Sharon J. Lavalley; Twaina D. Gannon
Createspace Independent Publishing Platform
2013
nidottu
Rosy Meets Fred: Book Two
J. D. Ellen Herr Lancaster
Createspace Independent Publishing Platform
2014
nidottu
Front Porch Fred: and the Little Green Man
Beth Davis
Createspace Independent Publishing Platform
2014
nidottu
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.
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.
