Ordinary People

• ISBN13: 9780140065176
• Condition: New
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Money Shot chronicles the African American porn industry's steady rise to the mainstream. Lawrence Ross, a prominent journalist and lecturer, details a year in the life of porn star Lexington Steele, whose eleven-inch penis and $75,000 per-movie-fee made him one of the most famous figures in the porn industry. Beginning and ending with Lexington Steele as the book's narrative thread, Ross conducts hundreds of interviews with college professors, industry insiders, and porn stars themselves, providing an insider's view of the often dangerous and disheartening reality of the black porn industry. His research uncovers a world fraught with sexual and racial politics. He describes an AIDS crisis that ! threatens the lives and careers of several black porn stars, the racism that implicitly prohibits interracial sex scenes in porn films, the moral implications of black female porn stars working as escorts to wealthy African Americans, and much more. Money Shot humanizes those who participate in a largely inhumane occupationâ€"it is a cautionary tale for those who thought that what they are seeing on the screen is simply sex.

The classic depiction of the harsh realities of American life, the dark side of the American Dream, and one man's doomed pursuit of love and success...

"Mr. Dreiser is not imitative and belongs to no school. He is at heart a mysticist and a fatalist, though using the realistic method. He is, on the evidence of this novel alone, a power."-The New York Times Book ReviewEveryone knows the adult film industry is a multimillion pound business. What most people don't know is how the porn industry got started - with a USD22,000 Mafia invest! ment in a film called Deep Throat - or how it mushroomed over ! the next quarter-century despite efforts by politicians, the FBI, and others to bring it down. The Other Hollywood tells that story, through hundreds of interviews by the people who lived through it. In the riveting oral-history format that made his first book, Please Kill Me, one of the most memorable accounts of 1970s underground culture, Legs McNeil now pulls back the grimy satin sheets on one of the most astounding success stories in the history of business. Careening back and forth between two groups - the actresses, directors, and others who made the films and the shady underworld figures who financed them - The Other Hollywood offers scores of never-before-told stories.From the nudie cuties of the 1950s to celebrity porn in the late 1990s, The Other Hollywood: The Uncensored Oral History of the Porn Film Industry offers an insider's view of the adult film industry's transition from a shady, backroom business to a $10-billion-per-year money machine and mainstream accept! ance. The story is told through interviews with hundreds of actors, directors, law enforcement officials, and other participants, all edited together with expert skill and pacing.

The industry exploded in the early 1970s with the success of the Mafia-backed Deep Throat, which reportedly grossed $100 million after an initial $22,000 investment. Featured at the Cannes Film Festival in 1973, the film ushered in the rise of "porno chic," making it fashionable, for a time, to take a date to a porn film. One industry insider described Deep Throat as "the Blair Witch Project of its time." Filled with sleazy intrigue, vivid details, and many heartbreaking--and even touching--stories, The Other Hollywood covers the actors, the numerous legal challenges to the industry, FBI sting operations, the Mafia connection, rampant drug use, rock stars, celebrities, the opposition by religious and political groups, the emergence of AIDS (that claimed the live! s of porn superstars such as the famously endowed John Holmes)! , and th e explosion of the video market and its overnight fortunes. Even at 600 pages, this is a quick and engrossing read that is hard to put down. --Shawn CarkonenIn this acclaimed biographical novel, Irving Stone brings to life the tender and poignant love story of Rachel and Andrew Jackson. "Beyond any doubt one of the great romances of all time." -- The Saturday Review of LiteratureDescribes a youth's breakdown and recovery and how it affects his family.

Edge of Darkness

• The bullet that killed his daughter was meant for Boston cop Thomas Craven. That s what police brass and Craven himself think, but that s not what the investigation finds. Clue after clue and witness after witness, the search leads him into a shadowy realm where money and political intrigue intersect. If Craven wasn t a target before, he and anyone linked to his inquiry now is. Mel Gibson stars in

The bullet that killed his daughter was meant for Boston cop Thomas Craven. That’s what police brass and Craven himself think, but that’s not what the investigation finds. Clue after clue and witness after witness, the search leads him into a shadowy realm where money and political intrigue intersect. If Craven wasn’t a target before, he--and anyone linked to his inquiry--now is. Mel Gibson stars in his first screen lead in eight years, making Craven’s grief palpable and his quest for paybac! k stone-cold and relentless. Martin Campbell (Casino Royale) directs from a screenplay co-written by The Departed’s William Monahan. Gibson is back, taking us to the edge…and into the sinister darkness.The good news is that Edge of Darkness (no relation to the fine 1943 war picture of that name) brings back Mel Gibson in front of the camera for the first time in nearly a decade. Although he's grown creased and leathery and his thatch has thinned, the movie star who was Mad Max still has the charisma and gravitas to center a dodgy suspense tale and propel it to the finish line. Gibson plays veteran Boston police detective Tom Craven, who welcomes home daughter Emma (Bojana Novakovic) for a rare visit, then sees her shot down at his front door. Because the gunman shouted "Craven!" and because a cop makes enemies, Tom assumes Emma took a bullet meant for him, which adds considerably to his grief and pain. But as he looks into the life of a daughter he loved y! et scarcely knew, he discovers she'd been preparing to turn wh! istleblo wer on her employer, a corporation doing unsavory clandestine things for the government. Craven starts having oblique chats with a philosophical Brit named Jedburgh (Ray Winstone), who keeps turning up unexpectedly--in Craven's backyard at night, say--always giving the distinct impression that he could just as well kill a fellow instead of schmoozing. Their strange rapport, like Craven's tendency to mutter ironical asides as if in ongoing conversation with the departed Emma, is more intriguing than the conspiracy involving corporate skullduggery and a rogue assassination bureau. The bar for that sort of thing was set in post-Watergate days by Alan J. Pakula's The Parallax View, and we're nowhere near its cinematic elegance or pervasive paranoia. Edge of Darkness, based on a British miniseries from 1985, was directed by Martin Campbell, who also handled the six-hour original (and more recently the successful James Bond reboot Casino Royale). Campbell does! decent-enough work--the occasional bursts of "shocking action" do shock even as we know they're coming--but rarely exceeds generic requirements. For killing comparison among contemporary suspense films, catch Roman Polanski's The Ghost Writer, in which every frame unsettlingly conveys a world where disquiet is the natural order of things. --Richard T. Jameson

Fled : Widescreen Edition

• Widescreen

Two dangerously mismatched convicts are thrown into a wild race to outwit, outrun and outgun vicious enemies on both sides of the law in this high-impact thriller bristling with high-speed adventure,mind-blowing stunts and nonstop action! After escaping from a prison chain gang, Piper (Laurence Fishburne) and Dodge (Stephen Baldwin) find themselves handcuffed togetherand at each others' throats! Relentlessly hunted through the Georgia wilderness, the reluctant allies fight their way into the underground of Atlanta, battling the authoritiesand each otherall the way. But when Dodge'sconnection to $25 million in stolen loot attracts mob assassins and corrupt government officials, the action is propelled into a deadly new dimension. With no place to hide, and everything to lose, Piper and Dodge embark on a blazing, take-no-prisoners quest to secure the key to their survival: a compute! r disk that could blow the lid off of a high-level scam.In the road-movie-reluctant-pals genre, Fled goes down a road well-taken and still manages to get lost. Defiant ones Piper (Laurence Fishburne) and Dodge (Stephen Baldwin) escape from their chain gang when a prison break/shootout begins. Evading rednecks and faceless policemen they make it to Atlanta where "smart-ass" Dodge (who delivers one-liners that do a disservice to smart-asses everywhere) has to recover a computer disk. They are aided and abetted by Cora (Salma Hayek--this time using a funny hat, instead of her breasts, for character development), who takes the convicts in as if she were picking up college buddies from the airport. Maybe she realizes what great guys these prison-garbed buffoons are. They donate money to charity. They save dying rednecks. They rescue little boys from oncoming cars. Unfortunately, they can't save any of Dodge's old associates, like his stripper-with-an-apartment-of-gold gir! lfriend or his fellow computer hacker, from getting shot up by! Cuban M afia thugs that want that disk! Laurence Fishburne is the main reason to see the film, but that's a stretch, and Stephen Baldwin seems nothing like the same searing actor seen in The Usual Suspects. --Keith Simanton In the road-movie-reluctant-pals genre, Fled goes down a road well-taken and still manages to get lost. Defiant ones Piper (Laurence Fishburne) and Dodge (Stephen Baldwin) escape from their chain gang when a prison break/shootout begins. Evading rednecks and faceless policemen they make it to Atlanta where "smart-ass" Dodge (who delivers one-liners that do a disservice to smart-asses everywhere) has to recover a computer disk. They are aided and abetted by Cora (Salma Hayek--this time using a funny hat, instead of her breasts, for character development), who takes the convicts in as if she were picking up college buddies from the airport. Maybe she realizes what great guys these prison-garbed buffoons are. They donate money to charity.! They save dying rednecks. They rescue little boys from oncoming cars. Unfortunately, they can't save any of Dodge's old associates, like his stripper-with-an-apartment-of-gold girlfriend or his fellow computer hacker, from getting shot up by Cuban Mafia thugs that want that disk! Laurence Fishburne is the main reason to see the film, but that's a stretch, and Stephen Baldwin seems nothing like the same searing actor seen in The Usual Suspects. --Keith Simanton In the road-movie-reluctant-pals genre, Fled goes down a road well-taken and still manages to get lost. Defiant ones Piper (Laurence Fishburne) and Dodge (Stephen Baldwin) escape from their chain gang when a prison break/shootout begins. Evading rednecks and faceless policemen they make it to Atlanta where "smart-ass" Dodge (who delivers one-liners that do a disservice to smart-asses everywhere) has to recover a computer disk. They are aided and abetted by Cora (Salma Hayek--this time usin! g a funny hat, instead of her breasts, for character developme! nt), who takes the convicts in as if she were picking up college buddies from the airport. Maybe she realizes what great guys these prison-garbed buffoons are. They donate money to charity. They save dying rednecks. They rescue little boys from oncoming cars. Unfortunately, they can't save any of Dodge's old associates, like his stripper-with-an-apartment-of-gold girlfriend or his fellow computer hacker, from getting shot up by Cuban Mafia thugs that want that disk! Laurence Fishburne is the main reason to see the film, but that's a stretch, and Stephen Baldwin seems nothing like the same searing actor seen in The Usual Suspects. --Keith Simanton DVD