Texas Ranger by James Patterson and Andrew Bourelle

I would like to read Texas Ranger, a Fast paced, exciting crime thriller by James Patterson and Andrew Bourelle. It features a Texas Ranger named Rory Yates whose commitment to the badge, discipline and law-enforcement skills have seen him rise through the ranks in the Texas Ranger division, taking him from local highway patrolman to the honorable rank of Texas Ranger In the ranchlands and cities of his home state. However his success as a policeman has come at the cost of his marriage

One day He receives a worrying phone call from his ex-wife, Anne, so Rory speeds to what used to be their marital home. He arrives to a horrifying crime scene and a scathing accusation. Then things go from bad to worse when he himself is named a suspect in Anne’s murder.

So he escapes and now Rory’s only choice is to find the killer himself. However In doing so He risks his job, his pride, his reputation among everyone he loves to pursue the truth. As he investigates further Yates follows the Ranger creed – never to surrender. That code just might bring him out alive.

Jackie Wilson

Energetic American soul singer and performer Jack Leroy Wilson Jr. tragically died on January 21, 1984, at age 49 from complications of pneumonia.

He was born on June 9, 1934, in Detroit, Michigan, Wilson often visited his family in Columbus and was greatly influenced by the choir at Billups Chapel. Growing up in the suburban Detroit enclave of Highland Park, Wilson joined a gang called the Shakers and often got himself in trouble. Wilson’s alcoholic father was frequently absent and usually unemployed. His parents separated shortly after Jackie’s ninth birthday. Jackie Wilson began singing as a youth, accompanying his mother, an excellent church choir singer. In his early teens he joined a quartet, the Ever Ready Gospel Singers, who gained popularity in local churches. Wilson was not very religious, but he enjoyed singing in public. The money the quartet earned from performing was often spent on alcohol, and Wilson began drinking at an early age.

Wilson dropped out of high school at age 15, having been sentenced to detention in the Lansing Corrections system for juveniles twice. During his second stint in detention, Wilson learned to box and began competing in the Detroit amateur circuit at age 16. Wilson’s record in the Golden Gloves was 2 and 8. After his mother forced Jackie to quit boxing, Wilson was forced by his father to marry Freda Hood, and he became a father at age 17. It is estimated that Wilson had fathered at least 10 other children before marrying Freda. He began working at Lee’s Sensation Club as a solo singer, then formed a group called the Falcons that included cousin Levi Stubbs, who later led the Four Tops. (Two other Wilson cousins, Hubert Johnson and Levi’s brother Joe, later became members of the Contours.) The other Falcons joined Hank Ballard as part of the Midnighters including Alonzo Tucker and Billy Davis, who worked with Wilson several years later as a solo artist. Tucker and Wilson collaborated as songwriters on a few songs Wilson recorded, including his 1963 hit “Baby Workout”.

Jackie Wilson was discovered by talent agent Johnny Otis, who recruited him for a group called the Thrillers. That group evolved into the Royals (who later became R&B group, the Midnighters, though Wilson was not part of the group. Wilson signed on with manager Al Green (not to be confused with R&B singer Al Green, nor Albert “Al” Green of the now defunct National Records). Green, who also managed LaVern Baker, Little Willie John, Johnnie Ray and Della Reese, owned two music publishing companies, Pearl Music and Merrimac Music, and Detroit’s Flame Show Bar, where Wilson met Baker. After recording Jackie Wilson’s first version of “Danny Boy” and a few other tracks on Dizzy Gillespie’s record label Dee Gee Records under the name Sonny Wilson (his nickname), Wilson joined a group called the Dominoes in 1953 to replace the immensely popular Clyde McPhatter, who left the Dominoes and formed the Drifters.

Before leaving the Dominoes, McPhatter coached Wilson on the sound Billy Ward wanted for his group, influencing Wilson’s singing style and stage presence. The 1940s Blues singer Roy Brown was also a major influence on him; and Wilson grew up listening to the Mills Brothers, the Ink Spots, Louis Jordan and Al Jolson. Wilson was the group’s lead singer for three years and In 1956 the Dominoes recorded Wilson with an unlikely interpretation of the pop hit “St. Therese of the Roses”,

In 1957 Jackie Wilson left the Dominoes, and collaborated with his cousin Levi, and secured performances at Detroit’s Flame Show Bar. Later, Al Green secured a deal with Decca Records, and Wilson was signed to its subsidiary label Brunswick and Wilson’s first single was released, “Reet Petite” (from his first album He’s So Fine), which became a modest R&B success (many years later, an international smash hit). “Reet Petite” was written by Berry Gordy Jr. (another former boxer who was a native son of Detroit), in which co-wrote “Reet Petite” with partner Roquel “Billy” Davis (often referred to as the pseudonym Tyran Carlo) and Gordy’s sister Gwendolyn. The trio composed and produced six additional singles for Wilson, in which were: “To Be Loved”, “I’m Wanderin'”, “We Have Love”, “That’s Why (I Love You So)”, “I’ll Be Satisfied” and “Lonely Teardrops”, which sold over one million copies, and established Wilson as an R&B superstar known for his extraordinary, operatic multi-octave vocal range, and was also awarded a gold disc by the RIAA.

Due to Wilson’s fervor when performing, with his dynamic dance moves, impassioned singing and impeccable dress, he was soon christened “Mr. Excitement”, a title Wilson kept for the remainder of his career. Jackie Wilson’s stagecraft in his live shows inspired James Brown, Michael Jackson and Elvis Presley, and many others. Presley was so impressed with Wilson that he made it a point to meet him, and the two instantly became good friends. In a photo of the two posing together, Presley’s caption in the autograph reads “You got you a friend for life”. Wilson was sometimes called “The Black Elvis”. Reportedly, when asked about this Presley said, “I guess that makes me the white Jackie Wilson.” Wilson also said he was influenced by Presley, saying,

Wilson’s powerful, electrifying live performances rarely failed to bring audiences to a state of frenzy. His live performances consisted of knee-drops, splits, spins, back-flips, one-footed across-the-floor slides, removing his tie and jacket and throwing them off the stage, basic boxing steps like advance and retreat shuffling, and one of his favorite routines, getting some of the less attractive women in the audience to come up to the stage and kiss him. Jackie Wilson was also a regular on TV, making regular appearances on such shows as The Ed Sullivan Show, American Bandstand, Shindig!, Shivaree and Hullabaloo. His only movie appearance was in the rock and roll film Go, Johnny, Go!, where he performed his 1959 hit song “You Better Know It”.

In 1958, Davis and Gordy left Wilson and Brunswick after royalty disputes escalated between them and Nat Tarnopol. Davis soon became a successful staff songwriter and producer for Chess Records, while Gordy borrowed money from his family and used money he earned from royalties writing for Wilson to start his own recording studio, Hitsville USA, the foundation of Motown Records in his native Detroit. Meanwhile, convinced that Wilson could venture out of R&B and rock and roll, Tarnopol had the singer record operatic ballads and easy listening material, pairing him with Dick Jacobs.

Jackie Wilson scored hits as he entered the 1960s With “Doggin’ Around”, “Night”, and “Baby Workout”, which he composed with The Midnighters member Alonzo Tucker. His songwriting alliance with Tucker also turned out other songs, including “No Pity (In The Naked City)” and “I’m So Lonely.” The songs Alone At Last” and “My Empty Arms” were also hits. In 1961, Wilson recorded a tribute album to Al Jolson, Nowstalgia … You Ain’t Heard Nothin’ Yet, sadly The album was a commercial failure. Following the success of “Baby Workout”, Wilson experienced a lull in his career between 1964 and 1966 as Tarnopol and Brunswick Records released a succession of unsuccessful albums and singles. Despite the lack of sales success, Wilson still made artistic gains as he recorded an album with Count Basie, as well as a series of duets with R & B artist LaVern Baker and gospel singer Linda Hopkins.

In 1966, Jackie Wilson released the songs “Whispers (Gettin’ Louder)”, “(Your Love Keeps Lifting Me) Higher and Higher”, “I Get the Sweetest Feeling”, which has sincespawned numerous cover versions by other artists such as Edwin Starr, Will Young, Erma Franklin (Aretha Franklin’s sister) and Liz McClarnon.A key to Jackie Wilson’s musical rebirth was recording with legendary Detroit musicians normally employed by Motown Records, plus Other Chicago-based session players and The Detroit based Funk Brothers. By 1975, Wilson and the Chi-Lites were the only significant artists left on Brunswick’s roster. Wilson had continued to record singles that found success on the R&B chart, but found no significant pop chart success. His final hit, “You Got Me Walkin'”, written by Eugene Record of the Chi-Lites, was released in 1972 with the Chi-Lites backing him on vocals and instruments.

Sadly On September 29, 1975, suffered a massive heart attack and collapsed on stage, while performing “Lonely Teardrops” on Dick Clark’s Good Ol’ Rock and Roll Revue, hosted by the Latin Casino in Cherry Hill, New Jersey. Cornell Gunter of the Coasters, who was backstage, noticed Wilson was not breathing. Gunter was able to resuscitate him and Wilson was then rushed to a nearby hospital. Medical personnel worked to stabilize Wilson’s vital signs, but the lack of oxygen to his brain caused him to slip into a coma. He briefly recovered in early 1976, and was even able to take a few wobbly steps. Sadly he slipped back into a semi-comatose state. Wilson was deemed conscious but incapacitated in early June 1976, unable to speak but aware of his surroundings. Wilson was a resident of the Medford Leas Retirement Center in Medford, New Jersey, when he was admitted into Memorial Hospital of Burlington County in Mount Holly, New Jersey. He was initially buried in an unmarked grave at Westlawn Cemetery near Detroit. However In 1987, a fundraiser by a Detroit radio station collected enough money to purchase a headstone.

Jam Master Jay (Run DMC)

Jam Master Jay. The American Disc Jockey with hip-hop group Run DMC was born 21st January 1965. Run–D.M.C. were an American hip hop group from Hollis, Queens, New York, founded in 1981 by Joseph “Run” Simmons, Darryl “D.M.C.” McDaniels, and Jason “Jam Master Jay” Mizell. The group is widely acknowledged as one of the most influential acts in the history of hip hop culture. Run–D.M.C. was one of the most well-known hip hop acts in the 1980s who, along with LL Cool J, The Beastie Boys, and Public Enemy signified the advent of the new school of hip hop music. They were the first group in the genre to have a gold album (Run–D.M.C., 1984) and be nominated for a Grammy Award. They were the first to earn a platinum record (King of Rock, 1985), the first to earn a multiplatinum certification (Raising Hell, 1986) the first to have videos on MTV, the first to appear on American Bandstand and the cover of Rolling Stone.

The group was among the first to highlight the importance of the MC and DJ relationship. In 2004, Rolling Stone ranked them number 48 in their list of the greatest musical artists of all time. In 2007, Run–D.M.C. was named “The Greatest Hip Hop Group of All Time” by MTV.com and “Greatest Hip Hop Artist of All Time” by VH1. On April 4, 2009, rapper Eminem inducted them into the Rock and Roll Hall of Fame. In doing so, Run–D.M.C. became only the second hip hop group in history to be inducted, after Grandmaster Flash and the Furious Five. The initials “D.M.C.” are widely accepted to refer to Darryl McDaniels’ initials. In the 1985 album King of Rock’s title track, McDaniels says the initials have two meanings: “Devastating Mic Control” and “D for never dirty, MC for mostly clean.” He also makes a third reference “The ‘D’s for Doing it all of the time, the ‘M’s for the rhymes that all are Mine, The ‘C’s for Cool – cool as can be.”

Georges Melies

French film Pioneer and innovator Georges Méliès sadly passed away 21 January 1938. born December 8th 1861. After completing his education, Méliès joined the family shoe business. He also visited the Egyptian Hall, run by the famous London illusionist John Nevil Maskelyne, and developed a passion for magic. Méliès returned to Paris in 1885 and studied painting at the École des Beaux-Arts, he also attended performances at the Théâtre Robert-Houdin, founded by Jean Eugène Robert-Houdin, and began taking magic lessons from Emile Voisin. In 1888 Georges Méliès purchased the Théâtre Robert-Houdin. Although the theatre was equipped with lights, levers, trapdoors, and several automata, Over the next nine years, Méliès personally created over 30 new illusions that brought more comedy and melodramatic pageantry to performances, much like those Méliès had seen in London. One of his best known illusions was the Recalcitrant Decapitated Man, in which a professor’s head is cut off in the middle of a speech and continues talking until it is returned to his body. While running the theatre, Méliès also worked as a political cartoonist for the liberal newspaper La Griffe.

As owner of the Théâtre Robert-Houdin, Méliès became more of a director, producer, writer, set and costume designer also inventing many magic tricks. As the theatre’s popularity grew, he brought many famous magicians to the theatre. Along with magic tricks, performances included fairy pantomimes, an automaton performance during intermissions, magic lantern shows, and special effects such as snowfall and lightning. In 1895, Méliès was elected president of the Chambre Syndicale des Artistes Illusionistes. Between 1896 and 1913, Méliès directed 531 films, these were similar to the magic theatre shows that Méliès had been doing, containing “tricks” and impossible events, such as objects disappearing or changing size. By experimenting with multiple exposures he was also able to play seven different characters simultaneously in film .After seeing the Lumière brothers’ films he bought several films and an Animatograph film projector & By April 1896 the Théâtre Robert-Houdin was showing films. Méliès built a film camera using parts from automata and special effect equipment. Méliès also learnt film processing through trial and error. ln 1896 he patented the Kinètographe Robert-Houdin, camera-projector, which he referred to as his “coffee grinder” and “machine gun” because of the noise that it made. Méliès began shooting his first films in May 1896, and screening them at the Théâtre Robert-Houdin and founded the Star-Film Company. Many of his earliest films were copies and remakes of the Lumière brothers films, including his first film Playing Cards. However, many of his other early films reflected Méliès’s knack for theatricality and spectacle, such as A Terrible Night, in which a hotel guest is attacked by a giant bedbug.

CONQUEST OF THE POLE http://m.youtube.com/watch?v=CtrELhltAwo

VOYAGES DANS LE LUNE http://m.youtube.com/watch?v=Eeqfxe4WSqk

Whereas The Lumière brothers intended their invention to be used for scientific and historical purposes and dispatched camera operators across the world to film serious documentaries Méliès’s Star-Film Company, was geared more towards the “fairground clientele” who wanted entertainment. In these earliest films, Méliès began to experiment with special effects that were unique to filmmaking. Méliès’s film effects and unique style of film magic were first used in The Vanishing Lady, in which the by then cliche magic trick of a person vanishing from the stage by means of a trap door is enhanced by the person turning into a skeleton until finally reappearing on the stage. In 1896, Méliès built a film studio on his property in Montreuil, just outside of Paris. which had glass walls and ceilings to allow sunlight in for film exposure. The property also included a shed for dressing rooms and a hangar for set construction. Because colors would often photograph in unexpected ways on black and white film, all sets, costumes and actors’ makeup were colored in different tones of gray. Actors performed in front of a painted set as inspired by the conventions of magic and musical theatre.

In 1896 Méliès made 78 films and 53 in 1897 covering every film genre including documentaries, comedies, historical reconstructions, dramas, magic tricks and féeries (fairy stories), .Méliès also made advertisements for whiskey, chocolate, and baby cereal. In 1898 Méliès made only 30 films but his work was becoming more ambitious and elaborate. His films included the historical reconstruction of the sinking of the USS Maine Divers at Work on the Wreck of the “Maine”, the magic trick film The Famous Box Trick, and the féerie The Astronomer’s Dream. He also made one of his first of many religious satires with The Temptation of Saint Anthony. He continued to experiment with special effects such as a reverse shot in A Dinner Under Difficulties and also experimented with superimposition where he would film actors in a black background, then rewind the film through the camera and expose the footage again to create a double exposure. These films included The Cave of the Demons, in which transparent ghosts haunt a cave, and The Four Troublesome Heads, in which Méliès removes his own head three times and creates a musical chorus. He continued to experiment with special effects, the early horror film Cleopatra depicts her mummy being resurrected in modern times. Méliès also made two of his most ambitious and well-known films. The Dreyfus Affair, and Cinderella. Méliès’s films were particularly popular across Europe and in the United States however US filmmakers as Thomas Edison were resentful of the competition from foreign companies & attempted to block Méliès from screening films in the US so film makers including Méliès established the trade union Chambre Syndicale des Editeurs Cinématographiques as a way to defend themselves in foreign markets and the Théâtre Robert-Houdin was the group’s headquarters

In 1900 Méliès made 33 films, including Joan of Arc, The One-Man Band and The Christmas Dream, In 1901 Méliès made The Brahmin and the Butterfly, Little Red Riding Hood and Bluebeard, both based on stories from Charles Perrault. In 1902 Méliès began to experiment with camera movement to create the illusion of a character changing size.This effect began with The Devil and the Statue and was used again in The Man with the Rubber Head. In May 1902 Méliès made his most famous film, A Trip to the Moon. The film includes the celebrated scene in which a spaceship hits the man in the moon in the eye; it was loosely based on Jules Verne’s From the Earth to the Moon and H. G. Wells’ The First Men in the Moon. In the film Méliès stars as Professor Barbenfouillis, who is president of the Astronomer’s Club and oversees an expedition to the Moon. The six men explore the moon’s surface and are attacked by a group of moon men. The film was an enormous success in France and around the world, and made Méliès famous in the United States, Méliès’s enormous success continued with his three other major productions of that year. The Coronation of Edward VII, which used actual footage of the carriage procession in the film, and King Edward VII himself was said to have enjoyed it.

Next Méliès made Gulliver’s Travels, based on the novel by Jonathan Swift, and Robinson Crusoe, based on the novel by Daniel Defoe. In 1903 Méliès made Fairyland: A Kingdom of Fairies, Ten Ladies in one Umbrella, The Melomaniac and Faust in Hell, which is based on an opera by Hector Berlioz, In 1904 he made a sequel, Faust and Marguerite. based on an opera by Charles Gounod. in 1904 he made The Barber of Seville. His major production of 1904 was The Impossible Voyage, a film similar to A Trip to the Moon about an expedition around the world, into the oceans and even to the sun. In 1904, Méliès was invited to create a special effects film to be included in a theatre revue. The result was The Adventurous Automobile Trip. In 1905 Méliès contributed two short films to The Merry Deeds of Satan : The Space Trip and The Cyclone, and made 22 other films, including the adventure The Palace of Arabian Knights and the féerie Rip’s Dream.

For the 100th birthday of Jean Eugène Robert-Houdin, the Théâtre Robert-Houdin created a special celebration performance, including Méliès’s first new stage trick in several years, Les Phénomènes du spiritisme. He made eighteen films in 1906, including The Merry Deeds of Satan and The Witch. In 1907 Méliès created three new illusions for the stage and performed them at the Théâtre Robert-Houdin. He also made nineteen films, including a parody of Jules Verne’s 20,000 Leagues Under the Sea and a short version of Hamlet. in 1908 Méliès made one of his most ambitious films: Humanity Through the Ages, which retells the history of humans from Cain and Abel to the Hague Peace Conference of 1907. Méliès resumed filmmaking in the autumn of 1909 and produced three films that year. In 1910 his brother Gaston set up a studio called the Star Films Ranch in Texas, where he began to produce Westerns. By 1911 Gaston had renamed his branch of Star Films American Wildwest Productions & produced over 130 films between 1910 and 1912. Between 1910 and 1912, Georges Méliès produced 20 films including Whimsical Illusions, in which he performs a magic trick on stage & also created a new theatrical revue, Spiritualist Phenomena.

Sadly, Méliès made a questionable deal with Charles Pathé which eventually destroyed his film career. Méliès accepted a large amount of money to produce films and in exchange Pathé Frères would distribute and reserve the right to edit these films. Pathé also held the deed to both Méliès’s home and his Montreuil studio as part of the deal. From 1911 Méliès began production on more ambitious & elaborate films including The Adventures of Baron Munchausen and The Haunted Window & In 1912, Méliès made Conquest of the Pole. which was inspired by Robert Peary’s expedition to the North Pole in 1909 and Roald Amundsen’s expedition to the South Pole in 1911,The film included giant monsters and also has elements of Jules Verne’s The Adventures of Captain Hatteras which is often said to be the third film of Méliès’s fantastic voyage trilogy after A Trip to the Moon and The Impossible Voyage.

Méliès also made The Snow Knight and Le Voyage de la famille Bourrichon. However Méliès subsequently lost $50,000 and was forced to sell the American branch of Star Films to Vitagraph Studios. As a result Méliès broke his contract with Pathé in 1913, but was too broke to repay the money that he owed Pathe. He was declared bankrupt and did not continue making films-He attributes his own inability to adapt to Pathé and other companies, his brother Gaston’s poor financial decisions and the horrors of World War I as the main reasons that he stopped making films. Due to the war, the Théâtre Robert-Houdin was shut down for a year and Méliès left Paris for several years. In 1917 the French army turned the main studio building at his Montreuil studio into a hospital for wounded soldiers. He and his family then turned the second studio set into a theatrical stage and performed over 24 variety show revues there until 1923. Also during the war, the French army confiscated over 400 of the original prints of Star-Films’s catalog of films in order to melt them down and retrieve their celluloid and silver content. In 1923, the Théâtre Robert-Houdin was torn down in order to rebuild the Boulevard Haussmann. That same year Pathé was finally able to take over Star-Films and the Montreuil studio. In a rage, Méliès personally burned all of the negatives of his films that he had stored at the Montreuil studio, as well as most of the sets and costumes.

As a result many of his films do not exist today. Nonetheless, just over 200 Méliès films have been preserved and are available on DVD. After being driven out of business, Méliès disappeared from public life. By the mid-1920s he was making a meager living as a candy and toy salesman at the Montparnasse station in Paris. In the 1920s several journalists began to research Méliès and his life’s work, creating new interest in him. As his prestige began to grow in the film world, he was given more recognition and in December 1929 a gala retrospective of his work was held at the Salle Pleyel. Georges Méliès was awarded the Légion d’honneur in 1931 by Louis Lumière, who said that Méliès was the “creator of the cinematic spectacle.

In 1932, the Cinema Society arranged a place for Méliès, his granddaughter Madeleine and Jeanne d’Alcy at La Maison du Retrait du Cinéma, the film industry’s retirement home in Orly, where Méliès worked with several younger directors on scripts for films including a new version of Baron Münchhausen with Hans Richter and a film called Le Fantôme du métro (Phantom of the Metro) . In 1936 he rented an abandoned building on the property of the Orly retirement home to store the collection of film prints. They then entrusted the key to the building to Méliès and he became the first conservator of what would eventually become the Cinémathèque Française. Although he was never able to make another film after 1913 or stage another theatrical performance after 1923, he continued to draw, write and advise yoUnger film and theatrical admirers until the end of his life. By late 1937 Méliès had become very ill and he was admitted to the Léopold Bellan Hospital in Paris. one of Méliès last drawings was of a champagne bottle with the cork popped and bubbling over. Méliès died of cancer on 21 January 1938 just hours after the passing of Émile Cohl, another great French film pioneer, and was buried in the Père Lachaise Cemetery.

George Orwell

English novelist and journalist George Orwell, sadly passed away on 21 January 1950. Born Eric Arthur Blair on 25 June 1903, in Motihari, Bihar, in India, His work is marked by clarity, intelligence and wit, awareness of social injustice, opposition to totalitarianism, and belief in democratic socialism. Although Orwell wrote literary criticism, poetry, fiction and polemical journalism. He is best known for the dystopian novel Nineteen Eighty-Four (1949) and the allegorical novella Animal Farm (1945), which together have sold more copies than any two books by any other 20th-century author. His book Homage to Catalonia (1938), an account of his experiences in the Spanish Civil War, is widely acclaimed, as are his numerous essays on politics, literature, language and culture. In 2008, The Times ranked him second on a list of “The 50 greatest British writers since 1945″. Orwell’s work continues to influence popular and political culture, and the term Orwellian — descriptive of totalitarian or authoritarian social practices — has entered the vernacular with several of his neologisms, such as doublethink, thoughtcrime, Big Brother and thought police.

Nineteen Eighty-Four

Nineteen Eighty-Four was published in 1949. It is a dystopian and satirical novel set in Oceania, where society is tyrannized by The Party and its totalitarian ideology. The Oceanian province of Airstrip One is a world of perpetual war, omnipresent government surveillance, and public mind control, dictated by a political system euphemistically named English Socialism (Ingsoc) under the control of a privileged Inner Party elite that persecutes all individualism and independent thinking as thoughtcrimes.

Their tyranny is headed by Big Brother, the quasi-divine Party leader who enjoys an intense cult of personality, but who may not even exist. Big Brother and the Party justify their rule in the name of a supposed greater good. The novel’s protagonist Winston Smith, is a member of the Outer Party who works for the Ministry of Truth (Minitrue), which is responsible for propaganda and historical revisionism. As a sort of Spin Doctor. Smith is a diligent and skillful worker, but he secretly hates the Party and dreams of rebellion against Big Brother.

As literary political fiction and as dystopian science-fiction, Nineteen Eighty-Four is a classic novel in content, plot, and style. Many of its terms and concepts, such as Big Brother, doublethink, thoughtcrime, Newspeak, and memory hole, have entered everyday use since its publication in 1949. Nineteen Eighty-Four spawned the term Orwellian, to describe official deception, secret surveillance, and manipulation of the past by a totalitarian or authoritarian state. In 2005 the novel was chosen by TIME magazine as one of the 100 best English-language novels from 1923 to 2005. It was awarded a place on both lists of Modern Library 100 Best Novels, reaching number 13 on the editor’s list, and 6 on the reader’s list. In 2003, the novel was listed at number 8 on the BBC’s survey The Big Read.

Animal Farm

Animal Farm is an allegorical novella which addresses corruption, wickedness, ignorance, greed, myopia and indifference. It was published in England in 1945 and reflects events leading up to the Russian Revolution of 1917, and then on into the Stalin era in the Soviet Union. Orwell, a democratic socialist, was a critic of Joseph Stalin and hostile to Moscow-directed Stalinism, especially after his

experiences with the NKVD and the Spanish Civil War. The Soviet Union he believed, had become a brutal dictatorship, built upon a cult of personality and enforced by a reign of terror. In a letter to Yvonne Davet, Orwell described Animal Farm as his novel “contre Stalin” and in his essay of 1946, Why I Write, he wrote that Animal Farm was the first book in which he had tried, with full consciousness of what he was doing, “to fuse political and artistic purpose into one whole”.

The original title was Animal Farm: A Fairy Story, but the subtitle was dropped by U.S. publishers for its 1946 publication. Other variations in the title include: A Satire and A Contemporary Satire. Orwell suggested the title Union des républiques socialistes animales for the French translation, which recalled the French name of the Soviet Union, Union des républiques socialistes soviétiques, and which abbreviates to URSA, the Latin for “bear”, a symbol of Russia. It was written Between November 1943-February 1944, when the wartime alliance with the Soviet Union was at its height and Stalin was held in highest esteem in Britain both among the people and intelligentsia, a fact that Orwell hatt

It was initially rejected by a number of British and American publishers, including one of Orwell’s own, Victor Gollancz. Although Its publication was delayed it became a great commercial success when it appeared— partly because the Cold War so quickly followed WW2. Time magazine chose the book as one of the 100 best English-language novels (1923 to 2005); it also places at number 31 on the Modern Library List of Best 20th-Century Novels. It won a Retrospective Hugo Award in 1996 and is also included in the Great Books of the Western World. Both 1984 and Animal Farm have also been adapted for film and television numerous times, notably starring John Hurt as Winston Smith. There is also an animated version of Animal Farm and I wouldn’t be surprised if someone was doing an anthropomorphic version of Animal Farm using digital effects.

Delorean DMC12

On January 21st 1981 Production of the iconic DeLorean DMC-12 sports car began in Dunmurry, Northern Ireland. The DeLorean DMC-12 was manufactured by the DeLorean Motor Company for the American market in 1981-82. Featuring gull-wing doors with a fiberglass “underbody”, to which non-structural brushed stainless steel panels are affixed, the car became iconic for the appearance of a modified version as a time machine in the Back to the Future film trilogy. The first prototype appeared in October 1976, and production officially began in 1981 in Dunmurry, a suburb of south west Belfast, Northern Ireland. During its production, several features of the car were changed, such as the hood style, wheels and interior.

In October 1976, the first prototype DeLorean DMC-12 was completed by William T. Collins, chief engineer and designer (formerly chief engineer at Pontiac). The body design of the DMC-12 was a product of Giorgetto Giugiaro of Ital Design and the car was Originally, intended to have a centrally-mounted Citroën/NSU Comotor Wankel rotary engine. The engine selection was reconsidered when Comotor production ended, and the favored engine became Ford’s “Clogne V6.” Eventually the French/Swedish PRV (Peugeot-Renault-Volvo) fuel injected V6, was selected. Also the engine location moved from the mid-engined location in the prototype to a rear-engined installation in the production car. The chassis was initially planned to be produced from a new and untested manufacturing technology known as Elastic Reservoir Moulding (ERM), which would lighten the car while presumably lowering its production costs. This new technology, for which DeLorean had purchased patent rights, was eventually found to be unsuitable. So Engineering was turned over to engineer Colin Chapman, founder and owner of Lotus. Chapman replaced most of the unproven material and manufacturing techniques with those then employed by Lotus. The backbone chassis is very similar to that of the Lotus Esprit. The original Giorgetto Giugiaro body design was left mostly intact, as were the distinctive stainless steel outer skin panels and gull-wing doors. DeLorean required $175 million to develop and build the motor company. DeLorean eventually built the DMC-12 in a factory in Dunmurry, Northern Ireland, a neighborhood a few miles from Belfast city center. Construction on the factory began in October 1978, and although production of the DMC-12 was scheduled to start in 1979, engineering problems and budget overruns delayed production until early 1981.

Hollywood celebrities such as Johnny Carson and Sammy Davis Jr also invested in the firm and The DMC-12 also appears in the Back to the Future film trilogy. The PRV engines of the cars were dubbed over with recorded V8 sounds. Six DeLorean chassis were used during the production, along with one manufactured out of fiberglass for scenes where a full-size DeLorean was needed to “fly” on-screen; only three of the cars still exist, with one having been destroyed at the end of Back to the Future Part III. Universal Studios owns two of the remaining cars, and the last resides in a private collection after having been extensively restored. Sadly though all this endorsement was not enough to save the company and The DeLorean Motor Company went bankrupt in late 1982 following John DeLorean’s arrest in October of that year on drug trafficking charges. He was later found not guilty, but it was too late for the DMC-12 to remain in production. and the company went into liquidation

Approximately 9,000 DMC-12s were made before production halted in late 1982 and about 100 partially assembled DMCs on the production line were completed by Consolidated International (now known as Big Lots). The remaining parts from the factory stock, the parts from the US Warranty Parts Center, as well as parts from the original suppliers that had not yet been delivered to the factory were all shipped to Columbus, Ohio in 1983–1984. A company called KAPAC sold these parts to retail and wholesale customers via mail order. In 1997, DeLorean Motor Company of Texas acquired this inventory. Overall just 9,200 DMC-12s were produced between January 1981 and December 1982 Almost a fifth of these were produced in October 1981. About one thousand 1982 models were produced between February and May 1982, As of 2007, about 6,500 DeLorean Motor cars were believed to still exist. In 1995 Texas entrepreneur Stephen Wynne started a separate company using the “DeLorean Motor Company” name and shortly thereafter acquired the trademark on the stylized “DMC” logo as well as the remaining parts inventory of the original DeLorean Motor Company. The company, at its suburban Humble, Texas location, completes newly assembled cars from new old stock (NOS) parts, original equipment manufacturer (OEM) and reproduction parts on a “made to order” basis using existing Vehicle Identification Number (VIN)