His father had requested the courts to look into evidences that would prove his son’s innocence, but the letter only goes on to show why Bhagat Singh is a true revolutionary who paved a new path for Indian Independence.

    All of the mentioned are just puppets on an invisible string doing the biddings of a few unseen puppeteers. Yes, that’s right. A few elite and undisclosed organizations send our children off to war, restrict the growth of the middle class, and limit educational opportunities for American citizens. The sad truth is this is nothing new. Thomas Jefferson and Benjamin Franklin warned of the dangers and destructive power of these elites if left unchecked. These few unchosen were able, and continue, to use the Federal Reserve Banking System, universities, and war to create economic recessions and depressions that provide unnoticed benefits to a select group of social manipulators. In this stunning new book, Mark Mullen takes us on an intellectual journey through the world of secret partnerships created by unfamiliar ideologues designed to acquire most of the nation’s wealth and power. In Who Controls America, Mullen shines a light on those few elites who place greed, power, and profits above the interests of the American citizen and the pursuit of the American Dream.

    We have managed to overcome and even come up with solutions to major world problems like famine, plague, and war.   This book Homo Deus discusses the evolution of man over the years; from simple-minded beings who believed in God to intelligent man who questions God’s existence and would rather rely on Science and data computation to get their answers. (Note: This summary is wholly written and published by readtrepreneur.com It is not affiliated with the original author in any way) “History began when humans invented gods, and will end when humans become gods.” – Yuval Noah Harari Homo Deus tells us of the journey throughout man’s quest for power as they attempt to become more godlike, and the reasons behind why they could accomplish so much. Humankind has always thought of themselves as more superior than the other species and believed that their existence has great meaning and meant for a higher purpose. P.S. Open your eyes and mind as you learn more about our own species – mankind. As we read along, Homo Deus will make us ponder – Are we really that great as we think? Are we bettering ourselves, or self-destructing?   P.P.S. This is a ZERO-RISK investment. Should you find this book unworthy of the original coffee price of $3.99, get a REFUND within 7 days! The Time for Thinking is Over! Time for Action! Scroll Up Now and Click on the “Buy now with 1-Click” Button to Download your Copy Right Away! Why Choose Us, Readtrepreneur? Highest Quality Summaries Delivers Amazing Knowledge Awesome Refresher Clear And Concise Disclaimer Once Again: This book is meant for a great companionship of the original book or to simply get the gist of the original book. If you’re looking for the original book, search for this link: http://amzn.to/2t3cUk3

    His parents retired and moved to Florida. That doesn't mean his family isn't still in Jersey. In fact, he sees both sets of his grandparents every Sunday for dinner. This is routine until he has to tell them that he's been offered a dream job. The job he's been waiting for - marketing executive - would take him away from his beloved, but annoying, grandparents. He tells them. The news doesn't sit so well. Thus begins a series of schemes to keep Nick around. How could he betray his family's love to move to Seattle for a job, wonder his grandparents? Well, Frank, Aida, Nunzio, and Emma do their level best, that includes bringing the lovely - and single - Caitlin O'Hare as bait.

    I've acted for Belasco and I've laid 'em out in the rows at the Palace. I've doubled as an alligator; I've worked for the Shuberts; and I've been joined to Billy Rose in the holy bonds. I've painted the house boards and I've sold tickets and I've been fired by George M. Cohan. I've played in London before the king and in Oil City before miners with lanterns in their caps. Fanny Brice was indeed show business personified, and in this luminous volume, Herbert G. Goldman, acclaimed biographer of Al Jolson, illuminates the life of the woman who inspired the spectacularly successful Broadway show and movie Funny Girl, the vehicle that catapulted Barbra Streisand to super stardom. In a work that is both glorious biography and captivating theatre history, Goldman illuminates both Fanny's remarkable career on stage and radio--ranging from her first triumph as Sadie Salome to her long run as radio's Baby Snooks--and her less-than-triumphant personal life. He reveals a woman who was a curious mix of elegance and earthiness, of high and low class, a lady who lived like a duchess but cursed like a sailor. She was probably the greatest comedienne the American stage has ever known as well as our first truly great torch singer, the star of some of the most memorable Ziegfeld Follies in the 1910s and 1920s, and Goldman covers her theatrical career and theatre world in vivid detail. But her personal life, as Goldman shows, was less successful. The great love of her life, the gangster Nick Arnstein, was dashing, handsome, sophisticated, but at bottom, a loser who failed at everything from running a shirt hospital to manufacturing fire extinguishers, and who spent a good part of their marriage either hiding out, awaiting trial, or in prison. Her first marriage was over almost as soon as it was consummated, and her third and last marriage, to Billy Rose, the Bantam Barnum, ended acrimoniously when Rose left her for swimmer Eleanor Holm. As she herself remarked, I never liked the men I loved, and I never loved the men I liked. Through it all, she remained unaffected, intelligent, independent, and, above all, honest. Goldman's biography of Al Jolson has been hailed by critics, fellow biographers, and entertainers alike. Steve Allen called it an amazing job of research and added Goldman's book brings Jolson back to life indeed. The Philadelphia Inquirer said it was the most comprehensive biography to date, and Ronald J. Fields wrote that Goldman has captured not only the wonderful feel of Al Jolson but the heartbeat of his time. Now, with Fanny Brice, Goldman provides an equally accomplished portrait of the greatest woman entertainer of that illustrious era, a volume that will delight every lover of the stage.

    The show is based on a remarkable series of taped discussions made in the mid 1970s with some of the top "gypsies" (veteran Broadway dancers), many of whom went on to play characters based on themselves in the Tony- and Pulitzer-winning musical. In many ways, On the Line: The Creation of "A Chorus Line" is a continuation of the show itself. In this collective oral history, the 19 original cast members tell how they got involved with the project, how they labored through the months of workshops that shaped it, and what its success has meant for their lives and careers. They paint intimate and frank portraits of co-creators Michael Bennett, Joseph Papp, Ed Kleban - and each other. Originally published in 1990, the book has been updated to continue telling their stories over the past 16 years. Wayne Cilento ("I Can Do That") has become a Tony-winning choreographer of shows like Wicked and Aida; Kelly Bishop ("Can the adults smoke?") has become a TV star; Trish Garland has become a California fitness guru, and so forth.

    today."   -Gerald Horne, author of The Counter-Revolution of 1776:  Slave Resistance and the Origins of the USA This powerful play, originally produced at the Nuyorican Poets Café, comprehensively dismantles the phenomenon of Lin-Manuel Miranda and Hamilton. Reed uses the musical’s crimes against history to insist on a radical, cleareyed way of looking at our past and our selves. Both durable and timely, this goes beyond mere corrective – it is a meticulously researched rebuttal, an absorbing drama, and brilliant rallying cry for justice. The perfect tie-in to both the success of and backlash to Hamilton, it is the major voice in contrast to the recent movie. It captures both the earnest engagement that fans of the musical desire, as well as the exhausted disbelief of those who can’t stand it. Teachers, students and fans of drama, literature, and history will find much to love. It is written by one of America’s most respected and original writers, who is eagerly promoting it, and who is long overdue for a renaissance.

    The popular image of the men who made the bomb is of dispassionate intellects who number-crunched their way towards a weapon whose devastating power they could not even imagine. But in his Tony Award-winning play Copenhagen, Michael Frayn shows us that these men were passionate, philosophical, and all too human, even though one of the three historical figures in his drama, Werner Heisenberg, was the head of the Nazis' effort to develop a nuclear weapon. The play's other two characters, the Danish physicist Niels Bohr and his wife, Margrethe, are involved with Heisenberg in an after-death analysis of an actual meeting that has long puzzled historians. In 1941, the German scientist visited Bohr, his old mentor and long-time friend, in Copenhagen. After a brief discussion in the Bohrs' home, the two men went for a short walk. What they discussed on that walk, and its implications for both scientists, have long been a mystery, even though both scientists gave (conflicting) accounts in later years. Frayn's cunning conceit is to use the scientific underpinnings of atomic physics, from Schr?dinger's famous cat to the Heisenberg uncertainty principle, to explore how an individual's point of view renders attempts to discover the ultimate truth of any human interaction fundamentally impossible. To Margrethe, Heisenberg was always an untrustworthy student, eager to steal from her husband's knowledge. To Bohr, Heisenberg was a brilliant if irresponsible foster son, whose lack of moral compass was part of his genius. As for Heisenberg, the man who could have built the bomb but somehow failed to, his dilemma is at the heart of the play's conflict. Frayn's clever dramatic structure, which returns repeatedly to particular scenes from different points of view, allows several possible theories as to what his motives could have been. This isn't the first play to successfully merge the world

    is a series of women's monologues tackling many different aspects of the complex female psyche.

    Bush, from the creators of WeeklyRadioAddress.com, featured on TheOnion.com one of the highest rated podcasts in America.

    Here Scott and Zelda Fitzgerald, often seen as symbols of the doomed youth of the jazz age, become two halves of s single creative psyche, each part alternately feeding and then devouring the other.Set in Highland Hospital near Asheville, North Carolina, where Zelda spent her last confinement, this “ghost play” begins several years after Scott’s death of a heart attack in California. But the past is “still always present” in Zelda, and Williams’s constant shifting of chronology and mixing of remembrance with ghostly re-enactment suggest that our real intimacy is with the shadow characters of our own minds. As Williams said the Author’s Note to the Broadway production: “Our reason for taking extraordinary license with time and place is that in an asylum and on its grounds liberties of this kind are quite prevalent: and also these liberties allow us to explore in more depth what we believe is truth of character."Williams poses the inevitable, unanswerable questions: Did Scott prevent Zelda from achieving an independent creativity? Did Zelda’s demands force Scott to squander his talents and turn to alcohol? Whose betrayal — emotional, creative, sexual — destroyed the other? But he poses these questions in a new way: in the act of creation, Zelda and Scott are now aware of their eventual destruction, and the creative fire that consumed the two artists combines symbolically with the fire that ended Zelda’s life.

    His career has spanned more than half a century, his lyrics have become synonymous with musical theater and popular culture, and in Finishing the Hat—titled after perhaps his most autobiographical song, from Sunday in the Park with George—Sondheim has not only collected his lyrics for the first time, he is giving readers a rare personal look into his life as well as his remarkable productions.Along with the lyrics for all of his musicals from 1954 to 1981—including West Side Story, Company, Follies, A Little Night Music and Sweeney Todd—Sondheim treats us to never-before-published songs from each show, songs that were cut or discarded before seeing the light of day. He discusses his relationship with his mentor, Oscar Hammerstein II, and his collaborations with extraordinary talents such as Leonard Bernstein, Arthur Laurents, Ethel Merman, Richard Rodgers, Angela Lansbury, Harold Prince and a panoply of others. The anecdotes—filled with history, pointed observations and intimate details—transport us back to a time when theater was a major pillar of American culture. Best of all, Sondheim appraises his work and dissects his lyrics, as well as those of others, offering unparalleled insights into songwriting that will be studied by fans and aspiring songwriters for years to come. Accompanying Sondheim’s sparkling writing are behind-the-scenes photographs from each production, along with handwritten music and lyrics from the songwriter’s personal collection. Penetrating and surprising, poignant, funny and sometimes provocative, Finishing the Hat is not only an informative look at the art and craft of lyric writing, it is a history of the theater that belongs on the same literary shelf as Moss Hart’s Act One and Arthur Miller’s Timebends. It is also a book that will leave you humming the final bars of Merrily We Roll Along, while eagerly anticipating the next volume, which begins with the opening lines of Sunday in the Park with George.

    King James commissions Shakespeare to write a play about the Gunpowder Plot.

    Prior is a man living with AIDS whose lover Louis has left him and become involved with Joe, an ex-Mormon and political conservative whose wife, Harper, is slowly having a nervous breakdown. These stories are contrasted with that of Roy Cohn (a fictional re-creation of the infamous American conservative ideologue who died of AIDS in 1986) and his attempts to remain in the closet while trying to find some sort of personal salvation in his beliefs.

    Although the rise of Jeremy Corbyn is to be attributed to more than hard-left entrism, to some within the party, Crick's book must seem like a lesson from history.Militant was a secret Trotskyite organisation that consistently denied being a party, though at its peak in the mid-1980s it could boast around 8,000 members, all of whom also belonged to the Labour Party. Militant operated clandestinely inside the Labour Party, edging out moderates at grass-roots level and recruiting people to its own ranks. Whilst eventually most of its leaders were expelled, it caused damaging rifts within Labour. Crick's book explores the origins, organisation and aims of Militant. It also explores the famous boss politics of Derek Hatton and Militant in Liverpool, and the party hierarchy's determined and ultimately successful attempts to squash the tendency.An important historical document, it is today seen as a field guide to how hard-left factions can infiltrate the Labour party, with some in the centre of the party allegedly urging its supporters to treat the long unavailable book as a 'war manual'.