Growing up on a farm in Wyoming taught Susan Miller perseverance. Her parents, hard-working and inspiring, taught her that life is full of obstacles-and one has to choose how she will overcome them. History of a Pipe Dream is the story of her struggle to overcome the prejudice that existed (and to a certain degree, continues to exist) regarding women in the field of industrial construction. She started out as a common laborer and worked her way up to journeyman, and along the way, she got to know people from all walks of life. Some amused her, some inspired her, but most just stood in her way. And then there was Jack, one of the most helpful men she ever met-who was also, at the same time, the most destructive force she'd ever know in her life. Through it all, she fought hard to stay focused on her goal: to be accepted as an equal. She chose to pursue a career that challenged her as fiercely as it challenged the perceptions and prejudices of others. The art of survival she learned so well as a child and young woman would soon be the key to her success. Hers is a journey into a world that few women have known, but all women can relate to.

The lawyer turned on the tape recorder, handed his client a cigarette, and lit it for him. Black drew hard, squinting as the smoke rushed into his lungs. "Where do you want to start?"the lawyer said, lighting a cigarette of his own. "I guess there’s only one place to start; at Broad and Erie." Johnny Podres, a politician whose record against corruption had been propelling him straight to the mayor’s office, is found murdered in a North Philly crack house. Enter Samuel Jackson, a.k.a. Black, a drug addict who knows better, a man embittered by the fact that he can’t seem to escape from his addiction to crack cocaine or, for that matter, from himself. Though he was once a family man with a wife and son, Black’s only concern these days is getting his next high, that is, until he stumbles across a friend and fellow addict, Leroy, and both become prime suspects in the Podres murder. Black and Leroy hook up with two female pipers: Clarisse, a registered nurse who is slowly losing to crack any semblance of a respectable life, and Pookie, who already has lost it. Soon the hunt is on for all four as they try to stay one step ahead of a police department under tremendous pressure to solve the case—because if a killer isn’t found soon, this could blow up into one of the biggest scandals in Philadelphia history. Solomon Jones weaves a suspenseful story against the backdrop of corruption in the Philadelphia police department and centers it on a group of drug addicts who, in the process of fleeing the law, come to terms with their own addiction, leading to some devastating consequences.

(Vocal Score). Complete vocal score to the 1955 musical with 22 pieces in all: All at Once You Love Her * All Kinds of People * Everybody's Got a Home but Me * How Long * The Man I Used to Be * Suzy Is a Good Thing * Sweet Thursday * Will You Marry Me * and more.

A long environmental history of the Aral Sea region, focusing on colonization and development in Russian and Soviet Central Asia.

Lusane argues that "the federal drug war being waged in the nation's capital is parallel to that waged against other communities nationwide and worldwide."--SF Bay Guardian

Pipe Dream, a classical book, has been considered essential throughout the human history, and so that this work is never forgotten we at Alpha Editions have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and designed. These books are not made of scanned copies of their original work and hence the text is clear and readable.

"The American Pipe Dream examines the representational history of addiction on the U.S. stage from 1890 to the start of the nation's involvement in the second World War in 1941. Through intensive archival work, textual and performance analysis, and by considering related literary, legislative, and medical histories, this work argues that performance was essential in the creation of the drug addict in the U.S. cultural imagination. Though little attention has been paid to the figure of the stage-addict, this conventionalized figure was a major presence in U.S. popular entertainment through the Progressive Era into the Roaring Twenties, and through the Great Depression. The aim of this study is to trace this complex history, establish the stage-addict's place in U.S. theatre studies, and, by doing so, provide a new lens for examining the history of drug addiction and drug use in the U.S"--