As wild and sexy and over the top as the decade it brings to life, author, William Stadiem, tells the inside story of Hollywood producers in the 80s. From hits like Beverly Hills Cop, Top Gun and Batman to flops like Heaven's Gate, Howard the Duck and Leonard Part 6, Hollywood was never more excessive than it was in the 1980s. In this, the Moneywood era, the purse strings were not controlled by reasonably consenting adults but by pop culture cowboys who couldn't balance their own checkbooks. What they could do was sweet talk the talent, seduce the starlets, snowball the Japanese and slither out of Dodge when the low grosses trickled in. Their out of control lifestyles and know-nothing, raging narcissistic personalities make the original brutal studio heads like Sam Goldwyn and Jack Warner seem like Oxford dons. Yet, for all their flops, these Scoundrels of Spago turned Hollywood into a Big Business that was catnip to Wall Street. They were The Producers, and they were way beyond anything Mel Brooks could dream up. The Moneywood cast of characters includes: -Simpson and Bruckheimer; Guber and Peters; Eisner/Katzenberg/Ovitz: An unusual fresh take on the usual subjects. -Ray Stark, the wizard of Holmby Hills, the most powerful producer of the 80s. -Mario Kassar and Andy Vajna, the Rambo boys, who went from making wigs to making blockbusters. -Menahem Golan-Yoram Globus, the Israeli schlockmeisters who proved that every star had a price. -David Begelman, the embezzler, gambler and sex addict who was rewarded for his sins by getting to run both Columbia and MGM. -Roland Betts, the aristocratic Silver Screen Partners founder and former Yale frat-mate of George W. Bush who was a master at playing the Reagan White House card. -Giancarlo Parretti, the Italian cannery worker who bought MGM, with a little help from his (Sicilian) friends. -David Puttnam The high-toned English advertising whiz who was supposed to raise the Hollywood bar, but ended up barred from Hollywood. Moneywood is the ultimate expose of the real hit men of Hollywood's go-go decade.

Designed specifically for business students, James' Business Law, 7th Edition provides a comprehensive introduction to the fundamentals of business law. Tailored to accommodate the initial encounter with legal principles for business students, this textbook offers a clear and accessible pathway into the realm of law. Unlike traditional texts from leading legal publishers, Business Law, 7th Edition prioritizes a practical approach, emphasizing real-world applications over doctrinal intricacies. By demystifying complex legal concepts and presenting them within a business-oriented framework, this textbook equips students with the necessary foundation to navigate the legal landscape with confidence.

This is the first new full-scale anthology of Restoration and eighteenth-century drama in over sixty years. Concentrating on plays from the heyday of 1660-1737, it focuses especially on Restoration drama proper (1660-1688) and Revolution drama (1689-1714), with a smaller selection of plays from the early Georgian period (1715-1737) and a glimpse at the later Georgian period’s “laughing comedy” (1770s and 80s). It includes nine sub-genres (heroic romance, political tragedy, personal tragedy, tragicomic romance, social comedy, subversive comedy, corrective satire, menippean satire, and laughing comedy), with the preponderance of exposure given to the jewel of this theatre, its comedy. The core canonical plays from the era—from Dryden’s All for Love and Behn’s The Rover to Congreve’s The Way of the World and Sheridan’s School for Scandal—are all here, but so are a remarkably wide range of non-canonical works. There are many more plays by women than in any previous general anthology of drama of the period. Also included are a number of works from the neglected 1660s, whose comedies feature delightful, subversive, levelling folk elements. In all there are forty-one plays; each is fully annotated and prefaced with an historical introduction. Also included are a general introduction, head-notes for each genre, and a glossary.