A critical discussion of Hillary Clinton's speaking fees, focusing on the corporations that paid the fees

This is a legal treatise for lawyers, judges, and pro se litigants on state asset forfeiture cases in California.

"Gowns by Adrian: The MGM Years, 1928-1941 is the first comprehensive look at this prodigiously talented designer in his glory years at Metro-Goldwyn-Mayer. The result of more than 10 years of research, access to previously unavailable MGM personnel files, and containing many unpublished photographs and complete filmography, Gowns by Adrian brings us into the design studio and onto the sound stage and makes us privy to the everyday give-and-take between designer and star. For the reclusive Garbo, Adrian was the only designer who understood her wish to avoid revealing necklines or fur; Shearer was particular in another way: two versions of every dress were de rigeur before she would choose one of them; and Crawford, was there ever a star more demanding or more determined? As Adrian once exclaimed, "Who would have thought that my entire reputation as a designer would rest on Joan Crawford's shoulders!""--BOOK JACKET.

Introduction -- Dictionary -- Appendix A: Garment types -- Appendix B: Garment by country -- Appendix C: Garment types by era

Compendium defines over 10,000 words associated with wearing apparel and fashion. From bateau necklines to trilbys and vamps, words are grouped alphabetically according to dress parts, fabrics, and other style categories. Over 750 illustrations.

It could be said that the career of Canadian-born film director Allan Dwan (1885-1981) began at the dawn of the American motion picture industry. Originally a scriptwriter, Dwan became a director purely by accident. Even so, his creativity and problem-solving skills propelled him to the top of his profession. He achieved success with numerous silent film performers, most spectacularly with Douglas Fairbanks Sr. and Gloria Swanson, and later with such legendary stars as Shirley Temple and John Wayne. Though his star waned in the sound era, Dwan managed to survive through pluck and ingenuity. Considering himself better off without the fame he enjoyed during the silent era, he went on to do some of his best work for second-echelon studios (notably Republic Pictures' Sands of Iwo Jima) and such independent producers as Edward Small. Along the way, Dwan also found personal happiness in an unconventional manner. Rich in detail with two columns of text in each of its nearly 400 pages, and with more than 150 photographs, this book presents a thorough examination of Allan Dwan and separates myth from truth in his life and films.