A charming workplace parable to inspire your staff to achieve success through greater personal accountability. Every team, every organization, every group has problems. Every individual has problems, too. Often we search for the right person or persons to solve those problems. The question is: Where and how do we find them? Who are ""they"" anyway? In Who Are ""They"" Anyway? BJ Gallagher and Steve Ventura lead readers on a personal quest-a journey-in search of someone who can fix what's wrong, deal with difficult people, and take charge of fixing individual and organizational problems. Who is that special person? The results may surprise readers, as they learn: * Who those ""theys"" are who seem responsible for every organization's bureaucratic hassles. * How to stop looking for someone to blame or someone to come to the rescue. * How to experience the job satisfaction and personal pleasure that comes from taking ownership and solving problems. Both practical and inspirational, Who Are ""They"" Anyway? is written to appeal to both the heads and hearts of employees at all levels-from folks on the front line, to supervisors and middle managers, all the way to top executives. It includes tips, strategies, quizzes, and how-tos to help readers apply the story in their own work lives. It is a message of encouragement and empowerment, and the personal and organizational payoff can be enormous.

Raymond R. Roberts makes a liberal's case for teaching religion and morality in public schools by first examining the intersection of religion and public education. He shows how proposals for moral education in public schools are shaped by definitions of religion. He argues that the public education's critics overstate the failures of public education because they examine public schools in isolation from negative trends in the family, the economy, the media, etc. From there he describes how a theory of spheres of influence gives us a better perspective from which to understand public education, including its relationship with religion.

The biopic presents a profound paradox—its own conventions and historical stages of development, disintegration, investigation, parody, and revival have not gained respect in the world of film studies. That is, until now. Whose Lives Are They Anyway? boldly proves a critical point: The biopic is a genuine, dynamic genre and an important one—it narrates, exhibits, and celebrates a subject's life and demonstrates, investigates, or questions his or her importance in the world; it illuminates the finer points of a personality; and, ultimately, it provides a medium for both artist and spectator to discover what it would be like to be that person, or a certain type of person. Through detailed analyses and critiques of nearly twenty biopics, Dennis Bingham explores what is at their core—the urge to dramatize real life and find a version of the truth within it. The genre's charge, which dates back to the salad days of the Hollywood studio era, is to introduce the biographical subject into the pantheon of cultural mythology and, above all, to show that he or she belongs there. It means to discover what we learn about our culture from the heroes who rise and the leaders who emerge from cinematic representations. Bingham also zooms in on distinctions between cinematic portrayals of men and women. Films about men have evolved from celebratory warts-and-all to investigatory to postmodern and parodic. At the same time, women in biopics have been burdened by myths of suffering, victimization, and failure from which they are only now being liberated. To explore the evolution and lifecycle changes of the biopic and develop an appreciation for subgenres contained within it, there is no better source than Whose Lives Are They Anyway?

The Ashley Maureen Cosmetics Company has been sold and two of its vice presidents, David McGrachen and John Baker, have planned a weekend off before the new C.E.O. arrives on Monday. With their wives safely off on a shopping spree in New York City, they check into The Oakfield Golf and Country Club intending to "golf their brains out." They unexpectedly encounter their new boss, Ms. Hutchison, and she insists on meeting the wives, commenting blithely "no one who went golfing for a weekend without his wife would ever work for me." So ... David and John have to produce wives. John persuades Tina, the hotel's sexy receptionist, to play the role of his wife, but the only one who can pretend to be David's wife is John. Inevitably everything goes wrong as John moves in and out of bedrooms, changing from male to female at a frantic pace. Hilarious chaos ensues when the hotel phone system goes on the blink, Tina has too much champagne and can't keep her clothes on, and, yes, the real wives arrive!

A review of and a response to the book "The Better Angels of our Nature" by Steven Pinker. Mr. Pinker's book presents an atheistic view of modern western history, and this is intended to present an alternate Christian view, while also reviewing the content of his book.

Sixteen-year-old Barney can't remember life before the Complex, an experimental clinlc. He knows he's different--he's the control subject. Then he uncovers a terrible secret about himself, a secret that drives him to fulfill his and his fellow subjects' ultimate dream. The Bumblebee must fly!

The Heinemann Plays series offers contemporary drama and classic plays in durable classroom editions. This play (also a feature film) is about the struggle of the central character, completely paralysed for life, for the right to die.

We all create stories to explain what we experience. Every shared experience is not necessarily equally shared. The stories we create about our experiences are uniquely our own. So what follows is a little flavor of what’s contained within: In the beginning, sensations were scattered like seeds, Selectively planting thoughts that reflected our needs. These thoughts organically blossomed and grew, Subtly taking root in our evolving point of view. Interest and focused meditation caused us to think, Creating ever more imaginative and complex links. These mental links eventually formed the foundation For the beliefs that would drive future story creation. Fertile minds became active laboratories, Quickly transforming thoughts into elaborate stories. Thoughts and preferences became the proverbial clay, Molding and shaping each story in a very special way. Biases became silent contributors to story creation, Leading us to share less fact and more interpretation. Soon it didn’t matter whether stories were true, Only that they had personal value to you. When later we revisit the stories we created, We find some are still fresh and others outdated. But no matter what we feel or others might say, The reality remains that it’s all BS anyway! The end. 100

In this funny, readable, and thought-provoking book based on the popular film of the same name, activists John de Graaf (coauthor of the bestselling Affluenza) and David Batker tackle thirteen economic issues, challenging the reader to consider the point of our economy. Emphasizing powerful American ideals, including teamwork, pragmatism, and equality, de Graaf and Batker set forth a simple goal for any economic system: The greatest good for the greatest number over the longest run. Drawing from history and current enterprises, we see how the good life is achieved when people and markets work together with an active government to create a more perfect economy-one that works for everyone. Beginning by shattering our fetish for GDP, What's the Economy For, Anyway? offers a fresh perspective on quality of life, health, security, work-life balance, leisure, social justice, and perhaps most important, sustainability. This sparkling, message-driven book is exactly what those lost in the doldrums of partisan sniping and a sluggish economy need: a guide to what really matters, and a map to using America's resources to make the world a better place.