Gable provides an analysis of the songs, recordings, and influence of one of the most important singer-songwriters in Western popular music over the past twenty years.
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A startling portrait of Gordon Sumner (a.k.a. Sting)from troubled boyhood to the top of the charts. Includes details of his early womanizing, his failure as a box-office star, and how his lifelong environmental activism nearly cost him his fortune.
Examines the performing techniques, athletic ability, and career of the wrestler known as Sting.
Traces how the author orchestrated a series of vigilante sting missions in several states during which he foiled drug dealers and other criminals by pretending to be a law-enforcement official, a dangerous two-year operation during which he made a considerable fortune and was enlisted by the attorney general's office. 30,000 first printing.
In this authorized biography, James Berrymore writes about his lifelong friendship with the rock star Sting, from their school days onwards.
From Melville to Madoff, the Confidence Man is an essential American archetype. George Roy Hill’s 1973 film The Sting treats this theme with a characteristic dexterity. The movie was warmly received in its time, winning seven Academy Awards, but there were some who thought the movie was nothing more than a slight throwback. Pauline Kael, among others, felt Hill’s film was mechanical and contrived: a callow and manipulative attempt to recapture the box-office success of Robert Redford and Paul Newman’s prior pairing, Butch Cassidy & The Sundance Kid. Matthew Specktor’s passionate, lyric meditation turns The Sting on its head, on its side, and right-side-up in an effort to unpack the film’s giddy complexity and secret, melancholic heart. Working off interviews with screenwriter David S. Ward and producer Tony Bill, and tacking from nuanced interpretation of its arching moods and themes to gimlet-eyed observation of its dizzying sleights-of-hand, Specktor opens The Sting up to disclose the subtle and stunning dimensions—sexual, political, and aesthetic—of Hill’s best film. Through Specktor’s lens, The Sting reveals itself as both an enduring human drama and a meditation on art-making itself, an ode to the necessary pleasure of being fooled at the movies.