Wolf Wall

“I want to tell you what’s going on here. You don’t want to know… Is art just a substitute for what we’ve lost?” In his micro-opera Heretic, Richard Cameron-Wolfe’s enigmatic protagonist breaks the fourth wall, and in the process gives us a window into his artistic vision. Through exploration of dramatic and narrative subtlety in his micro-operas and text settings, expressive shadings of pitch in his use of microtonality, and finely etched treatment of timbre and gesture, Cameron-Wolfe reaches for the ineffable, something embedded in what we’ve “lost” or perhaps an essence of something that we can never possess. Throughout these chamber works, written over a thirty year period, we hear him calibrating his expression towards the mystery that lives between and beyond the sounds, obscuring the transparent surface in favor of the ambiguities of creative uncertainty.

“I want to tell you what’s going on here. You don’t want to know… Is art just a substitute for what we’ve lost?” In his micro-opera Heretic, Richard Cameron-Wolfe’s enigmatic protagonist breaks the fourth wall, and in the process gives us a window into his artistic vision. Through exploration of dramatic and narrative subtlety in his micro-operas and text settings, expressive shadings of pitch in his use of microtonality, and finely etched treatment of timbre and gesture, Cameron-Wolfe reaches for the ineffable, something embedded in what we’ve “lost” or perhaps an essence of something that we can never possess. Throughout these chamber works, written over a thirty year period, we hear him calibrating his expression towards the mystery that lives between and beyond the sounds, obscuring the transparent surface in favor of the ambiguities of creative uncertainty.

“I want to tell you what’s going on here. You don’t want to know… Is art just a substitute for what we’ve lost?” In his micro-opera Heretic, Richard Cameron-Wolfe’s enigmatic protagonist breaks the fourth wall, and in the process gives us a window into his artistic vision. Through exploration of dramatic and narrative subtlety in his micro-operas and text settings, expressive shadings of pitch in his use of microtonality, and finely etched treatment of timbre and gesture, Cameron-Wolfe reaches for the ineffable, something embedded in what we’ve “lost” or perhaps an essence of something that we can never possess. Throughout these chamber works, written over a thirty year period, we hear him calibrating his expression towards the mystery that lives between and beyond the sounds, obscuring the transparent surface in favor of the ambiguities of creative uncertainty.

A Malaysian wealth fund is robbed of US$3.5 billion. It is the world’s biggest white-collar heist involving government corruption at the highest level, an abuse of power and international money laundering. With little to go on, dogged investigative reporters from The New York Times, Wall Street Journal and Hollywood Reporter retrace the dirty money - via real estate deals and movie financing including ‘The Wolf of Wall Street’ - back to the top echelons of the Malaysian government. Malaysia’s prime minister and his inner circle are implicated, assets are frozen, money is seized, but the Malaysian people fight back.

From the "raw and frequently hilarious" (The New York Times) investment guru and New York Times bestselling author of The Wolf of Wall Street who inspired the Oscar-winning film of the same name, a witty and clear-eyed guide for anyone who wants to play the stock market to their advantage and learn the secrets of a top Wall Street investor.

Jordan Belfort is a Long Island penny stockbroker who served 22 months in prison for defrauding investors in a massive 1990s securities scam that involved widespread corruption on Wall Street and in the corporate banking world, including shoe designer Steve Madden.

Cold Calling Like Jordan Belfort: the Exact Blueprint (Including Script & Templates) to Close the Sale Within 3 Days