This is the first book of a new hero in a graphic super thriller mini series of books. Be among the first to follow the life of a Reverend who is transformed into the black priest of darkness. If you love to read and love fiction then this is your book.
These days it seems like heroes fight each other more often than they fight villains. The hero-vs-hero trope so common in comic books and in superhero movies these days can provide us with a means of thinking about the deeply polarized state of modern politics and public opinion about civic life, morality, and even God. There is a real divide in our public life that nobody seems to be able to cross. It's easy to complain that people should be more willing to meet each other half-way, that politicians should be more willing to compromise in order to get things done, but there are plenty of important issues on which compromise really isn't possible. We see this problem dramatized in comics like Marvel's Civil War and Avengers vs X-Men; in DC's Kingdom Come and The Dark Knight Returns; and in film media like Daredevil, Batman v Superman, and Captain America: Civil War. The consequences of the conflicts that arise in these stories can serve as warnings about our current political environment. They're safe places in which we can see the logic of our political dysfunction carried to frightening (but perhaps inevitable?) conclusions.
Fred Stone was one of America's most versatile and talented of Broadway's colorful entertainers. Audiences quickly discovered he could do anything and everything, from tightrope walking and acrobatics to song-and-dance, musical comedies, and straight drama. This work chronicles his extraordinary life and career. He was born in a log cabin August 19, 1873, in Valmont, Colorado, to a family that was part of the covered-wagon migration into the virtually unknown West. He joined a traveling circus at age 11 and two years later, joined a different one as a self-taught tightrope walker. During his teens, Stone performed on the variety stage, and at age 22, met Dave Montgomery, with whom he performed for over twenty years, including Broadway musicals, notably as the scarecrow in The Wizard of Oz. After Montgomery's tragic death in 1917, Stone continued to perform and shared his continued success with his closest friend Will Rogers, and Annie Oakley, Broadway producer Charles Dillingham, Western artists Charles Russell and Ed Borein, and author Rex Beach. Stone appeared in some 18 movies, from 1918 to 1940, including such western classics as The Westerner and Trail of the Lonesome Pine. In 1950, he retired from show business and during the last years of his life suffered from increasing blindness and heart trouble. He died at his Los Angeles home in 1959.
Maude Adams (1872-1953) was a beloved and talented American Broadway actress who greatly influenced succeeding acting methods and production techniques. She first appeared on stage as an infant in her actress mother's arms, and then moved to a succession of children's parts. Her New York debut came in 1888, supported by E. H. Southern and then Charles Frohman, a demanding mentor. In 1905, she played her most famous role: the star of James M. Barrie's Peter Pan. Beautiful, kind, and very private, this early American actress is chronicled in a biography covering both her life experiences and innovations on the stage.
When he died in 1933, James J. "Gentleman Jim" Corbett was honored by two distinguished groups of people: the professional boxing public, who celebrated him as America's greatest boxing champion, and the world of popular theater admirers, who revered him as one of Broadway's top vaudeville headliners. Corbett was uniquely instrumental in making boxing and popular theater both justifiable commercial enterprises, to be enjoyed by all classes of people. He became America's first national sports hero and went on to formulate the theater world's star system. This is the first definitive biography of the man who knocked out heavyweight champion John L. Sullivan, and who also knocked out audiences who flocked to see him in vaudeville and silent pictures. The focus herein is on the real man, the influences on his life, and the social and commercial environment within which he functioned. The author reveals that Corbett was a complex, driven, enigmatic man whose dedicated participation in popular entertainment changed American social values and mores, and at the same time reinvented the notion of a national hero.
Just a century ago Eddie Foy was the consummate stage comedian. A versatile performer, Foy contributed to the development of popular theater from the Civil War to the Roaring Twenties, from poverty-inspired Irish two-acts to lavish musical comedies. This first-ever biography of Foy tells the story of his indigent childhood in New York's Bowery and in Chicago, his tough uphill climb as a variety artist at Western outposts, his success in vaudeville and Broadway, and his arrival as a national icon with the Seven Little Foys. Foy's career mirrored the growth of popular theater entertainment in America. Exhaustively researched, this work contains many rare personal photographs from the Foy family archives.
A dialogue about cinema's legacy and best directors through essays by three of the best long-form critics out there, collected from the legendary NYPress for the first time. Comprising of the kind of long-form criticism that is all too rare these days, the weekly film columns in the NYPress included polemics, reviews, interviews, festival reports and features. A far cry from what is often derisively termed the "consumer report" mode of criticism, Cheshire, Seitz and White were passionately engaged with the film culture of both their own time, and what had come before. They constituted three distinctly different voices: equally accomplished, yet notably individual, perspectives on cinema. Their distinctive tastes and approaches were often positioned in direct dialogue with each other, a constant critical conversation that frequently saw each writer directly challenging his colleagues. Dialogue is important in criticism, and here you can find a healthy example of it existing under one proverbial roof. This three-way dialogue between Cheshire, Seitz and White assesses the 1990s in cinema, along with pieces on New York's vibrant repertory scene that allow us to read the authors' takes on directors such as Hitchcock, Lean, Kubrick, Welles, Fassbinder and Bresson; as well as topics such as the legacy of Star Wars, film noir, early film projection in New York City, the New York Film Critics Circle, Sundance, the terrorist attacks of 9/11 and the emerging cinema of Iran and Taiwan.
Pastor made contributions to the success of American vaudeville as a songwriter, variety performer, and theater owner. From his early success as the owner of Tony Pastor's Opera House to his role as "Little Man Tony", this work offers a look at Pastor'sr
Introduction: the medium is the message, revisited: media and Black epistemologies -- Technological darwinism -- Black escapism on the underground (Black) anthropocene -- Toward a theory of intercommunal media -- Black "matter" lives: Michael Brown and digital afterlives -- Conclusion: the reparations of the earth.
Colorful and boisterous first nights were the rule in New York theaters of the 1880s. Everyone, it seemed, attended, from the rich and powerful to young people who scraped together just enough to buy a ticket. And no star was more popular than Lillian Russell. At a time when serious plays dominated the stages, Lillian Russell was one of the first to popularize musical theater. With her beauty, voice, and grace, she was the symbol of the new American woman. She used those attributes to attain power, social status and wealth, and then to become one of the earliest champions of women's equality. Her life and career are covered here in detail, with particular emphasis on the way she influenced theater history and popular culture.
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