A baby is born with gills. Foxes raise and then lose a human child. A man, in the final throes of his deathbed fever-dream, experiences a cross-Antarctic voyage. The stories in Furthest South, the second story collection from renowned writer Ethan Rutherford, find characters in the most unexpectedly menacing of circumstances, in which their sanity, happiness, and safety are put to the test. Formally ambitious, with an eye toward the strange, with a inimitable style all Rutherford's own, each story is nonetheless firmly grounded by a deep, human concern: the anxiety of family connection and humanity.
When films like The Jazz Singer started to integrate synchronized music, in the late 1920s many ambitious songwriting pioneers of the Great White Way - George and Ira Gershwin, Cole Porter, Richard Rodgers, and Lorenz Hart, among many others - were enticed westward by Hollywood studios' promises of national exposure and top dollar success. But what happened when writers native to the business of Broadway ran into the very different business of Hollywood? Their movies had their producer despots, their stacking of writing teams on a single project, their use of five or six songs per story where Broadway fit in a dozen, and it seemed as if everyone in Hollywood was uncomfortable with characters bursting into song on the street, in your living room, or in "a cottage small by a waterfall." Did the movies give theater writers a chance to expand their art, or did mass marketing ruin the musical's quintessential charm? Is it possible to trace the history of the musical through both stage and screen manifestations, or did Broadway and Hollywood give rise to two wholly irreconcilable art forms? And, finally, did any New York writer or writing team create a film musical as enthralling and timeless as their work for the stage? In When Broadway Went to Hollywood, writer and celebrated steward of musical theatre Ethan Mordden directs his unmistakable wit and whimsy to these challenging questions and more, charting the volatile and galvanizing influence of Broadway on Hollywood (and vice versa) throughout the twentieth century. Along the way, he takes us behind the scenes of the great Hollywood musicals you've seen and loved (The Wizard of Oz, Gigi, The Sound of Music, Chicago, West Side Story, The Music Man, Grease) as well as some of the outrageous flops you probably haven't. The first book to tell the story of how Broadway affected the Hollywood musical, When Broadway Goes to Hollywood is sure to thrill theatre buffs and movie lovers alike.
This book answers two basic but under-appreciated questions: first, how does the American criminal justice system address a defendant's family status? And, second, how should a defendant's family status be recognized, if at all, in a criminal justice system situated within a liberal democracy committed to egalitarian principles of non-discrimination? After surveying the variety of "family ties benefits" and "family ties burdens" in our criminal justice system, the authors explain why policymakers and courts should view with caution and indeed skepticism any attempt to distribute these benefits or burdens based on one's family status. This is a controversial stance, but Markel, Collins, and Leib argue that in many circumstances there are simply too many costs to the criminal justice system when it gives special treatment based on one's family ties or responsibilities. Privilege or Punish breaks new ground by offering an important synthetic view of the intersection between crime, punishment, and the family. Although in recent years scholars have been successful in analyzing the indirect effects of certain criminal justice policies and practices on the family, few have recognized the panoply of laws (whether statutory or common law-based) expressly drawn to privilege or disadvantage persons based on family status alone. It is critically necessary to pause and think through how and why our laws intentionally target one's family status and how the underlying goals of such a choice might better be served in some cases. This book begins that vitally important conversation with an array of innovative policy recommendations that should be of interest to anyone interested in the improvement of our criminal justice system.
Any girl who twists her hat will be fired! – Florenz Ziegfeld And no Ziegfeld girl ever did as she made her way down the gala stairways of the Ziegfeld Follies in some of the most astonishing spectacles the American theatergoing public ever witnessed. When Florenz Ziegfeld started in theater, it was flea circus, operetta and sideshow all rolled into one. When he left it, the glamorous world of "show-biz" had been created. Though many know him as the man who "glorified the American girl," his first real star attraction was the bodybuilder Eugen Sandow, who flexed his muscles and thrilled the society matrons who came backstage to squeeze his biceps. His lesson learned with Sandow, Ziegfeld went on to present Anna Held, the naughty French sensation, who became the first Mrs. Ziegfeld. He was one of the first impresarios to mix headliners of different ethnic backgrounds, and literally the earliest proponent of mixed-race casting. The stars he showcased and, in some cases, created have become legends: Billie Burke (who also became his wife), elfin Marilyn Miller, cowboy Will Rogers, Bert Williams, W. C. Fields, Eddie Cantor and, last but not least, neighborhood diva Fanny Brice. A man of voracious sexual appetites when it came to beautiful women, Ziegfeld knew what he wanted and what others would want as well. From that passion, the Ziegfeld Girl was born. Elaborately bejeweled, they wore little more than a smile as they glided through eye-popping tableaux that were the highlight of the Follies, presented almost every year from 1907 to 1931. Ziegfeld's reputation and power, however, went beyond the stage of the Follies as he produced a number of other musicals, among them the ground-breaking Show Boat. In Ziegfeld: The Man Who Created Show Business, Ethan Mordden recreates the lost world of the Follies, a place of long-vanished beauty masterminded by one of the most inventive, ruthless, street-smart and exacting men ever to fill a theatre on the Great White Way : Florenz Ziegfeld.
Recent years have seen a growing number of activists, scholars, and even policymakers claiming that the global economy is unfair and unjust, particularly to developing countries and the poor within them. But what would a fair or just global economy look like? Economic Justice in an Unfair World seeks to answer that question by presenting a bold and provocative argument that emphasizes economic relations among states. The book provides a market-oriented focus, arguing that a just international economy would be one that is inclusive, participatory, and welfare-enhancing for all states. Rejecting radical redistribution schemes between rich and poor, Ethan Kapstein asserts that a politically feasible approach to international economic justice would emphasize free trade and limited flows of foreign assistance in order to help countries exercise their comparative advantage. Kapstein also addresses justice in labor, migration, and investment, in each case defending an approach that concentrates on nation-states and their unique social compacts. Clearly written for all those with a stake in contemporary debates over poverty reduction and development, the book provides a breakthrough analysis of what the international community can reasonably do to build a global economy that works to the advantage of every nation.
In September 1862 the Confederate Army of Northern Virginia and the Union Army of the Potomac conducted one of the truly great campaigns of the Civil War. At South Mountain, Harpers Ferry, and Antietam, North and South clashed in engagements whose magnitude and importance would earn this campaign a distinguished place in American military history. The siege of Harpers Ferry produced the largest surrender of U.S. troops in the nation's history until World War II, while the day-long battle at Antietam on September 17 still holds the distinction of being the single bloodiest day of combat in Amer.
Anecdotal and evincing a strong point of view, [this] book covers not only the shows and their authors but the personalities as well--W.S. Gilbert trying out his stagings on a toy theatre, Ivor Novello going to jail for abusing wartime gas rationing during World War II, fabled producer C.B. Cochran coming to a most shocking demise for a man whose very name meant 'classy, carefree entertainment.' ... Mordden is the preeminent historian of the form, and his book will be required reading for readers of all walks, from the most casual of musical theater goers to musical theater buffs to students and scholars of the form"--
This valuable book provides a succinct, readable account of an oft-neglected topic in the historiography of the American Revolution: the role of Native Americans in the Revolution's outbreak, progress, and conclusion. There has not been an all-encompassing narrative of the Native American experience during the American Revolutionary War period—until now. Native Americans in the American Revolution: How the War Divided, Devastated, and Transformed the Early American Indian World fills that gap in the literature, provides full coverage of the Revolution's effects on Native Americans, and details how Native Americans were critical to the Revolution's outbreak, its progress, and its conclusion. The work covers the experiences of specific Native American groups such as the Abenaki, Cherokee, Chickasaw, Choctaw, Creek, Delaware, Iroquois, Seminole, and Shawnee peoples with information presented by chronological period and geographic area. The first part of the book examines the effects of the Imperial Crisis of the 1760s and early 1770s on Native peoples in the Northern colonies, Southern colonies, and Ohio Valley respectively. The second section focuses on the effects of the Revolutionary War itself on these three regions during the years of ongoing conflict, and the final section concentrates on the postwar years.
From the late 1920s to late 1950s, the Broadway theatre was America's cultural epicenter. Television didn't exist and movies were novelties. Entertainment took the form of literature, music, and theatre. During this golden age of Broadway, actors and actresses became legends and starred in now classic plays. Laurence Olivier, Alfred Lunt and Lynne Fontaine were names to remember, etching plays into memory as they brought the words of Tennessee Williams or Eugene O'Neill to life. Joseph Cotton romanced Katherine Hepburn in Philip Barry's The Philadelphia Story while Laurette Taylor became The Glass Menagerie's Amanda Wingfield. Frederic March, Florence Eldridge, Jason Robards Jr. and Bradford Dillman showed us life among the ruins in Long Day's Journey Into Night. In All That Glittered, Ethan Mordden, long one of Broadway's best chroniclers, recreates the fascinating lost world of its golden age.
Ethan Mordden's new entry in his history of the Broadway musical looks at an era that brought us not only the gritty reality of "A Chorus Line" and the brilliantly bittersweet works of Stephen Sondheim, but also the nostalgic crowd-pleasers "No, No, Nanette" and "Annie." It was a time when Broadway both looked to its past, but also to its future and allowed reality to enter. Mordden writes of the last time we ever saw true greatness on the stage of the Broadway musical. "[A] treasure trove for fans of the musical theatre." - Richard Ouzonian, Toronto Star
Buffalo's appreciation for a frosty pint stretches back more than a century before anyone enjoyed a cold one with a basket of wings. By the middle of the 1800s, the industrial hub counted malt and beer among its most vital and satisfying products. Operations like Simon Pure Beer, Iroquois Beverage and the Magnus Beck Brewing Company brought Buffalo's world-class ales to the rest of the country. Prohibition saw a thriving business in black market hooch, though it all but killed the city's historic breweries. A few survivors struggled to recover. Today, a new batch of breweries like Community Beer Works and Big Ditch Brewing Company are crafting a beer revolution in the Queen City. Historian Michael Rizzo and brewer Ethan Cox explore the sudsy story of Buffalo beer.
One of Janet Maslin’s Favorite Books of 2018, The New York Times One of John Warner’s Favorite Books of 2018, Chicago Tribune Named one of the “Best Civil War Books of 2018” by the Civil War Monitor “A fascinating and important new historical study.” —Janet Maslin, The New York Times “A stunning contribution to the historiography of Civil War memory studies.” —Civil War Times The stunning, groundbreaking account of "the ways in which our nation has tried to come to grips with its original sin" (Providence Journal) Hailed by the New York Times as a "fascinating and important new historical study that examines . . . the place where the ways slavery is remembered mattered most," Denmark Vesey's Garden "maps competing memories of slavery from abolition to the very recent struggle to rename or remove Confederate symbols across the country" (The New Republic). This timely book reveals the deep roots of present-day controversies and traces them to the capital of slavery in the United States: Charleston, South Carolina, where almost half of the slaves brought to the United States stepped onto our shores, where the first shot at Fort Sumter began the Civil War, and where Dylann Roof murdered nine people at Emanuel A.M.E. Church, which was co-founded by Denmark Vesey, a black revolutionary who plotted a massive slave insurrection in 1822. As they examine public rituals, controversial monuments, and competing musical traditions, "Kytle and Roberts's combination of encyclopedic knowledge of Charleston's history and empathy with its inhabitants' past and present struggles make them ideal guides to this troubled history" (Publishers Weekly, starred review). A work the Civil War Times called "a stunning contribution, " Denmark Vesey's Garden exposes a hidden dimension of America's deep racial divide, joining the small bookshelf of major, paradigm-shifting interpretations of slavery's enduring legacy in the United States.
From the 1920s to the early 1960s, Manhattan was America's beacon of sophistication. From the theatres of Broadway to the lobby of the Algonquin Hotel to tables at the Stork Club, intelligence and wit were the twinned coins of the realm. Alexander Woolcott, Irving Berlin, Edna Ferber, Arturo Toscanini, Leonard Bernstein, Cole Porter, Dorothy Parker, Truman Capote, the Lunts and Helen Hayes presided over the town. Their books, plays, performances, speeches, dinner parties, masked balls, loves, hates, likes and dislikes became the aspirations of a nation. If you wanted to be sophisticated, you played by Manhattan's rules. If you didn't, you simply weren't on the guest list. The Heartland rebelled against Manhattan's dictum, but never prevailed. In this lively cultural history, Mordden chronicles the city's most powerful and influential era.
In The Instrumental University, Ethan Schrum provides an illuminating genealogy of the educational environment in which administrators, professors, and students live and work today. After World War II, research universities in the United States underwent a profound mission change. The Instrumental University combines intellectual, institutional, and political history to reinterpret postwar American life through the changes in higher education. Acknowledging but rejecting the prevailing conception of the Cold War university largely dedicated to supporting national security, Schrum provides a more complete and contextualized account of the American research university between 1945 and 1970. Uncovering a pervasive instrumental understanding of higher education during that era, The Instrumental University shows that universities framed their mission around solving social problems and promoting economic development as central institutions in what would soon be called the knowledge economy. In so doing, these institutions took on more capitalistic and managerial tendencies and, as a result, marginalized founding ideals, such as pursuit of knowledge in academic disciplines and freedom of individual investigators. The technocratic turn eroded some practices that made the American university special. Yet, as Schrum suggests, the instrumental university was not yet the neoliberal university of the 1970s and onwards in which market considerations trumped all others. University of California president Clark Kerr and other innovators in higher education were driven by a progressive impulse that drew on an earlier tradition grounded in a concern for the common good and social welfare.
In Exit the Colonel, Ethan Chorin, a longtime Middle East scholar and one of the first American diplomats posted to Libya after the lifting of international sanctions, goes well beyond recent reporting on the Arab Spring to link the Libyan uprising to a flawed reform process, egregious human rights abuses, regional disparities, and inconsistent stories spun by Libya and the West to justify the Gaddafi regime's "rehabilitation." Exit the Colonel is based upon extensive interviews with senior US, EU, and Libyan officials, and with rebels and loyalists; a deep reading of local and international media; and significant on-the-ground experience pre- and post-revolution. The book provides rare and often startling glimpses into the strategies and machinations that brought Gaddafi in from the cold, while encouraging ordinary Libyans to "break the barrier of fear." Chorin also assesses the possibilities and perils for Libya going forward, politically and economically.
In The Unicorn's Shadow, Wharton School professor Ethan Mollick takes us to the forefront of an empirical revolution in entrepreneurship. New data and better research methods have overturned the conventional wisdom behind what a successful founder looks like, how they succeed, and how the startup ecosystem works.
Arian Foster has been called the “most interesting man in the NFL.” Kids will learn why in this biography. Chapters cover Foster’s early life, his days at the University of Tennessee, his struggle to get drafted, and his career with the Houston Texans. Readers will also learn about Foster’s eclectic interests, his family life and charity work, and how his belief in himself helped him succeed when others had counted him out.
From the founders of the HGTV show and Instagram Cheap Old Houses comes a stunning collection of beautiful, affordable homes and inspiration for buying and restoring an historic house. Welcome to the magical world of Cheap Old Houses, where the new American dream comes with zero mortgage and an affordable lifestyle fit for a storybook. Ethan and Elizabeth Finkelstein have scoured the country to find homes in desperate need of saving—including a $45,000 Victorian in Mississippi, a $25,000 mansion in Indiana, an $82,000 recreational camp in Maine, and more. Cheap Old Houses features the stories of how these homes were acquired and lovingly restored. Within these pages, you’ll discover sprawling Victorian mansions, Italianate-style farmhouses, off-the-beaten-path cabins, and even old churches turned into residences. You’ll meet a couple who camped out on their back porch while they made their 6,000-square foot manor livable, and homeowners who found a free bungalow and moved it seventy miles to their property. Additionally, Elizabeth, a historical preservationist, gives information on the details to preserve in historic houses, from pocket doors that might be hiding in the walls to badly cracked plaster walls that are worth repairing and butler’s pantries that are once again more desirable for storing dishes and small appliances. With hundreds of beautiful photographs capturing these homes in all their glory, you’ll be inspired to find “the one”—a fixer upper to rescue that will rescue you right back.
Paul Thomas Anderson’s evolution from a brash, self-anointed “Indiewood” auteur to one of his generation’s most distinctive voices has been one of the most remarkable career trajectories in recent film history. From early efforts to emulate his cinematic heroes to his increasingly singular late films, Anderson has created a body of work that balances the familiar and the strange, history and myth: viewers feel perpetually off balance, unsure of whether to expect a pitch-black joke or a moment of piercing emotional resonance. This book provides the most complete account of Anderson’s career to date, encompassing his varied side projects and unproduced material; his personal and professional relationships with directors such as Jonathan Demme, Robert Altman, and Robert Downey Sr.; and his work as a director of music videos for Fiona Apple, Joanna Newsom, and Haim. Ethan Warren explores Anderson’s recurring thematic preoccupations—the fraught dynamics of gender and religious faith, biological and found families, and his native San Fernando Valley—as well as his screenwriting methods and his relationship to his influences. Warren argues that Anderson’s films conjure up an alternate American history that exaggerates and elides verifiable facts in search of a heightened truth marked by a deeper level of emotional hyperrealism. This book is at once an unconventional primer on Anderson’s films and a provocative reframing of what makes his work so essential.
Offers a history of American musical theater from the 1920s through to the 1970s, and includes such famous works as "Oklahoma!," "The Red Mill," and "Porgy and Bess.
This book is a study of popular responses to the English Reformation. It takes as its subject not the conversion of English subjects to a new religion but rather their political responses to a Reformation perceived as an act of state and hence, like all early modern acts of state, negotiated between government and people. These responses included not only resistance but also significant levels of accommodation, co-operation and collaboration as people attempted to co-opt state power for their own purposes. This study argues, then, that the English Reformation was not done to people, it was done with them in a dynamic process of engagement between government and people. As such, it answers the twenty-year-old scholarly dilemma of how the English Reformation could have succeeded despite the inherent conservatism of the English people, and it presents a genuinely post-revisionist account of one of the central events of English history.
The past century has born witness to a growing interest in the belief systems of ancient Europe, with an array of contemporary Pagan groups claiming to revive these old ways for the needs of the modern world. By far the largest and best known of these Paganisms has been Wicca, a new religious movement that can now count hundreds of thousands of adherents worldwide. Emerging from the occult milieu of mid twentieth-century Britain, Wicca was first presented as the survival of an ancient pre-Christian Witch-Cult, whose participants assembled in covens to venerate their Horned God and Mother Goddess, to celebrate seasonal festivities, and to cast spells by the light of the full moon. Spreading to North America, where it diversified under the impact of environmentalism, feminism, and the 1960s counter-culture, Wicca came to be presented as a Goddess-centred nature religion, in which form it was popularised by a number of best-selling authors and fictional television shows. Today, Wicca is a maturing religious movement replete with its own distinct world-view, unique culture, and internal divisions. This book represents the first published academic introduction to be exclusively devoted to this fascinating faith, exploring how this Witches' Craft developed, what its participants believe and practice, and what the Wiccan community actually looks like. In doing so it sweeps away widely-held misconceptions and offers a comprehensive overview of this religion in all of its varied forms. Drawing upon the work of historians, anthropologists, sociologists, and scholars of religious studies, as well as the writings of Wiccans themselves, it provides an original synthesis that will be invaluable for anyone seeking to learn about the blossoming religion of modern Pagan Witchcraft.
The Criminal Justice System: An Introduction, Fifth Edition incorporates the latest developments in the field while retaining the basic organization of previous editions which made this textbook so popular. Exploring the police, prosecutors, courts, and corrections, including probation and parole, the book moves chronologically through the different agencies in the order in which they are usually encountered when an individual goes through the criminal justice process. New in the Fifth Edition: A complete updating of charts and statistics to reflect the changes the FBI has made to the Unified Crime Reports System Expanded material on the history of law enforcement Additional information on terrorism, homeland security, and its effect on the police New approaches to policing such as Problem-Oriented Policing and Intelligence-Led Policing Cyber crime, identity theft, accreditation, and new approaches to crime analysis New information on prosecution standards, community prosecution, and prosecutorial abuse New emphasis on the concept of jurisdiction and the inter-relation between the courts’ functions and the other branches of the criminal justice system An examination of the dilemma for the courts caused by the intersection of politics, funding, media, and technology New discussions on prisoner radicalization Pedagogical features: Each chapter begins with an outline and a statement of purpose to help students understand exactly what they are supposed to master and why Illustrations to assist in the clarification and further development of topics in the text Each chapter ends with a summary, a list of key terms, and a series of discussion questions to stimulate thought Appendices with the United States Constitution, a glossary of criminal justice terminology, and websites useful in gaining knowledge of the criminal justice system Access to a free computerized learning course based on the book
A BCCB Blue Ribbon Best Book of the Year ★ "Captivating…. Long's heartening memoir portrays a boy facing challenging situations with hard-won hope and increasing maturity." —Booklist, starred review ★ "A tender, vulnerable portrayal of one kid’s attempt to shore up his strengths to piece together the shards of a deeply shattered heart.... Readers will appreciate Long’s honest exploration of a troubled family that is bound both by love and tragedy." —The Bulletin, starred review An award-winning children’s book creator grapples with the darker undercurrents of his childhood in this poignant and honest illustrated memoir, for readers of Free Lunch and The List of Things That Will Not Change. Benny's life is slowly unraveling. His parents are newly divorced, his mom chooses to move away, and Benny and his brother and sister are left with their chain-smoking dad, who has just been diagnosed with lung cancer. Benny is lonely, anxious, and very angry. He can't sleep at night and spends his days trying to survive fifth grade. Writing from a personal place, award-winning creator Ethan Long sheds light on the challenges of growing up amidst family turmoil in this thought-provoking, bighearted story that brims with hope.
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