In this book, Lorraine York examines the figure of the celebrity who expresses discomfort with his or her intense condition of social visibility. Bringing together the fields of celebrity studies and what Ann Cvetkovich has called the "affective turn in cultural studies", York studies the mixed affect of reluctance, as it is performed by public figures in the entertainment industries. Setting aside the question of whether these performances are offered "in good faith" or not, York theorizes reluctance as the affective meeting ground of seemingly opposite emotions: disinclination and inclination. The figures under study in this book are John Cusack, Robert De Niro, and Daniel Craig-three white, straight, cis-gendered-male cinematic stars who have persistently and publicly expressed a feeling of reluctance about their celebrity. York examines how the performance of reluctance, which is generally admired in celebrities, builds up cultural prestige that can then be turned to other purposes.

This is a story covering 37 years in television broadcasting including 29 years at the ABC Television Network. It's a story about the broadcast of major events ranging from The Super Bowl and The Olympics to the accident at Three Mile Island. It's about the efforts to get the broadcast back on the air at The 1989 World Series after The San Francisco Earthquake hit disrupting the coverage. It tells what was involved in getting those unforgettable images of Captain John Testrake being interviewed on the tarmac of Beirut Airport while a terrorist waved his pistol behind the Captain's head during the hijacking of TWA Flight 847. Learn what went on behind the scenes to bring those events to your home. Learn about the obstacles that had to be overcome; the hard work, the zany antics and the triumphs of the people who worked behind the cameras and microphones to get those broadcasts on the air and bring those images to America and the world.

One of the most significant contributors to the early years of the motion picture industry, Harold Lloyd was also a shrewd businessman and became the wealthiest man in Hollywood at the peak of his career. Perhaps more than any other major star of the silent era, his characters mirrored his times and captivated his contemporaries. His experiments with camera placement and motion were vital to the evolution of filmmaking techniques. This book includes a short biography of Lloyd and detailed information about all of his performances. The biography overviews his childhood, his adolescent stage career, his work in silent and talking pictures, his family life, and the work of his major contemporaries. A chapter on his film work includes entries for all of his shorts and features, including cameo roles and newsreels. Other chapters describe Lloyd's radio and television work, sheet music and recordings inspired by his films, and his many awards and honors. An annotated bibliography cites books, magazines, newspapers, oral histories, and interviews. Eleven photographs illustrate his work.

Ann Sheridan came to Hollywood in 1933 as a finalist in a beauty contest, a publicity stunt for Paramount's "Search for Beauty." Of the 30 contestants who appeared in the picture and the 6 finalists whom Paramount put under contract, she was the only one to achieve stardom. Her films included "Angels with Dirty Faces" (1938), "They Drive by Night" (1940), "Kings RoW" (1942), and "Come Next Spring" (1956). Through the years, she appeared on stage and on many radio and television programs. As with her film career, her broadcasting work was diverse, including appearances in dramas, comedies, talk shows, variety revues, and game shows. In 1965 she joined the cast of "Another World," thus becoming one of the first movie stars to appear in a soap opera. Her role led to a prime time series, the situation comedy "Pistols 'n' Petticoats" (1966-1967). She died during production.

This reference book chronicles Ann Sheridan's fascinating life and career. The volume begins with a biography that traces her rise to stardom and her many successes in the entertainment world. A chronology then summarizes the most important events in her life. The chapters that follow provide detailed information for her work in films, radio, and television. Entries are provided for each of her performances, with each entry giving cast and credit information, a plot summary, excerpts from reviews, and critical commentary. The book also includes information about recordings of Sheridan's songs, the various awards and honors that she won, and magazine covers on which she appeared. The volume also presents an extensive annotated bibliography of works about Sheridan and lists sources of archival material.

George Henry Newton had a dream. His dream was to get out of Zion, Nevis. The village was poverty stricken. He ventured abroad and entered the United States. He became a soldier and fought in W.W.II. Fortunately, he escaped the ravages of the battle field. During the post war years, he acquired a career, raised his family, made his mark but became victim of a dependency. He died at age fifty four, but his eldest son did not let his legacy die with him.

This book theorizes auteur Robert Lepage's scenography-based approach to adapting canonical texts. Lepage's technique is defined here as 'scenographic dramaturgy', a process and product that de-privileges dramatic text and relies instead on evocative, visual performance and intercultural collaboration to re-envision extant plays and operas. Following a detailed analysis of Lepage's adaptive process and its place in the continuum of scenic writing and auteur theatre, this book features four case studies charting the role of Lepage's scenographic dramaturgy in re-'writing' extant texts, including Shakespeare's Tempest on Huron-Wendat territory, Stravinsky's Nightingale in a twenty-seven ton pool, and Wagner's Ring cycle via the infamous, sixteen-million-dollar Metropolitan Opera production. The final case study offers the first interrogation of Lepage's twenty-first century 'auto-adaptations' of his own seminal texts, The Dragons' Trilogy and Needles & Opium. Though aimed at academic readers, this book will also appeal to practitioners given its focus on performance-making, adaptation and intercultural collaboration.

The summer of 1938 was a pivotal year for baseball and American history. In that same year, John Jordon "Buck" O'Neil, was a rookie first baseman playing his first season in the Negro American League. Born in Carrabelle, Florida, raised in Sarasota and nicknamed Buck, it had taken five years and five different teams before the Kansas City, Monarchs finally signed O'Neil to a contract. Before he could get the starting assignment, though, O'Neil had to dethrone one of the Negro Leagues' hardest hitting first basemen, Eldridge Mayweather. In 1938, a time when African-American hall of fame ballplayers worth millions could be purchased for pennies on the dollar, times were hard and the baseball was tough. Kansas City's Monarchs were a blend of youth and maturity, and one of the best teams in the Negro American League. Oddly, Kansas City, in spite of winning records against every team in the Negro American League, failed to win the first-half or second-half pennant. For the first time ever John "Buck" O'Neil, Ted "Double Duty" Radcliffe and James "Gabby" Kemp and many others are united together to speak on this celebrated season. With interviews from Monarchs' players Willard "Sonny" Brown, Newt Allen and Byron "Mex" Johnson and many others readers are taken on a road trip around America. Along the way readers, just as the team did in 1938, come in contact with segregation and racism as the book helps everyone to relive the glory days of the Negro Baseball Leagues. Illustrated with over forty historic photographs, John "Buck" O'Neil, the rookie, the man, the lagacy 1938 is a welcome addition to every baseball fans reading list.

In here is an offering. An offering designed to enlighten and inspire anyone who is on the less traveled road laid out by the 12 steps of recovery. I say less traveled because the numbers of true recoverees is relatively small in comparison to the numbers of people caught in addictions. This collection has been many, many years in the making. I hope that it may bring some light and maybe a little humor to a relatively dark subject.I have tried not to offend sensitive eyes and pallets but there is some language used in the cramped world of users that works when other language doesn't, and some of it is in this collection. I have refrained from vulgarity however and if you can tolerate some compromise I am sure you will be pleasantly rewarded. If you are new to recovery you may be surprised at some of the things here that you thought no one else had ever thought.It is important to remember that the common thread in addiction is the lie that you are the only one who has ever done the things you are doing. There is only so much dysfunction in the world, and when you have been on the road of recovery for a while it becomes amazingly redundant. Everybody is stunned to find out they are not alone in their weirdness. Stunned and then relieved to find out that there is a way out.The bottom line is that we give up a life of using for a life of service. When you find this and come to terms with serving people who usually don't care, and you serve them anyway, then and only then will you start receiving the rewards that await you.

The man who brought a mountain of soul to Houston, Texas. The man who brought and promoted many Houston rhythm and blues performers. The man who brought and promoted many comedy shows including Amos &Andy. The man who watched the church he is a member of grow from 25 members to over 14,000 members.

Outlining different perspectives, this classic and field-defining text introduces 'dramaturgy' as a critical concept and a practical process in an accessible and engaging style. The revised edition includes a new introduction and afterword which provides insight into contemporary developments and future directions of scholarship.

This volume offers the first comprehensive analysis of the work of East German theatre director Fritz Bennewitz in India between 1970 and 1994. Joerg Esleben has gathered together many of Bennewitz' own writings, most published for the first time, in which he reflects on his production of plays by Bertolt Brecht, Shakespeare, Goethe, Chekhov, and Volker Braun. By translating these writings into English, the editors have provided unprecedented access to Bennewitz' thinking about intercultural work in India. This material is illuminated by explanatory annotations, contextualized commentary, and critical perspectives from Bennewitz's former colleagues in India and other leading scholars. Through its kaleidoscope of perspectives, Fritz Bennewitz in India offers a significant counter to dominant models of Western theatrical interculturalism.