In this very personal, fully illustrated book, the second part of her memories, Niki de Saint Phalle

"Difficult Ornaments is a book about six twentieth-century American poets, the mythical Florida they explored, and the American tropical style they created. Wallace Stevens, Marianne Moore, Elizabeth Bishop, James Merrill, and Harry Mathews compose a chain of friendship and influence. Only Laura (Riding) Jackson stands apart as a poet who renounced poetry and became a recluse on a citrus farm. In proximity to the tropics-nature's own laboratory of invention and experiment-the more fecund and experimental their poetry became. The ornaments of poetry correspond to the ornaments of nature, which is why the peacock, that most decorated of birds, features so prominently their work. These seven essays comprise a lyrical meditation on literary style that ranges through history and myth, in order to better understand the relationship between persons and places, weather and language, the climate of the planet and the climate of the mind"--

Harry Kenmores blindness at the age of sixteen changed his life. After meeting Meher Baba in 1956 the path of his life was again altered because now he found God Meher Baba. His love and devotion led him to serve Baba as his chiropractor after Babas second automobile accident on December 2, 1956, in Satara, India. We learn about Harrys journey to become Babas doctor, entertainer, friend and intimate mandali through-out the next thirteen years. Through the intimate taped conversations, cables and letters between Harry, Baba and the mandali and also talks by Harry to various Baba groups, we gain insight into Harrys life as his relationship evolves with his Pop, Meher Baba. You dont know how much I love you Harry. You have become one of the intimate mandali. So I want you, for the remaining period that is, in between now and My Manifestation, which has not much time now, to just be as the mandali. Like My mandali, remain during this period between now and My Manifestation as mandali. So that when I break My Silence, when I Manifest, the few handful of the mandali can realize Me as I am. You too will realize Me as I am, not the world. Meher Baba November 2, 1968

The story begins in the 1950s with two children, Tom and Cara, who live with their foster parents on a 12-acre farm in South Jersey. They are taught to help out on the farm, while pursuing their own interests and going to to school. Then, the children move to the North Shore of Staten Island wih their birth parents -- adjusting to parents with different rules and different values,making new friends, and participating in urban street games like stick ball and jump rope. Interspersed in the narrative are sketches of important people and events of that era -- Presidents Eisenhower and Kennedy, Jonas Salk, Billy Graham, Bill Wilson (AA), Dick Clark, and the Korean and Vietnam Wars. 1950s-1960s Fable is a fast-moving, upbeat story which is funny, sad, optimistic, and authentic, with larger-than- life characters who do not fret over life's misfortunes. The story is about conflict, endurance, and growth during an idealistic time in America's history.

The story of art is not always the story of art-historical 'isms' and complex academic debate. The real history is often the story of some very simple firsts - the first time an artist painted themselves, the first time someone painted a smile, the first actual place to be depicted, the first feminist artwork, the first anti-war work. Art evolves and revolutionises itself through these simple - but ground-breaking - creative leaps. Art Firsts brings together 30 of these pioneering firsts to piece together an original approach to looking at and appreciating art, as well as understanding where it has come from and how it relates to you. Each first is approachable and engaging, while each work is simply and satisfyingly explained. Every work is also fully illustrated, and its significance is shown through images of the subsequent artists directly inspired by them. Art Firsts offers a refreshing and fascinating narrative for those curious about why so-called 'masterpieces' are so important and how the story of art can be boiled down to flashes of fascinating brilliance.

Standing at the intersection of Native history, labor, and representation, Picturing Indians presents a vivid portrait of the complicated experiences of Native actors on the sets of midcentury Hollywood Westerns. This behind-the-scenes look at costuming, makeup, contract negotiations, and union disparities uncovers an all-too-familiar narrative of racism and further complicates filmmakers' choices to follow mainstream representations of "Indianness." Liza Black offers a rare and overlooked perspective on American cinema history by giving voice to creators of movie Indians--the stylists, public relations workers, and the actors themselves. In exploring the inherent racism in sensationalizing Native culture for profit, Black also chronicles the little-known attempts of studios to generate cultural authenticity and historical accuracy in their films. She discusses the studios' need for actual Indians to participate in, legitimate, and populate such filmic narratives. But studios also told stories that made Indians sound less than Indian because of their skin color, clothing, and inability to do functions and tasks considered authentically Indian by non-Indians. In the ongoing territorial dispossession of Native America, Native people worked in film as an economic strategy toward survival. Consulting new primary sources, Black has crafted an interdisciplinary experience showcasing what it meant to "play Indian" in post-World War II Hollywood. Browse the author's media links.

While the 1960s may have been a decade of significant upheaval in America, it was also one of the richest periods in musical theatre history. Shows produced on Broadway during this time include such classics as Bye, Bye Birdie; Cabaret; Camelot; Hello Dolly!; Fiddler on the Roof; How to Succeed in Business without Really Trying; Oliver!; and Man of La Mancha. Performers such as Dick Van Dyke, Anthony Newley, Jerry Orbach, and Barbara Streisand made their marks, and other talents—such as Bob Fosse, John Kander, Fred Ebb, Alan Jay Lerner, Frederick Loewe, Jerome Robbins, and Stephen Sondheim—also contributed to shows. In The Complete Book of 1960s Broadway Musicals, Dan Dietz examines every musical and revue that opened on Broadway during the 1960s. In addition to providing details on every hit and flop, Dietz includes revivals and one-man and one-woman shows that centered on stars like Jack Benny, Maurice Chevalier, Marlene Dietrich, Danny Kaye, Yves Montand, and Lena Horne. Each entry consists of: Opening and closing dates Plot summaries Cast members Number of performances Names of all important personnel, including writers, composers, directors, choreographers, producers, and musical directors Musical numbers and the names of performers who introduced the songs Production data, including information about tryouts Source material Critical commentary Tony awards and nominations Details about London and other foreign productions In addition to entries for each production, the book offers numerous appendixes: a discography, film and television versions, published scripts, Gilbert and Sullivan operettas, and lists of productions by the New York City Center Light Opera Company, the New York City Opera Company, and the Music Theatre of Lincoln Center. A treasure trove of information,this significant resource will be of use to scholars, historians, and casual fans of one of the greatest decades in musical theatre history.

Presents the events of baseball in the 1950s and 1960s from the perspectives of the players, covering such subjects as the careers of Willie Mays, Mickey Mantle, and Duke Snider.

Harry Dean Stanton (1926–2017) got his start in Hollywood in TV productions such as Zane Grey Theater and Gunsmoke. After a series of minor parts in forgettable westerns, he gradually began to get film roles that showcased his laid-back acting style, appearing in Cool Hand Luke (1967), Kelly's Heroes (1970), The Godfather: Part II (1974), and Alien (1979). He became a headliner in the eighties—starring in Wim Wenders's moving Paris, Texas (1984) and Alex Cox's Repo Man (1984)—but it was his extraordinary skill as a character actor that established him as a revered cult figure and kept him in demand throughout his career. Joseph B. Atkins unwinds Stanton's enigmatic persona in the first biography of the man Vanity Fair memorialized as "the philosopher poet of character acting." He sheds light on Stanton's early life in West Irvine, Kentucky, exploring his difficult relationship with his Baptist parents, his service in the Navy, and the events that inspired him to drop out of college and pursue acting. Atkins also chronicles Stanton's early years in California, describing how he honed his craft at the renowned Pasadena Playhouse before breaking into television and movies. In addition to examining the actor's acclaimed body of work, Atkins also explores Harry Dean Stanton as a Hollywood legend, following his years rooming with Jack Nicholson, partying with David Crosby and Mama Cass, jogging with Bob Dylan, and playing poker with John Huston. "HD Stanton" was scratched onto the wall of a jail cell in Easy Rider (1969) and painted on an exterior concrete wall in Drive, He Said (1971). Critic Roger Ebert so admired the actor that he suggested the "Stanton-Walsh Rule," which states that "no movie featuring either Harry Dean Stanton or M. Emmet Walsh in a supporting role can be altogether bad." Harry Dean Stanton is often remembered for his crowd-pleasing roles in movies like Pretty in Pink (1986) or Escape from New York (1981), but this impassioned biography illuminates the entirety of his incredible sixty-year career. Drawing on interviews with the actor's friends, family, and colleagues, this much-needed book offers an unprecedented look at a beloved figure.