First-time author Jeremy Aufderheide explores the making of The Wiz, the rock musical based on The Wizard of Oz. Jeremy has uncovered new information and conducted thorough interviews with cast members and other key players that put to rest myths about the show. The book paints as accurate a picture possible of the making of one of the biggest musical hits of the 1970s.

The African-American actors and actresses whose names have shone brightly on Broadway marquees earned their place in history not only through hard work, perseverance, and talent, but also because of the legacy left by those who came before them. Like the doors of many professions, those of the theater world were shut to minorities for decades. While the Civil War may have freed the slaves, it was not until the Civil Rights Movement of the 1960s that the playing field began to level. In this remarkable book, theater producer and historian Stewart F. Lane uses words and pictures to capture this tumultuous century and to highlight the rocky road that black actors have travelled to reach recognition on the Great White Way. After the Civil War, the popularity of the minstrel shows grew by leaps and bounds throughout the country. African Americans were portrayed by whites, who would entertain audiences in black face. While the depiction of blacks was highly demeaning, it opened the door to African-American performers, and by the late 1800s, a number of them were playing to full houses. By the 1920s, the Jazz Age was in full swing, allowing black musicians and composers to reach wider audiences. And in the thirties, musicals such as George Gershwin's Porgy and Bess and Eubie Blake's Swing It opened the door a little wider. As the years passed, black performers continued to gain ground. In the 1940s, Broadway productions of Cabin in the Sky, Carmen Jones, and St. Louis Woman enabled African Americans to demonstrate a fuller range of talents, and Paul Robeson reached national prominence in his awarding-winning portrayal of Othello. By the 1950s and '60s, more black actors--including Ruby Dee, Ossie Davis, and Sidney Poitier--had found their voices on stage, and black playwrights and directors had begun to make their marks. Black Broadway provides an entertaining, poignant history of a Broadway of which few are aware. By focusing a spotlight on both performers long forgotten and on those whom we still hold dear, this unique book offers a story well worth telling.

Every Sunday, Otis Moss III and his preaching attract over 5,000 people to Chicago's Trinity United Church of Christ. Moss describes himself as, "a jazz-influenced pastor with a hip-hop vibe committed to the Gospel of Jesus Christ rooted in love and justice." He admits he can talk endlessly about theology, popular culture, and movies, and has even based some of his best sermons, collected in this book, on these powerful films: The Wiz, 12 Years a Slave, The Butler, The Book of Eli, The Color Purple, Avatar, Flight, and For Colored Girls. Discussion questions are included, making it ideal for individuals or groups, movie nights and book clubs.

An African American preacher returns to his hometown to open a church, outwitting a segregationist plantation owner to make it happen.

In 2007, Nathan Rabin set out to provide a revisionist look at the history of cinematic failure on a weekly basis. What began as a solitary ramble through the nooks and crannies of pop culture evolved into a way of life. My Year Of Flops collects dozens of the best-loved entries from the A.V. Club column along with bonus interviews and fifteen brand-new entries covering everything from notorious flops like The Cable Guy and Last Action Hero to bizarre obscurities like Glory Road, Johnny Cash’s poignantly homemade tribute to Jesus. Driven by a unique combination of sympathy and Schadenfreude, My Year Of Flops is an unforgettable tribute to cinematic losers, beautiful and otherwise.

The Wiz : adapted from "The wonderful Wizard of Oz" by L. Frank Baum.

Gerald Bordman's American Musical Theatre has become a landmark book since its original publication in 1978. In this third edition, he offers authoritative summaries on the general artistic trends and developments for each season on musical comedy, operetta, revues, and the one-man and one-woman shows from the first musical to the 1999/2000 season. With detailed show, song, and people indexes, Bordman provides a running commentary and assessment as well as providing the basic facts about each production.

It all began when the wizards of the White League were under attack by their opponents of the Black League and one of their most powerful members cast a spell to bring forth a mighty wizard to aid their cause. What the spell delivered was master hacker Walter Wiz Zumwalt. The wizard who east the spell was dead and nobodyÊnot the elves, not the dwarves, not even the dragonsÊcould figure out what the shanghaied computer nerd was good for. But spells are a lot like computer programs, and, in spite of the Wiz's unprepossessing appearance, he was going to defeat the all-powerful Black League, win the love of a beautiful red-haired witch, and prove that when it comes to spells and sorcery, nobody but nobody can beat a Silicon Valley computer geek! At the publisher's request, this title is sold without DRM (Digital Rights Management).

In the jungle the mighty jungle, The lion sleeps tonight. Hush my darling, don't fear my darling, The lion sleeps tonight...