During the Golden Age of comics, publishers offered titles supporting the war effort -- presenting fighting men and their feminine counterparts -- babes in arms! Comic books during this period featured US service-women fighting all of the axis bad guys and gave several of the most noteworthy women artists of the era opportunities to create action-packed, adventure-filled, four-color stories. Now for the first time renowned pop-culture historian Trina Robbins assembles comic book stories by artists Barbara Hall, Jill Elgin, Lilly Renee, and Fran Hopper together with insightful commentary and loads of documentary extras to create the definitive book chronicling the work of these important Golden Age artists. This magnificent art book offers page-after-page of good girl action!

Re¿spon¿si¿ble adj 1: trustworthy, reliable, dependable. 2: the one thing Griffin Cahill is not. Griffin Cahill plays too hard, dodging commitment any and every way he can. His ex-fiancée, pediatrician Heather Delaney, works too hard, for essentially the same reason. Everything changes when Griffin's twin nephews come to stay. The babies are more than a handful, and for the first time in his life Griffin needs help--which Heather is extremely reluctant to give. Helping Griffin take care of the boys will mean moving into his house and becoming part of his life. That ended in disaster once. And she's too smart to let it happen twice. Isn't she?

THE STORY: Yes, we love the cinema for its great auteurs, its glorious faces and its daring images. But in this tabloid age where big stars go on Oprah and jump around like heartsick schoolboys, what we really love is all that dish! The play

BABY CHASEPregnant Katherine Manchester was on the run and about to become a mom any minute! She had to find a safe place for her baby to be born, fast—and what better place than in rugged rancher Colin Whitefeather's welcoming arms? SURROGATE DAD Colin had a weakness for strays and beautiful women. And when he delivered Katherine's baby, baby girls were added to his list. Katherine affected him like no woman ever had, but she was afraid of something—or someone. Well, she was about to learn that Colin Whitefeather feared no one—and that nothing would keep him from making them a family.

Musical Theatre Vocal Solo

Through her incomparable work on screen, stage, record, radio, and television, Judy Garland earned renown as "The World's Greatest Entertainer." It was as a motion picture star though, that she first rose to international fame. From her feature film debut in 1936 through the aptly titled I Could Go on Singing in 1963, she lit up the screen with a magic uniquely hers -- and dazzled world-wide audiences of all ages. Judy Garland starred in two dozen of the all-time classic movie musicals, among them A Star is Born, Meet Me in St. Louis, Babes in Arms, Easter Parade, For Me and My Gal, and The Harvey Girls. Her dramatic turns in Judgment at Nuremberg, The Clock, and A Child is Waiting won added acclaim. And perhaps most unforgettably, she starred as Dorothy Gale in the best-loved motion picture of all time: The Wizard of Oz. Judy: A Legendary Film Career tells the story of Garland's movie work in unprecedented detail. Hundreds of never-before-published photos, newly-assembled contemporary reviews, insight from her costars and coworkers, and production histories are provided for each film in which she appeared. Highlighting and complimenting the feature films is a definitive biography; an examination of Judy's short subjects; details of the movies she did not complete; and an enthralling compendium of film projects for which she was considered or rumored. The text is illustrated by more than five hundred photos, encompassing poster art; costume tests; behind-the-scenes candids; onstage and backstage glimpses of her theatrical successes; and personal snapshots. Judy is the exhaustively researched work of historian John Fricke. He celebrates as never before the heart, humor, and incandescent motion picture achievement of the one-and-only Judy Garland.

From 1925 to 1951--three chaotic decades of depression, war, and social upheaval--Jewish writers brought to the musical stage a powerfully appealing vision of America fashioned through song and dance. It was an optimistic, meritocratic, selectively inclusive America in which Jews could at once lose and find themselves--assimilation enacted onstage and off, as Andrea Most shows. This book examines two interwoven narratives crucial to an understanding of twentieth-century American culture: the stories of Jewish acculturation and of the development of the American musical. Here we delve into the work of the most influential artists of the genre during the years surrounding World War II--Irving Berlin, Eddie Cantor, Dorothy and Herbert Fields, George and Ira Gershwin, Oscar Hammerstein, Lorenz Hart, and Richard Rodgers--and encounter new interpretations of classics such as The Jazz Singer, Whoopee, Girl Crazy, Babes in Arms, Oklahoma!, Annie Get Your Gun, South Pacific, and The King and I. Most's analysis reveals how these brilliant composers, librettists, and performers transformed the experience of New York Jews into the grand, even sacred acts of being American. Read in the context of memoirs, correspondence, production designs, photographs, and newspaper clippings, the Broadway musical clearly emerges as a form by which Jewish artists negotiated their entrance into secular American society. In this book we see how the communities these musicals invented and the anthems they popularized constructed a vision of America that fostered self-understanding as the nation became a global power.