In the early decades of the twentieth century, almost everyone in modern theater, literature, or film knew of Otto Kahn (1867-1934), and those who read the financial press or followed the news from Wall Street could scarcely have missed his name. A partner at one of America's premier private banks, he played a leading role in reorganizing the U.S. railroad system and supporting the Allied war effort in World War I. The German-Jewish Kahn was also perhaps the most influential patron of the arts the nation has ever seen: he helped finance the Metropolitan Opera, brought the Ballets Russes to America, and bankrolled such promising young talent as poet Hart Crane, the Provincetown Players, and the editors of the Little Review. This book is the full-scale biography Kahn has long deserved. Theresa Collins chronicles Kahn's life and times and reveals his singular place at the intersection of capitalism and modernity. Drawing on research in private correspondence, congressional testimony, and other sources, she paints a fascinating portrait of the figure whose seemingly incongruous identities as benefactor and banker inspired the New York Times to dub him the "Man of Velvet and Steel."

Here was a man who was both equipped and disposed to be the most considerable Maecenas in the history of our theater, wrote Alexander Woollcott. It is the man behind that legend whom Mary Jane Matz brings. to life in this spirited biography. Otto Kahn, The King of New York in the twenties, had virtually created the city's new Metropolitan Opera with his enormous energy and financial backing. He was responsible for introducing Stanislavski, Nijinski, the Abbey Players, the Moscow Art Theater, and practically every other important personage and event in the most vigorous era of American theatrical history. He subsidized, sponsored, and had close relationships with Toscanini, Caruso, Chaliapin, Pavlova, Pirandello, Eugene O'Neill, Paul Robeson, Grace Moore, and hundreds of other artists whose names are now part of that history. This was the Otto Kahn whose fame lives on today-the man who was an activating force in American opera and theater for more than two decades. But there was another Otto Kahn, now less well known, who was more than a theatrical patron. The other Otto Kahn had amassed a banking fortune through his perspicuity and integrity in the era of unbridled Big Business, and had gone on to win the respect of the nation with his political, economic, and humanitarian activities in the First World War and its boom-and-bust aftermath. That Otto Kahn, a partner in the banking firm of Kuhn, Loeb, was often accused of being a socialist.

"High Finance" is a speech about the principles, mistakes, and trends of financial markets given in 1916. The author of this book, Otto H. Kahn, addresses the need for professionals in the Finance Industry to be just that: professional. He urges those in the field to act with morality and in an ethical fashion. He recognizes that the positive transformation of the character of financial professionals will be essential in restoring the image and worth of private finance in the eyes of the public.

Constructed in 1919, OHEKA CASTLE, Long Island's largest Gold Coast mansion, was once described by the New York Times as the finest country house in America. Enrico Caruso sang in its grand ballroom, and Arturo Toscanini lifted his baton to its soaring ceiling. Appearing as the mysterious mountaintop castle in the opening scenes of the film classic Citizen Kane, its majestic edifice and meticulous grounds continue to dazzle the screens of major Hollywood movies and television shows. It was a playground for the rich and famous of the Gilded Era, when heads of state, royalty, stage and screen stars, great comedians, and bohemians alike cavorted about its great halls. In subsequent years, it became home to an eclectic array of occupants, including New York City sanitation workers, World War II radio trainees, military school cadets, and eventually vandals and squatters. After its abandonment and descent into unrecognizable ruin, a Long Island developer with an appreciation for history reversed the adverse effects of time and neglect, transforming OHEKA into the largest restored home in America.

Modern Architecture is a landmark text--the first book in which America's greatest architect put forth the principles of a fundamentally new, organic architecture that would reject the trappings of historical styles while avoiding the geometric abstraction of the machine aesthetic advocated by contemporary European modernists. One of the most important documents in the development of modern architecture and the career of Frank Lloyd Wright, Modern Architecture is a provocative and profound polemic against America's architectural eclecticism, commercial skyscrapers, and misguided urban planning. The book is also a work of savvy self-promotion, in which Wright not only advanced his own concept of an organic architecture but also framed it as having anticipated by decades--and bettered--what he saw as the reductive modernism of his European counterparts. Based on the 1931 original, for which Wright supplied the cover illustration, this beautiful edition includes a new introduction that puts Modern Architecture in its broader architectural, historical, and intellectual context for the first time. The subjects of these lively lectures--from "Machinery, Materials and Men" to "The Tyranny of the Skyscraper" and "The City"--move from a general statement of the conditions of modern culture to particular applications in the fields of architecture and urbanism at ever broadening scales. Wright's vision in Modern Architecture is ultimately to equate the truly modern with romanticism, imagination, beauty, and nature--all of which he connects with an underlying sense of American democratic freedom and individualism.

#1 NEW YORK TIMES BESTSELLER • “The story of modern medicine and bioethics—and, indeed, race relations—is refracted beautifully, and movingly.”—Entertainment Weekly NOW A MAJOR MOTION PICTURE FROM HBO® STARRING OPRAH WINFREY AND ROSE BYRNE • ONE OF THE “MOST INFLUENTIAL” (CNN), “DEFINING” (LITHUB), AND “BEST” (THE PHILADELPHIA INQUIRER) BOOKS OF THE DECADE • ONE OF ESSENCE’S 50 MOST IMPACTFUL BLACK BOOKS OF THE PAST 50 YEARS • WINNER OF THE CHICAGO TRIBUNE HEARTLAND PRIZE FOR NONFICTION NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The New York Times Book Review • Entertainment Weekly • O: The Oprah Magazine • NPR • Financial Times • New York • Independent (U.K.) • Times (U.K.) • Publishers Weekly • Library Journal • Kirkus Reviews • Booklist • Globe and Mail Her name was Henrietta Lacks, but scientists know her as HeLa. She was a poor Southern tobacco farmer who worked the same land as her slave ancestors, yet her cells—taken without her knowledge—became one of the most important tools in medicine: The first “immortal” human cells grown in culture, which are still alive today, though she has been dead for more than sixty years. HeLa cells were vital for developing the polio vaccine; uncovered secrets of cancer, viruses, and the atom bomb’s effects; helped lead to important advances like in vitro fertilization, cloning, and gene mapping; and have been bought and sold by the billions. Yet Henrietta Lacks remains virtually unknown, buried in an unmarked grave. Henrietta’s family did not learn of her “immortality” until more than twenty years after her death, when scientists investigating HeLa began using her husband and children in research without informed consent. And though the cells had launched a multimillion-dollar industry that sells human biological materials, her family never saw any of the profits. As Rebecca Skloot so brilliantly shows, the story of the Lacks family—past and present—is inextricably connected to the dark history of experimentation on African Americans, the birth of bioethics, and the legal battles over whether we control the stuff we are made of. Over the decade it took to uncover this story, Rebecca became enmeshed in the lives of the Lacks family—especially Henrietta’s daughter Deborah. Deborah was consumed with questions: Had scientists cloned her mother? Had they killed her to harvest her cells? And if her mother was so important to medicine, why couldn’t her children afford health insurance? Intimate in feeling, astonishing in scope, and impossible to put down, The Immortal Life of Henrietta Lacks captures the beauty and drama of scientific discovery, as well as its human consequences.

Composed of sixteen essays and fifteen illustrations, Angels in the American Theater explores not only how donors became angels but also their backgrounds, motivations, policies, limitations, support, and successes and failures.