In 1919, the United States made its boldest attempt at social reform: Prohibition. This "noble experiment" was aggressively promoted, and spectacularly unsuccessful, in New York City. In the first major work on Prohibition in a quarter century, and the only full history of Prohibition in the era's most vibrant city, Lerner describes a battle between competing visions of the United States that encompassed much more than the freedom to drink.

Early in the century, Marie Dressler was hailed as one of America's finest comics, with a 20-year string of Broadway and vaudeville successes including The Lady Slavey, Miss Prinnt, Higgledy Piggledy, The Man in the Moon, and Tillie's Nightmare. She starred with Charlie Chaplin in the first ever feature-length comedy Tillie's Punctured Romance and later in Min and Bill for which she won an Academy Award. A brilliant comedienne in body, timing, inflection and reactions, her talents far exceeded the expectations of slapstick, and her movies earned sums far greater than those of Garbo, or Harlow, or even Gable. This work examines Dressler's life from vaudeville to talkies. Based on extensive research and interviews with Dressler's surviving friends, co-stars and colleagues, including Maureen O'Sullivan, Jackie Cooper and Anita Page, it details her public and personal successes and failures. A listing of her stage appearances, vocal recordings and films is included.

The setting is the Royal Gardens Cafe. It's dark, smoky. The smell of gin permeates the room. People are leaning over the balcony, their drinks spilling on the customers below. On stage, King Oliver and Louis Armstrong roll on and on, piling up choruses, the rhythm section building the beat until tables, chairs, walls, people, move with the rhythm. The time is the 1920s. The place is South Side Chicago, a town of dance halls and cabarets, Prohibition and segregation, a town where jazz would flourish into the musical statement of an era. In Chicago Jazz, William Howland Kenney offers a wide-ranging look at jazz in the Windy City, revealing how Chicago became the major center of jazz in the 1920s, one of the most vital periods in the history of the music. He describes how the migration of blacks from the South to Chicago during and after World War I set the stage for the development of jazz in Chicago; and how the nightclubs and cabarets catering to both black and white customers provided the social setting for jazz performances. Kenney discusses the arrival of King Oliver and other greats in Chicago in the late teens and the early 1920s, especially Louis Armstrong, who would become the most influential jazz player of the period. And he travels beyond South Side Chicago to look at the evolution of white jazz, focusing on the influence of the South Side school on such young white players as Mezz Mezzrow (who adopted the mannerisms of black show business performers, an urbanized southern black accent, and black slang); and Max Kaminsky, deeply influenced by Armstrong's "electrifying tone, his superb technique, his power and ease, his hotness and intensity, his complete mastery of the horn." The personal recollections of many others--including Milt Hinton, Wild Bill Davison, Bud Freeman, and Jimmy McPartland--bring alive this exciting period in jazz history. Here is a new interpretation of Chicago jazz that reveals the role of race, culture, and politics in the development of this daring musical style. From black-and-tan cabarets and the Savoy Ballroom, to the Friars Inn and Austin High, Chicago Jazz brings to life the hustle and bustle of the sounds and styles of musical entertainment in the famous toddlin' town.

Employing modes of criticism and theory that have transformed study in the humanities, this title addresses questions seldom if ever raised in jazz writing: What are the implications of building jazz history around the medium of the phonograph record? Why did jazz writers first make the claim that jazz is an art?

Ben-Hur was the first literary blockbuster to generate multiple and hugely profitable adaptations, highlighted by the 1959 film that won a record-setting 11 Oscars. General Lew Wallace's book was spun off into dozens of popular publications and media productions, becoming a veritable commercial brand name that earned tens of millions of dollars. Ben-Hur: The Original Blockbuster surveys the Ben-Hur phenomenon's unprecedented range and extraordinary endurance: various editions, spin-off publications, stage productions, movies, comic books, radio plays, and retail products were successfully marketed and sold from the 1880s and throughout the twentieth century. Today Ben-Hur Live is touring Europe and Asia, with a third MGM film in production in Italy.Jon Solomon's new book offers an exciting and detailed study of the Ben-Hur brand, tracking its spectacular journey from Wallace's original novel through to twenty-first century adaptations, and encompassing a wealth of previously unexplored material along the way

A groundbreaking history of African Americans in the early recording industry, Lost Sounds examines the first three decades of sound recording in the United States, charting the surprising roles black artists played in the period leading up to the Jazz Age and the remarkably wide range of black music and culture they preserved. Drawing on more than thirty years of scholarship, Tim Brooks identifies key black recording artists and profiles forty audio pioneers. Brooks assesses the careers and recordings of George W. Johnson, Bert Williams, George Walker, Noble Sissle, Eubie Blake, the Fisk Jubilee Singers, W. C. Handy, James Reese Europe, Wilbur Sweatman, Harry T. Burleigh, Roland Hayes, Booker T. Washington, and boxing champion Jack Johnson, plus a host of lesser-known voices. Many of these pioneers struggled to be heard in an era of rampant discrimination. Their stories detail the forces––black and white––that gradually allowed African Americans to enter the mainstream entertainment industry. Lost Sounds includes Brooks's selected discography of CD reissues and an appendix by Dick Spottswood describing early recordings by black artists in the Caribbean and South America.

The legend of Bat Masterson as the heroic sheriff of Dodge City, Kansas, began in 1881 when an acquaintance duped a New YorkSun reporter into writing Masterson up as a man-killing gunfighter. That he later moved to New York City to write a widely followed sports column for eighteen years is one of history’s great ironies, as Robert K. DeArment relates in this engaging new book. William Barclay “Bat” Masterson spent the first half of his adult life in the West, planting the seeds for his later legend as he moved from Texas to Kansas and then Colorado. In Denver his gambling habit and combative nature drew him to the still-developing sport of prizefighting. Masterson attended almost every important match in the United States from the 1880s to 1921, first as a professional gambler betting on the bouts, and later as a promoter and referee. Ultimately, Bat stumbled into writing about the sport. In Gunfighter in Gotham, DeArment tells how Bat Masterson built a second career from a column in the New YorkMorning Telegraph. Bat’s articles not only covered sports but also reflected his outspoken opinions on war, crime, politics, and a changing society. As his renown as a boxing expert grew, his opinions were picked up by other newspaper editors and reprinted throughout the country and abroad. He counted President Theodore Roosevelt among his friends and readers. This follow-up to DeArment’s definitive biography of the Old West legend narrates the final chapter of Masterson’s storied life. Far removed from the sweeping western plains and dusty cowtown streets of his younger days, Bat Masterson, in New York City, became “a ham reporter,” as he called himself, “a Broadway guy.”