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To Midwesterners tucked into small towns or farms early in the twentieth century, the landscape of the American heartland reached the horizon—and then imagination had to provide what lay beyond. But when aviation took off and scenes of the Midwest were no longer earthbound, the Midwestern landscape was transformed and with it, Jason Weems suggests in this book, the very idea of the Midwest itself. Barnstorming the Prairies offers a panoramic vista of the transformative nature and power of the aerial vision that remade the Midwest in the wake of the airplane. This new perspective from above enabled Americans to conceptualize the region as something other than isolated and unchanging, and to see it instead as a dynamic space where people worked to harmonize the core traditions of America’s agrarian character with the more abstract forms of twentieth-century modernity. In the maps and aerial survey photography of the Midwest, as well as the painting, cinema, animation, and suburban landscapes that arose through flight, Weems also finds a different and provocative view of modernity in the making. In representations of the Midwest, from Grant Wood’s iconic images to the Prairie style of Frank Lloyd Wright to the design of greenbelt suburbs, Weems reveals aerial vision’s fundamental contribution to regional identity—to Midwesternness as we understand it. Reading comparatively across these images, Weems explores how the cognitive and perceptual practices of aerial vision helped to resymbolize the Midwestern landscape amid the technological change and social uncertainty of the early twentieth century.
No sport has gone through the seismic changes that rocked tennis when the game, long a holdout against professionalism and creeping commercialism, abandoned its roots as a genteel, amateurs-only enterprise and became a pro sport, vying for the heart of the public with rivals like soccer, NFL football, or NBA basketball. Peter Bodo, who has covered tennis since the dawn of this "Open" era as the chief writer for TENNIS magazine, was there to witness this transition and what it promised, what it delivered. He has covered the game on every continent since the early 1970s. THE COURTS OF BABYLON is more than a collection of essays, most of them growing out of a deep familiarity and, often, relationship with subjects that include Bjorn Borg, Chris Evert, John McEnroe, Evonne Goolangong, Jimmy Connors, Tracy Austin, van Lendl and Martina Navratilova. It is also a commentary on what was lost and what was gained by the transition to professionalism, and how the new, "Open" era delivered—or failed to make good—on the promise that professionalism would make tennis a more inclusive, egalitarian, accessible game. Relying heavily on formal, in-depth interviews conducted over two decades and his status as an "insider" in an insular game, Bodo's book is both a meditation and expose, a polemic and a tribute to the players who dragged tennis, often kicking and screaming, to the forefront of the public's imagination—even when those players got it all too fast and too young. Bodo delves into the darkest and most controversial areas of the game, chronicling the follies of overzealous parents and pampered athletes. He fearlessly wades into sensitive issues stemming from sex and gender, politics and commercialism. He celebrates the game while holding it to task, all the while acknowledging the reality of the demands and distortions that come with a way of life that is both difficult but glamorous, and eagerly embraced by athletes who, in some cases, are no older than fourteen.
You Don't Know Me, But You Love Me is a biography of beloved American movie actor Dick Miller. Miller's fantastically storied life, the legendary people with whom he has worked and played, the times in which he's lived and the fascinating environments of both Broadway and Hollywood over the past seventy years are all thoroughly and engagingly explored in this first and only biography of the cult legend. The result of both extensive interviews and exhaustive research, You Don't Know Me, But You Love Me is at once story of how an unassuming guy stumbled into acting and became cult royalty, an epic love story of a man and his wife, a parallel story of an actor and his director (Corman), and a secret history of Hollywood. Referred to by Roger Corman as the "best actor in Hollywood" a favourite character actor of Quentin Tarantino, and in the words of Jonathan Demme, "a first-rate actor who makes any scene he's in better," Miller's particular magic continues to work itself on Hollywood elite and movie buffs alike.
Between 1907 and 1957 Richmond, Indiana hosted over one hundred baseball games that featured professional or semi-professional black baseball teams. There are twenty-six members of the Baseball Hall of Fame in Cooperstown, New York who suited up to play in Richmond, Indiana, of those nineteen were members of Negro league teams. The Negro leagues, commonly referred to as "Blackball" before their advent in 1920 are celebrating their centennial in 2020. There is no better time to learn about these players, both men and women, who also doubled as pioneers in the country's Civil Rights Movement.
“You shall never have a penny of my money. Leave me alone or I will shoot you dead!” 1924. After six months in Hollywood, young British widow Emma Blackstone has come to love her new employer, glamourous movie-star Kitty Flint – even if her late husband’s sister is one of the worst actresses she’s ever seen. Looking after Kitty and her three adorable Pekinese dogs isn’t work Emma dreamed of, but Kitty rescued her when she was all alone in the world. Now, the worst thing academically-minded Emma has to worry about is the shocking historical inaccuracies of the films Kitty stars in. Until, that is, Rex Festraw – Kitty’s first husband, to whom she may or may not still be married – turns up dead in her dressing room, a threatening letter seemingly from Kitty in his pocket. Emma’s certain her flighty but kind-hearted sister-in-law has been framed. But who by? And why? From spiteful rivals to jealous boyfriends, the suspects are numerous. But as Emma investigates, she begins to untangle a deadly plot – and there’s something Kitty’s not telling her . . . This gripping first in a brand-new series from NYT-bestselling author Barbara Hambly brings the sights and sounds of Hollywood to life and is a perfect pick for fans of female-fronted historical mysteries set in the roaring twenties.
Whitt discloses how Naylor tells the stories of these women on multiple levels and how she helps readers see that all heroines live a life of significance."--BOOK JACKET. "Tracing Naylor's development of the theme of black community, especially among women, Whitt shows how characters move from poverty and isolation to a place where they transcend the racism and sexism that constrict their lives."--BOOK JACKET.
With this masterful work, Louis A. Perez Jr. transforms the way we view Cuba and its relationship with the United States. On Becoming Cuban is a sweeping cultural history of the sustained encounter between the peoples of the two countries and of the ways that this encounter helped shape Cubans' identity, nationality, and sense of modernity from the early 1850s until the revolution of 1959. Using an enormous range of Cuban and U.S. sources--from archival records and oral interviews to popular magazines, novels, and motion pictures--Perez reveals a powerful web of everyday, bilateral connections between the United States and Cuba and shows how U.S. cultural forms had a critical influence on the development of Cubans' sense of themselves as a people and as a nation. He also articulates the cultural context for the revolution that erupted in Cuba in 1959. In the middle of the twentieth century, Perez argues, when economic hard times and political crises combined to make Cubans painfully aware that their American-influenced expectations of prosperity and modernity would not be realized, the stage was set for revolution.