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A vivacious, rollicking tribute to one-of-a-kind Warhol superstar Jackie Curtis Based on author Craig Highberger’s documentary of the same name, Superstar in a Housedress is a striking oral biography of avant-garde, cross-dressing performer Jackie Curtis. Even among Andy Warhol’s orbit of dramatic personas and colorful characters in the sixties and seventies, Curtis stood out. Whether done up in drag or portraying James Dean—to whom he bore an uncanny resemblance—he dazzled in films, plays, and cabarets. Friends fondly recall how he brought his onstage eccentricities to everyday life, holding court in the backroom of the iconic nightclub Max’s Kansas City wearing tattered thirties housedresses, torn stockings, fabulous wigs, and glittering makeup. Curtis died of a drug overdose in 1985, but not before leaving an indelible mark on New York City’s underground art scene. More than just a performer, Curtis translated his fixation on fame and its trappings into his own poetry and outrageous plays, such as Glamour, Glory and Gold and Vain Victory. With snippets of his work alongside colorful recollections from his friends and acquaintances—including Lily Tomlin, Michael Musto, Holly Woodlawn, Harvey Fierstein, and Paul Morrissey—this is a fitting and touching tribute that evokes the spirited, creative energy that radiated from Jackie Curtis.
Last August, two men in rural Georgia announced that they had killed Bigfoot. The claim drew instant, feverish attention, leading to more than 1,000 news stories worldwide—despite the fact that nearly everyone knew it was a hoax. Though Bigfoot may not exist, there’s no denying Bigfoot mania. With Bigfoot, Joshua Blu Buhs traces the wild and wooly story of America’s favorite homegrown monster. He begins with nineteenth-century accounts of wildmen roaming the forests of America, treks to the Himalayas to reckon with the Abominable Snowman, then takes us to northern California in 1958, when reports of a hairy hominid loping through remote woodlands marked Bigfoot’s emergence as a modern marvel. Buhs delves deeply into the trove of lore and misinformation that has sprung up around Bigfoot in the ensuing half century. We meet charlatans, pseudo-scientists, and dedicated hunters of the beast—and with Buhs as our guide, the focus is always less on evaluating their claims than on understanding why Bigfoot has inspired all this drama and devotion in the first place. What does our fascination with this monster say about our modern relationship to wilderness, individuality, class, consumerism, and the media? Writing with a scientist’s skepticism but an enthusiast’s deep engagement, Buhs invests the story of Bigfoot with the detail and power of a novel, offering the definitive take on this elusive beast.
This first English translation of the Asokavadana text, the Sanskrit version of the legend of King Asoka, first written in the second century A.D. Emperor of India during the third century B.C. and one of the most important rulers in the history of Buddhism. Asoka has hitherto been studied in the West primarily from his edicts and rock inscriptions in many parts of the Indian subcontinent. Through an extensive critical essay and a fluid translation, John Strong examines the importance of the Asoka of the legends for our overall understanding of Buddhism. Professor Strong contrasts the text with the Pali traditions about Kind Asoka and discusses the Buddhist view of kingship, the relationship of the state and the Buddhist community, the king s role in relating his kingdom to the person of the Buddha, and the connection between merit making, cosmology, and Buddhist doctrine. An appendix provides summaries of other stories about Asoka.
Film Composers in America is a landmark in the history of film. Here, renowned film scholar Clifford McCarty has attempted to identify every known composer who wrote background musical scores for films in the United States between 1911 and 1970. With information on roughly 20,000 films, the book is an essential tool for serious students of film and a treasure trove for film fans. It spans all types of American films, from features, shorts, cartoons, and documentaries to nontheatrical works, avant-garde films, and even trailers. Meticulously researched over 45 years, the book documents the work of more than 1,500 composers, from Robert Abramson to Josiah Zuro, including the first to score an American film, Walter C. Simon. It includes not only Hollywood professionals but also many composers of concert music--as well as popular music and other genres--whose cinematic work has never before been fully catalogued. The book also features an index that lets readers quickly find the composer for any American film through 1970. To recover this history, much of which was lost or never recorded, McCarty corresponded with or interviewed hundreds of composers, arrangers, orchestrators, musical directors, and music librarians. He also conducted extensive research in the archives of the seven largest film studios--Columbia, MGM, Paramount, RKO, 20th Century-Fox, Universal, and Warner Bros.--and wherever possible, he based his findings on the most reliable evidence, that of the manuscript scores and cue sheets (as opposed to less accurate screen credits). The result is the definitive guide to the composers and musical scores for the first 60 years of American film.
Did you know that two winners of the Nobel Prize for Literature (Hemingway and Faulkner) worked on the story of To Have and Have Not (1944)? Did you know that the origin of the term "paparazzi" comes from Fellini’s La Dolce Vita (1960) which has a character called Paparazzo who photographs celebrities? Did you know that David Lean’s Lawrence of Arabia (1962) is the longest film which has no woman speaking part? Did you know that in the first Academy Award competition in 1929, Rin Tin Tin polled more votes than anyone else for the Best Actor, but his name was removed from the list of contenders because he was a dog? Did you know that the actress Hedy Lamarr invented the earliest known form of the telecommunication method known as "frequency hopping”? Did you know that D. W. Griffith was the first director to utter the catchphrase "Lights, camera, action!"? This book provides answers to all such questions, and more. Here is a book on world cinema in the form of a quiz. This book will be useful for a person who wants to know the essentials of world cinema succinctly. It also includes famous stars and directors of France, Germany, Russia, Italy, and other countries.
America I AM: The African American Imprint, a national traveling museum exhibition, was conceived by award-winning broadcaster and bestselling author Tavis Smiley as a one-of-a-kind multi-media experience that chronicles the distinct history of African Americans. This beautifully conceived companion volume addresses the central theme of the exhibition, posed by W. E. B. Du Bois: "Would America have been America without her Negro people?" Through exceptional photographic images and penetrating words, America I AM Legends captures the dynamism of 78 legendary African Americans, highlighting the indelible imprint each has made on the United States and the world. A statement illuminating a unique aspect of each iconic figure—made by the legend or by someone carrying on their legacy today—portrays the vision and contribution of each subject. Whether black artistic genius, athletic excellence, political leadership, or the struggle to hold America true to its promise, each legend reminds us that America would be unrecognizable without its African American imprint. America I AM Legends takes us on an unforgettable journey to the heart of the American experience.
SPENCER SPEEDWAY LEGENDS 1957-1977 by Len Kasper SPENCER SPEEDWAY LEGENDS 1957-1977 was written using notes and journals kept by the author, and it tells an in-depth chronology of a racetrack in a suburb of Rochester, New York, over a twenty-year period. The storyline follows the drivers, owners, promoters, officials, and race crews that made this incredible history possible. It includes a multitude of behind-the-scenes information and personal stories with rare photographs from the author and from the racing families themselves. For those who lived through the period, it is a nostalgic trip back in time. For others, it will be a compelling journey through time where local tracks were evolving from jalopy tracks to professional racing circuits, and their drivers rose to national prominence.