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From 1940 to 1989, nearly every hotel on the Las Vegas Strip employed a full-time band or orchestra. After the late 1980s, when control of the casinos changed hands from independent owners to corporations, almost all of these musicians found themselves unemployed. Played Out on the Strip traces this major shift in the music industry through extensive interviews with former musicians. In 1989, these soon-to-be unemployed musicians went on strike. Janis McKay charts the factors behind this strike, which was precipitated by several corporate hotel owners moving to replace live musicians with synthesizers and taped music, a strategic decision made in order to save money. The results of this transitional period in Las Vegas history were both long-lasting and far-reaching for the entertainment industry. With its numerous oral history interviews and personal perspectives from the era, this book will appeal to readers interested in Las Vegas history, music history, and labor issues.
The transformations of the Strip—from the fake Wild West to neon signs twenty stories high to “starchitecture”—and how they mirror America itself. The Las Vegas Strip has impersonated the Wild West, with saloon doors and wagon wheels; it has decked itself out in midcentury modern sleekness. It has illuminated itself with twenty-story-high neon signs, then junked them. After that came Disney-like theme parks featuring castles and pirates, followed by replicas of Venetian canals, New York skyscrapers, and the Eiffel Tower. (It might be noted that forty-two million people visited Las Vegas in 2015—ten million more than visited the real Paris.) More recently, the Strip decided to get classy, with casinos designed by famous architects and zillion-dollar collections of art. Las Vegas became the “implosion capital of the world” as developers, driven by competition, got rid of the old to make way for the new—offering a non-metaphorical definition of “creative destruction.” In The Strip, Stefan Al examines the many transformations of the Las Vegas Strip, arguing that they mirror transformations in America itself. The Strip is not, as popularly supposed, a display of architectural freaks but representative of architectural trends and a record of social, cultural, and economic change. Al tells two parallel stories. He describes the feverish competition of Las Vegas developers to build the snazziest, most tourist-grabbing casinos and resorts—with a cast of characters including the mobster Bugsy Siegel, the eccentric billionaire Howard Hughes, and the would-be political kingmaker Sheldon Adelson. And he views the Strip in a larger social context, showing that it has not only reflected trends but also magnified them and sometimes even initiated them. Generously illustrated with stunning color images throughout, The Strip traces the many metamorphoses of a city that offers a vivid projection of the American dream.
A savage journey into the heart of Hunter S. Thompson's Las Vegas with the Good Doctor as tour guide. A Lord-of-the-Rings-like adventure in the city's underground flood channels. A seven-day stay at a seedy motel on East Fremont Street. The stories in My Week at the Blue Angel aren't about Steve Wynn, Cirque du Soleil, or how to play poker, and they aren't set in Caesars Palace, XS Nightclub, or a 2,000-seat showroom. They're about prostitutes, ex-cons, and the homeless, and they're set under Caesars Palace and in trailer parks and weekly motels. In this creative nonfiction collection, Matthew O'Brien--author of Beneath the Neon: Life and Death in the Tunnels of Las Vegas--and veteran photographer Bill Hughes show a side of the city rarely seen. A side beyond the neon lights, themed facades, and motel-room doors. A side beyond the barbwire fences, No Trespassing signs, and midnight shadows.
On September 20, 1998, Jose Vigoa, a child of Fidel Castro’s revolution, launched what would be the most audacious and ruthless series of high-profile casino and armored car robberies that Las Vegas had ever seen. In a brazen sixteen-month reign of terror, he and his crew would hit the crème de la crème of Vegas hotels: the MGM, the Desert Inn, the New York—New York, the Mandalay Bay, and the Bellagio. The robberies were well planned and executed, and the police–“the stupids,” as Vigoa contemptuously referred to them–were all but helpless to stop them. But Lt. John Alamshaw, the twenty-three-year veteran in charge of robbery detectives, was not giving up so easily. For him, Vigoa’s rampage was a personal affront. And he would do whatever it took, even risk his badge, to bring Vigoa down.
This book is about how to play bridge in a tournament. Unlike club play, the hands are typically prearranged to test your skills. This book gives a comprehensive view of the various types of hands an advanced player might expect to encounter. The various categories of hands presented will teach you when and how to use the end play, when and how to squeeze, how to handle a forcing defense, and how to handle a 41 trump split. The book will also teach you how to play a Notrump hand, such as when to hold up, how to finesse, when to spurn the finesse, when to duck at Notrump, when to avoid the danger hand, how to deceive the opponents, how to unblock, and how to handle transportation.
First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.
Comics and childhood have had a richly intertwined history for nearly a century. From Richard Outcault’s Yellow Kid, Winsor McCay’s Little Nemo, and Harold Gray’s Little Orphan Annie to Hergé’s Tintin (Belgium), José Escobar’s Zipi and Zape (Spain), and Wilhelm Busch’s Max and Moritz (Germany), iconic child characters have given both kids and adults not only hours of entertainment but also an important vehicle for exploring children’s lives and the sometimes challenging realities that surround them. Bringing together comic studies and childhood studies, this pioneering collection of essays provides the first wide-ranging account of how children and childhood, as well as the larger cultural forces behind their representations, have been depicted in comics from the 1930s to the present. The authors address issues such as how comics reflect a spectrum of cultural values concerning children, sometimes even resisting dominant cultural constructions of childhood; how sensitive social issues, such as racial discrimination or the construction and enforcement of gender roles, can be explored in comics through the use of child characters; and the ways in which comics use children as metaphors for other issues or concerns. Specific topics discussed in the book include diversity and inclusiveness in Little Audrey comics of the 1950s and 1960s, the fetishization of adolescent girls in Japanese manga, the use of children to build national unity in Finnish wartime comics, and how the animal/child hybrids in Sweet Tooth act as a metaphor for commodification.
North Carolina fiddler and banjo player Jim Scancarelli's extensive career as a string band musician began in the early 1960s. A founding member of the Kilocycle Kowboys, one of Charlotte's longest-lived bluegrass bands, he played banjo with the Mole Hill Highlanders, and in the 1980s formed Sanitary Cafe with fiddler Tommy Malboeuf. Through the 1970s, his annual recordings at the Union Grove Fiddlers Convention captured superlative music and performer interviews. Scancarelli also had a successful career as a freelance magazine artist and collaborated on the syndicated comic strips "Mutt and Jeff" and "Gasoline Alley," eventually taking over authorship of the latter in 1986. This biography traces his creative trajectory in music, art, radio and television, and the cartooning industry.
About the Book Bobby Ciampitti is a young boy born to second generation Italian immigrants in South Philadelphia. Growing up in a row house in a working-class area in the 1950s and 60s, Bobby grows up in what is in many ways a classic image of Americana. The neighborhood is close and friendly, doors are left unlocked, and the moms stay at home while the dads work long hours for modest wages. Children are watched over by everyone in a neighborhood where kids of all ages and backgrounds play together. Take a trip back to the past while Bobby paints a picture of life growing up in the city and the light-hearted adventures (and some misadventures) that ensue, starting with a knock on the door and a simple question... “Is Bobby home?”