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Imagine shuffling down Broadway through the hustle and bustle right into the nonstop, neon heart of New York City: 42nd Street. Once a quiet neighborhood of brownstones and churches, the area wastransformed in the early 1900s into an entertainment hub unlike any in theworld. No place has ever evoked the glamour and romantic possibility of bigcity nightlife as vividly as did 42nd Street. It was the dazzle of "naughty, bawdy, gaudy" 42nd Street that put Times Square on the map and turned the Broadway theater district into the Great White Way. Ghosts of 42nd Street stirs your imagination as it takes you on a historical journey of this glamorized strip still known today as the Crossroads of the World. From the bold innovations of Oscar Hammerstein and Florenz Ziegfeld through the porn-laden 1960s and 1970s to the present-day "Disneyfication" of New York's bright lights district, Ghosts of 42nd Street is as fascinating as a tabloid frozen in time.
Bradford Ropes' scandalous original novel is back after decades out of print! Here's the original adult potboiler about the needy, seedy, slangy side of that grimy gulch called Broadway, once upon a time, a twisted comic valentine to musical comedy and to every one of the human vices. It's Valley of Dolls decades before Valley of the Dolls. If you only know the film or stage musical versions, you know only the last part of this wild, outrageous novel. Now you can get the rest of the story... In Ropes' original novel, Billy Lawlor is the half-closeted boy toy of British director Julian Marsh. Leading lady Dorothy Brock is still sneaking around behind her millionaire boyfriend's back with Pat Denning, but this time, Pat is also romancing Peggy Sawyer, while also having an affair with the wife of Marsh's dance director Andy Lee, who has a succession of chorine mistresses of his own. Everybody's drinking, drugging, and screwing so much it's amazing they can get Pretty Lady ready for opening night! You won't be able to put it down. Especially if you've ever done a musical. Also included in this volume is an essay by musical theatre historian Scott Miller exploring the novel, the film, and the stage musical.
This first book in an irresistible new series introduces librarian and reluctant sleuth Raymond Ambler, a doggedly curious fellow who uncovers murderous secrets hidden behind the majestic marble façade of New York City’s landmark 42nd Street Library. Murder at the 42nd Street Library follows Ambler and his partners in crime-solving as they track down a killer, shining a light on the dark deeds and secret relationships that are hidden deep inside the famous flagship building at the corner of 42nd Street and Fifth Avenue. In their search for the reasons behind the murder, Ambler and his crew uncover sinister, and profoundly disturbing, relationships among the scholars studying in the iconic library. Included among the players are a celebrated mystery writer who has donated his papers to the library’s crime fiction collection; that writer’s long-missing daughter, a prominent New York society woman with a hidden past, and more than one of Ambler’s colleagues at the library. Shocking revelations lead inexorably to the traumatic events that follow—the reading room will never be the same.
The eldest daughter of the Times Square “King of Porn,” Romola Hodas recounts her chaotic childhood amid the turmoil of publically growing up as the daughter of the man who almost single-handedly built New York City’s pornography and adult entertainment empire from the 1960s to the 1980s before his spectacular and public fall from grace. Behind the salacious headlines, Marty’s family paid a terrible price. In her shockingly honest, no-holds-barred memoir, Romola describes hanging out as a child in her father’s porn shops on 42nd Street and meeting the eclectic clientele who frequented the stores, making friends with the girls who performed live sex acts on stage, and spying on her parents’ sex orgies and crazy all-night swinger parties. Romola relates, in moving detail, how she cared for her three younger siblings when her brilliant, bipolar mother broke with reality, and how she survived verbal, physical, and emotional abuse; a year in reform school; her father’s three stints in prison; two kidnapping attempts by the mob (one while at summer fat camp); and how her baby brother, Jarrett, actually was briefly kidnapped by mobsters wanting to send Marty Hodas a clear, unambiguous message. For all its darkness, The Princess of 42nd Street is, at its heart, an uplifting and inspirational story of how one young woman overcame incredible odds to become a successful businesswoman who now devotes her life to helping others. Raw, unflinching, and devoid of self-pity, The Princess of 42nd Street is a one-of-a-kind story.
For years, it loomed as the universal symbol for forbidden sex, theatrical glamour, mob muscle, and political influence. Today, thanks to an astonishing metamorphosis, it has emerged as the new century's favorite American family fantasyland. Naughty, bawdy, and wondrously revealing, this is the life story of the planet's most extraordinary thoroughfare. Parading some of New York City's most unforgettable characters -- including Ed Koch, Donald Trump, Jackie Onassis, Gerald Schoenfeld, and Rudy Giuliani -- bestselling author Marc Eliot portrays as never before the battle between the brothels and the theaters for control of the world's crossroads, the Syndicate's exploitation of pornography to set up a massive Times Square drug operation, and the chance in-flight encounter between the media heiress and the studio boss that planted the seed for The Deuce's sweeping Disneyfication. DOWN 42nd STREET is at once colorful social history, spectacular boardroom drama, and grand and suspenseful narrative spectacle. Book jacket.
From New Yorker film critic Richard Brody, Everything Is Cinema: The Working Life of Jean-Luc Godard presents a "serious-minded and meticulously detailed . . . account of the lifelong artistic journey" of one of the most influential filmmakers of our age (The New York Times). When Jean-Luc Godard wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Unlike any earlier films, Godard's work shifts fluidly from fiction to documentary, from criticism to art. The man himself also projects shifting images—cultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as a—if not the—key influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable. In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godard's technical inventions as to the political forces of the postwar world, Brody traces an arc from the director's early critical writing, through his popular success with Breathless, to the grand vision of his later years. He vividly depicts Godard's wealthy conservative family, his fluid politics, and his tumultuous dealings with women and fellow New Wave filmmakers. Everything Is Cinema confirms Godard's greatness and shows decisively that his films have left their mark on screens everywhere.
At the dawn of the 1980s, there was one serious name in horror and exploitation film criticism: Bill Landis. While other magazines were concerned with behind-the-scenes information, tributes, and SFX tutorials, Landis' Sleazoid Express was one part film journal and one part anthropological study, seriously critiquing the grindhouse movies that played the theaters of 42nd Street while also documenting the dying subculture that had grown up around them. Profiled in Film Comment and Rolling Stone for his pioneering work, Landis' over-the-top "Mr. Sleazoid" persona and double-life as an adult film star masked the pain behind the excess: a child genius whose intellect alienated him from his peers; a sexual abuse survivor who numbed his trauma with drugs; a consummate outcast who only felt at home among other outcasts. After settling into life as a husband, father, and author in the 90s, it seemed that Landis had turned a corner-but the ghosts of Times Square were never far behind him. Dead at the age of 49 on the eve of what should have been a successful comeback, his legacy has nominally been forgotten, most of his work lost, and his memory relegated to a footnote in journalism history. Now, award-winning author and journalist Preston Fassel (Our Lady of the Inferno; Fangoria magazine; The Daily Grindhouse) pieces together the full story of his life for the first time, from his turbulent childhood, to his meteoric rise in the New York vice scene, to his tragic demise on the streets of Chicago. Featuring exclusive interviews with Kurt Loder (MTV; Rolling Stone), Michael J. Weldon (Psychotronic Video), Art Ettinger (Ultra Violent Magazine), Carl Abrahamsson, Mike McPadden (Heavy Metal Movies; Teen Movie Hell), and others, plus excerpts from Landis' unpublished autobiographical novella Last Exit in Manattan and a reprint of Landis' seminal Fangoria interview with Andy Milligan, Landis at last pulls back the curtain on one of genre writing's most influential-yet unknown-figures. In that lost, damned, golden age called the 80s, there was a movie star named Bobby Spector and a writer named Mr. Sleazoid. Most importantly, there was a man named Bill Landis. This is his story.
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A spoof of 1930s movie musicals.
The third book in an amazing series that features crime à la library at America's most famous institution of higher reading. A note from bartender Brian McNulty, Raymond Ambler’s friend, confidant, and sometimes adviser, sets the librarian sleuth off on a murder investigation, one that he pursues reluctantly until a second murder upends the world as he knows it. The second victim is a lady friend of McNulty’s—and the prime suspect is McNulty himself. As Ambler pursues his investigation, he discovers that the murdered woman had a double life. Her intermittent visits to the city—a whirlwind of reckless drinking and illicit liaisons with men she met in the cocktail lounges—had their counterpart in suburban Fairfield County Connecticut where, as Dr. Sandra Dean, she practiced dermatology and lived in a gated community with a doting husband and a young daughter. While Ambler looks into the past of Dr. Sandra Dean to understand the murder of Shannon Darling in the present, NYPD homicide detective Mike Cosgrove investigates the men in Shannon Darling’s life. She might have been murdered because she frustrated the wrong man. It could have been a jealous wife. In fact, any number of people might have murdered Shannon Darling. Or, as Ambler suspects, did someone murder Dr. Sandra Dean? Yet, no matter which way he turns, McNulty emerges as a suspect. Ambler’s dilemma seems insurmountable: Should he keep searching for the truth behind the murders if the deeper he probes, the more evidence he finds that points to the morally rumpled bartender as a murderer?