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Jennie Paul is the only daughter of Baseball Hall of Fame nominee, and former New York Yankees owner and President, Gabe Paul. An experienced sports reporter in her own right, Jennie is a keen observer whose unique view, combined with never-before seen excerpts from her father's diaries, gives a new perspective on the tumultuous world of 1970s Yankees baseball. Her struggle to find her place in that world - and in her father's life - played out on the field known as "The Bronx Zoo."The Yankee Princess is for every father who wants to be closer to his daughter, and for every daughter who lovingly tries to understand her father.
Li'l Bud is an easy and interesting read. Those readers who like fiction should be satisfied with Reynolds' new novel. -Blake A. Magner -The Civil War News, April 2005 Ruth Danson, a feisty seventeen-year-old Pennsylvania farm-girl abandons her family in the spring of 1863 to be with the man she loves, nineteen-year-old William Jay Lytell, a private with John Mosby's 43rd Battalion of Virginia Cavalry-the famed Mosby's Rangers. Through the lush panoramic beauty of Virginia's Shenandoah Valley and across the vast expanse of war-ravaged Virginia, Li'l Bud thunders across the pages in a maelstrom of cannon smoke and musket fire. Robert E. Lee and U.S. Grant; Phil Sheridan and George Custer; A.P. Hill and Winfield Scott Hancock are seen through the eyes of Li'l Bud and Jay as they fight and love through the killing years of the Civil War. It is the heartbreaking story of sister against brother as Ruth rides against her brother David of the 116th Pennsylvania Infantry. In raids and skirmishes Li'l Bud encounters hometown friends in the Ringgold and 22nd Pennsylvania Cavalry blurring the lines between North and South. Amidst the flames and anguished cries as the Shenandoah Valley burns from Union torches, Li'l Bud, with a pair of Colt .44s and her faithful chestnut filly, Princess, will let nothing stand in the way of love in the arms of William Jay.
During the Twenties, the Great White Way roared with nearly 300 book musicals. Luminaries who wrote for Broadway during this decade included Irving Berlin, George M. Cohan, Rudolf Friml, George Gershwin, Oscar Hammerstein II, Lorenz Hart, Jerome Kern, Cole Porter, Richard Rodgers, Sigmund Romberg, and Vincent Youmans, and the era’s stars included Eddie Cantor, Al Jolson, Ruby Keeler, and Marilyn Miller. Light-hearted Cinderella musicals dominated these years with such hits as Kern’s long-running Sally, along with romantic operettas that dealt with princes and princesses in disguise. Plots about bootleggers and Prohibition abounded, but there were also serious musicals, including Kern and Hammerstein’s masterpiece Show Boat. In The Complete Book of 1920s Broadway Musicals, Dan Dietz examines in detail every book musical that opened on Broadway during the years 1920-1929. The book discusses the era’s major successes as well as its forgotten failures. The hits include A Connecticut Yankee; Hit the Deck!; No, No, Nanette; Rose-Marie; Show Boat; The Student Prince; The Vagabond King; and Whoopee, as well as ambitious failures, including Deep River; Rainbow; and Rodgers’ daring Chee-Chee. Each entry contains the following information: Plot summary Cast members Names of creative personnel, including book writers, lyricists, composers, directors, choreographers, producers, and musical directors Opening and closing dates Number of performances Plot summary Critical commentary Musical numbers and names of the performers who introduced the songs Production data, including information about tryouts Source material Details about London productions Besides separate entries for each production, the book offers numerous appendixes, including ones which cover other shows produced during the decade (revues, plays with music, miscellaneous musical presentations, and a selected list of pre-Broadway closings). Other appendixes include a discography, filmography, a list of published scripts, and a list of black-themed musicals. This book contains a wealth of information and provides a comprehensive view of each show. The Complete Book of 1920s Broadway Musicals will be of use to scholars, historians, and casual fans of one of the greatest decades in the history of musical theatre.
From the late 1950s to the 1980s, baseball’s American League mismanaged integration and expansion, allowing the National League to forge ahead in attendance and prestige. While both leagues had executive structures that presented few barriers to individual team owners acting purely in their own interests, it was the American League that succumbed to infighting—which ultimately led to its disappearance into what we now call Major League Baseball. Stumbling around the Bases is the story of how the American League fell into such a disastrous state, struggling for decades to escape its nadir and, when it finally righted itself, losing its independence. The American League’s trip to the bottom involved bad decisions by both individual teams and their owners. The key elements were a glacial approach to integration, the choice of underfinanced or disruptive new owners, and a consistent inability to choose the better markets among cities that were available for expansion. The American League wound up with less-attractive teams in the smaller markets compared to the National League—and thus fewer consumers of tickets, parking, beer, hot dogs, scorecards, and replica jerseys. The errors of the American League owners were rooted in missed cultural and demographic shifts and exacerbated by reactive decisions that hurt as much as helped their interests. Though the owners were men who were notably successful in their non-baseball business ventures, success in insurance, pizza, food processing, and real estate development, didn’t necessarily translate into running a flourishing baseball league. In the end the National League was simply better at recognizing its collective interests, screening its owners, and recognizing the markets that had long-term potential.
Many Broadway stars appeared in Hollywood cinema from its earliest days. Some were 19th century stage idols who reprised famous roles on film as early as 1894. One was born as early as 1829. Another was cast in the performance during which Abraham Lincoln was assassinated. One took her stage name from her native state. Some modern-day stars also began their careers on Broadway before appearing in films. This book details the careers of 300 performers who went from stage to screen in all genres of film. A few made only a single movie, others hundreds. Each entry includes highlights of the performer's career, a list of stage appearances and a filmography.