Show Town

Like many western boomtowns at the turn of the twentieth century, Spokane, Washington, enjoyed a lively theatrical scene, ranging from plays, concerts, and operas to salacious variety and vaudeville shows. Yet even as Spokanites took pride in their city’s reputation as a “good show town,” the more genteel among them worried about its “Wild West” atmosphere. In Show Town, historian Holly George correlates the clash of tastes and sensibilities among Spokane’s theater patrons with a larger shift in values occurring throughout the Inland West—and the nation—during a period of rapid social change. George begins this multifaceted story in 1890, when two Spokane developers built the lavish Auditorium Theater as a kind of advertisement for the young city. The new venue catered to a class of people made wealthy by speculation, railroads, and mining. Yet the refined entertainment the Auditorium offered conflicted with the rollicking shows that played in the town’s variety theaters, designed to draw in the migratory workers—primarily single men—who provided labor for the same industries that made the fortunes of Spokane’s elite. As well-to-do Spokanites attempted to clamp down on the variety theaters, performances at even the city’s more respectable, “legitimate” playhouses began to reflect a movement away from Victorian sensibilities to a more modern desire for self-fulfillment—particularly among women. Theaters joined the debate over modern femininity by presenting plays on issues ranging from woman’s suffrage to shifting marital expectations. At the same time, national theater monopolies transmitted to the people of Spokane new styles and tastes that mirrored larger cultural trends. Lucidly written and meticulously researched, Show Town is a groundbreaking work of cultural history. By examining one city’s theatrical scene in all its complex dimensions, this book expands our understanding of the forces that shaped the urban American West.

Where was Mark Twain born? What city has claim to a president who was only president for a day? Who has the best paddling trips in the Ozarks? What about the World's Largest Gift Store? Find these answers and more in Show Me Small-Town Missouri. Award-winning author Jake McCandless, a lover of small towns and adventures, traveled the state in search of amazing local experiences to share this treasure trove of what you can find in often-overlooked towns across Missouri. Featured are 90 sparkling gems found in all four of the state's geographical regions—the Northern Prairie, the Southwest Osage Plain, the Ozarks, and the Bootheel Lowlands. The must-see attractions, activities, restaurants, sweet shops, specialty shops, and unique vacation spots are showcased in full-color images with an easy-to-follow index to help you plan your trip. From galleries to hiking trails, candy factories to wineries, lakeside attractions to the best fireworks displays, Show Me Small-Town Missouri has everything you need to know for a day, weekend, or week full of fun.

"Working On A Song is one of the best books about lyric writing for the theater I've read."—Lin-Manuel Miranda Anaïs Mitchell named to TIME's List of the 100 Most Influential People in the World of 2020 An illuminating book of lyrics and stories from Hadestown—the winner of eight Tony Awards, including Best Musical—from its author, songwriter Anaïs Mitchell with a foreword by Steve Earle On Broadway, this fresh take on the Greek myth of Orpheus and Eurydice has become a modern classic. Heralded as “The best new musical of the season,” by The Wall Street Journal, and “Sumptuous. Gorgeous. As good as it gets,” by The New York Times, the show was a breakout hit, with its poignant social commentary, and spellbinding music and lyrics. In this book, Anaïs Mitchell takes readers inside her more than decade’s-long process of building the musical from the ground up—detailing her inspiration, breaking down the lyrics, and opening up the process of creation that gave birth to Hadestown. Fans and newcomers alike will love this deeply thoughtful, revealing look at how the songs from “the underground” evolved, and became the songs we sing again and again.

The motion picture industry in its earliest days seemed as ephemeral as the flickering images it produced. Considered an amusement fad even by their exhibitors, movies nevertheless spread quickly from big-city vaudeville houses to towns and rural communities across the nation. Small-town audiences, looking for more than the lurid melodramas and slapstick comedies popular in cities, often lined up to see films with conservative and educational themes: scenic panoramas, biblical tableaux, newsreels, and manufacturing scenes. In this social history of the cinema during the silent-film era, Kathryn H. Fuller charts the gradual homogenization of a diverse American movie audience as itinerant shows gave way first to nickelodeon theaters and then to more luxurious picture palaces. Fuller suggests that fan magazines helped to reduce the distinctions between rural and urban moviegoers and created a nationwide popular culture of film consumption. Analyzing the articles, advertisements, and letters in such publications as Motion Picture Story Magazine and Photoplay, Fuller shows that these fan magazines—which initially catered to adult readers—shifted their focus by the late 1910s to young women who, entranced by Hollywood glamour, eagerly bought products endorsed by the stars. Although the transformation of the movies into big-time entertainment had multiple sources, Fuller argues that ultimately the maturation of the film industry depended on the support of both urban and rural middle-class audiences. Providing the fullest portrait to date of the small-town audience's changing habits and desires, At the Picture Show demonstrates for the first time how a fan culture emerged in the United States, and enriches our understanding of mass media's relationship to early twentieth-century American society.

It is New Year's Eve, 1952 in Los Angeles. Private Investigator, Aloysius Archer, is dining with his friend and rising Hollywood star, Liberty Callahan, when they're approached by Eleanor Lamb, a famous screenwriter, who would like to hire him as she suspects someone is trying to kill her. A visit to Lamb's Malibu residence leaves Archer in no doubt of foul play when he's knocked unconscious entering the property, there's a dead body in the hallway and Eleanor seeming to have vanished. With the police now involved in the case, a close friend and colleague of Lamb's employs Archer to find out what's happened to Eleanor. Archer's investigation will take him from the rich and dangerous LA to the seedy and even more dangerous side of the city where cops and crooks work hand in hand. He'll cross paths with Hollywood stars, politicians and notorious criminals. He'll almost die several times, and he'll discover bodies from the Canyon to the Malibu beaches. And, with the help of Liberty and the infamous Willie Dash, he'll leave no stone unturned in trying to find out who Eleanor Lamb really was. Because 1953 Hollywood is a place where you have to survive regardless of who has to be sacrificed to get there.