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Publisher: Witte de With
This digital publication (with a limited print edition of 100) accompanies the exhibition The End of Money (22 May 7 August 2011).
This painfully funny slice of Cuban-American life in the suburbs is a cross between a Hispanic soap opera and an ethnic comedy with political overtones. This deft play can turn serious or silly in an instant and you’ll need a scorecard to keep track of the cascading and frequently arboreous calamities.An L.A. Theatre Works full-cast performance featuring Mehnlehseh Boayue, Noe Cuellar, Marilyn Dodds Frank, Sabrina duKavan, Gustavo Mellado, Maricela Ochoa, John C. Seda and Edward F. Torres.Show book
Happy Holidays to you and yours with these instrumental arrangements of holiday favorites.Show book
“Looks behind the facade to see the hidden engineering marvels . . . will deepen anyone’s appreciation for New York’s most magnificent interior space.” —The New York Times Book Review Winner of the Professional/Scholarly Publishing Award in Architecture from the Association of American Publishers Grand Central Terminal, one of New York City’s preeminent buildings, stands as a magnificent Beaux-Arts monument to America’s Railway Age, and it remains a vital part of city life today. Completed in 1913 after ten years of construction, the terminal became the city’s most important transportation hub, linking long-distance and commuter trains to New York’s network of subways, elevated trains, and streetcars. Its soaring Grand Concourse still offers passengers a majestic gateway to the wonders beyond 42nd Street. In Grand Central Terminal, Kurt C. Schlichting traces the history of this spectacular building, detailing the colorful personalities, bitter conflicts, and Herculean feats of engineering that lie behind its construction. Schlichting begins with Cornelius Vanderbilt—“The Commodore”—whose railroad empire demanded an appropriately palatial passenger terminal in the heart of New York City. Completed in 1871, the first Grand Central was the largest rail facility in the world and yet—cramped and overburdened—soon proved thoroughly inadequate for the needs of this rapidly expanding city. William Wilgus, chief engineer of the New York Central Railroad, conceived of a new Grand Central Terminal, one that would fully meet the needs of the New York Central line. Grand Central became a monument to the creativity and daring of a remarkable age. More than a history of a train station, this book is the story of a city and an age as reflected in a building aptly described as a secular cathedral.Show book
“Like his James Bond movies . . . Moore’s autobiography . . . [has] a lead character who doesn’t take himself too seriously . . . full of humor.” —New York Post One of the most recognizable big-screen stars of the twentieth century, Sir Roger Moore played the role of James Bond longer than any other actor. Beginning with the classic Live and Let Die, running through Moonraker and A View to a Kill, Moore brought his finely honed wit and wry charm to one of Hollywood’s most beloved and long-lasting characters. Still, James Bond was only one in a lifetime of roles stretching back to Hollywood’s studio era, and encompassing stardom in theater and television on both sides of the Atlantic. From The Saint to Maverick, Warner Brothers to MGM, Hollywood to London to locations the world over, Roger Moore’s story is one of the last of the classic Hollywood lives as yet untold. Until now. From the dying days of the studio system and the birth of television, to the quips of Noël Coward and David Niven, to the bedroom scenes and outtakes from the Bond movies, Moore has seen and heard it all. Nothing is left out—especially the naughty bits. The “special effects” by which James Bond unzipped a dress with a magnet; the spectacular risks in The Spy Who Loved Me’s opening scene—the stories in My Word is My Bond are priceless. Moore hobnobbed with the glamorous and powerful, counting Elizabeth Taylor, Jane Seymour, and Cary Grant among his contemporaries and friends. As much as it is Moore’s own exceptional story, My Word is My Bond is a treasure trove of Hollywood history. “Charming.” —Kirkus ReviewsShow book
The Pentatonics Play At The Musical ParkGet ready to meet the Pentatonics! Little do these fun-lovingveggies and fruits know that they are about to discover theirmusical twins, and that they are in fact part of an even biggermusical family. Announcing themselves as the Chromatic Club, this colourful collection of musical characters opens an exciting door into the world of music.Show book
The author of New Orleans Jazz Fest documents the thriving cultural richness of the Black Big Easy and captures the expressions of urban folk culture. Many Black neighborhoods in New Orleans are perceived by outsiders as being areas of decay. However, to photographer Michael P. Smith, in these neighborhoods remained the preserves of a rich cultural heritage. Smith, who photographed the subject for more than twenty years, saw the city’s African-American culture as “cultural wetlands” that engender much of the traditional music and folk life that have made New Orleans famous. Smith, who was allowed to witness some of the most private religious ceremonies of the Spiritual Churches, captured the unbridled emotion of ceremony participants. Dramatic black and white stills show baptisms, possession trances, social-club marches, communion services, and street life. Midway through the book, an explosion of color serves as a transition from religious photographs to ones that are more secular and gives readers a spectacular glimpse at Mardi Gras Indians, a religious ordination, and a jazz funeral. Spirit World originally appeared in 1983 as a popular traveling exhibit, which won a Certificate of Commendation from the American Association for State and Local History. Overwhelming positive reaction to the exhibit led the author to publish this catalogue of images and accompanying journal. Photographs from this book and two of Smith’s other books, A Joyful Noise: A Celebration of New Orleans Music and New Orleans Jazz Fest: A Pictorial History, have appeared in an exhibit at the National Museum of American History in Washington, DC. The one-man exhibit used images and field recordings to give a true sense of the featured culture.Show book
