Racing The Great White Way

The early drama of Eugene O’Neill, with its emphasis on racial themes and conflicts, opened up extraordinary opportunities for Black performers to challenge racist structures in modern theater and cinema. By adapting O’Neill’s dramatic writing—changing scripts to omit offensive epithets, inserting African American music and dance, or including citations of Black internationalism--theater artists of color have used O’Neill’s texts to raze barriers in American and transatlantic theater. Challenging the widely accepted idea that Broadway was the white-hot creative engine of U.S. theater during the early 20th century, author Katie N. Johnson reveals a far more complex system of exchanges between the Broadway establishment and a vibrant Black theater scene in New York and beyond to chart a new history of American and transnational theater. In spite of their dichotomous (and at times problematic) representation of Blackness, O’Neill’s plays such as The Emperor Jones and All God’s Chillun Got Wings make ideal case studies because of the way these works stimulated traffic between Broadway and Harlem—and between white and Black America. These investigations of O’Neill and Broadway productions are enriched by the vibrant transnational exchange found in early to mid-20th century artistic production. Anchored in archival research, Racing the Great White Way recovers not only vital lost performance histories, but also the layered contexts for performing bodies across the Black Atlantic and the Circum-Atlantic.

"The great white way" by Albert Bigelow Paine. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

Named a Choice Outstanding Academic Title of the Year 2018 The Theatre of Eugene O'Neill offers a new comprehensive overview of O'Neill's career and plays in the context of the American theatre. Organised thematically, it considers his modernist intervention in the theatre, offers readers detailed analysis of the plays, and assesses the recent resurgence in his reputation and new approaches to staging his work. It includes a study of all his major plays-The Emperor Jones, The Hairy Ape, The Iceman Cometh, Long Day's Journey Into Night, A Moon for the Misbegotten and Desire Under the Elms-besides numerous other full length and one act dramas. Eugene O'Neill is generally credited with inventing modern American drama, in a time of cultural ferment and lively artistic and intellectual change. Yet O'Neill's theatrical instincts were always shaped by American stage traditions that were inextricable from his sense of himself and his own national culture. This study shows that his theatrical modernism represents not so much a break from these traditions as a reinvention of their scope and significance in the context of international stage modernism, offering an image of national culture and character that opens new possibilities for the stage while remaining rooted in its past. Kurt Eisen traces O'Neill's modernism throughout the dramatists's work: his attempts to break from the themes, plots, and moral conventions of the traditional melodramatic theatre; his experiments in stagecraft and theme, and their connection to traditional theatre and his European modernist contemporaries; the turn toward direct and indirect self-representation; and his critique of the family and of American 'pipe dreams' and the allure of success. The volume additionally features four contributed essays providing further critical perspectives on O'Neill's work, alongside a chronology of the writer's life and times.

On October 20, 1923, at Belmont Park in New York, Kentucky Derby champion Zev toed the starting line alongside Epsom Derby winner Papyrus, the top colt from England, to compete for a $100,000 purse. Years of Progressive reform efforts had nearly eliminated horse racing in the United States only a decade earlier. But for weeks leading up to the match race that would be officially dubbed the "International," unprecedented levels of newspaper coverage helped accelerate American horse racing's return from the brink of extinction. In this book, James C. Nicholson explores the convergent professional lives of the major players involved in the Horse Race of the Century, including Zev's oil-tycoon owner Harry Sinclair, and exposes the central role of politics, money, and ballyhoo in the Jazz Age resurgence of the sport of kings. Zev was an apt national mascot in an era marked by a humming industrial economy, great coziness between government and business interests, and reliance on national mythology as a bulwark against what seemed to be rapid social, cultural, and economic changes. Reflecting some of the contradiction and incongruity of the Roaring Twenties, Americans rallied around the horse that was, in the words of his owner, "racing for America," even as that owner was reported to have been engaged in a scheme to defraud the United States of millions of barrels of publicly owned oil. Racing for America provides a parabolic account of a nation struggling to reconcile its traditional values with the complexity of a new era in which the US had become a global superpower trending toward oligarchy, and the world's greatest consumer of commercialized spectacle.

Horse racing was so popular and influential between 1930 and 1960 that nearly 150 racing themed films were released, including A Day at the Races, Thoroughbreds Don't Cry, and National Velvet. This fast-paced, gossipy history explores the relationship between the Hollywood film industry, the horse racing industry, and the extraordinary participation of producers, directors, and actors in the Sport of Kings. Alan Shuback details how all three of Southern California's major racetracks were founded by Hollywood luminaries: Hal Roach was cofounder of Santa Anita Park, Bing Crosby founded Del Mar with help from Pat O'Brien, and Jack and Harry Warner founded Hollywood Park with help from dozens of people in the film community. The races also provided a social and sporting outlet for the film community -- studios encouraged film stars to spend a day at the races, especially when a new film was being released. The stars' presence at the track generated a bevy of attention from eager photographers and movie columnists, as well as free publicity for their new films. Moreover, Louis B. Mayer, Bing Crosby, Fred Astaire, Betty Grable, and Don Ameche were all major Thoroughbred owners, while Mickey Rooney, Chico Marx, and John Huston were notorious for their unsuccessful forays to the betting windows.

For fans of Margot Lee Shetterley and Liza Mundy comes an inspiring feminist tale of a woman who dedicated her entire life to the New York Police Department, upending the patriarchy and the status quo for women working in public service. Corsets, Crime, and the Woman to Change Modern Policing Forever Mary "Mae" Foley was a force to be reckoned with. On one hip she held her makeup compact, on the other, her NYPD badge. When women were fighting for the vote, Mae was fighting crime in the heart of New York City – taking down rapists, boot-leggers, Nazis, and serial killers. One of the first women to be sworn into the police force, Mae not only fought crime in the city that never sleeps, but also did something much bigger – challenged the patriarchal systems that continually tried to shut her and other women down. The result of her efforts? A long career that helped over 2,000 women join her auxiliary police force, the 'Masher Squad.' Mae Foley is proof that women can do anything men can do, all while wearing corsets and the perfect shade of rouge. From renowned author, speaker, and retired U.S. Army Major General Mari K. Eder comes the exciting and superbly researched story of a trailblazer who courageously dedicated her life to public service.

"The Sorrows of a Show Girl: A Story of the Great "White Way"" by Kenneth McGaffey takes readers to the glitz and glamor of Broadway in the early 20th century. Following Sabrina, as she attempts to ride the wave of being a showgirl to stardom, the book showcases just how difficult and tricky a life in show business was. Money-struggles, learning to stand up for oneself, and looking out for fellow performers are all experiences that Sabrina has to tackle.

This book is a study of signs in American literature and culture. It is mainly about electric signs, but also deals with non-electric signs and related phenomena, such as movie sets. The 'sign' is considered in both the architectural and semiotic senses of the word. It is argued that the drama and spectacle of the electric sign called attention to the semiotic implications of the 'sign.' In fiction, poetry, and commentary, the electric SIGN became a 'sign' of manifold meanings that this book explores: a sign of the city, a sign of America, a sign of the twentieth century, a sign of modernism, a sign of postmodernism, a sign of noir, a sign of naturalism, a sign of the beats, a sign of signs systems (the Bible to Broadway), a sign of tropes (the Great White way to the neon jungle), a sign of the writers themselves, a sign of the sign itself. If Moby Dick is the great American novel, then it is also the great American novel about signs, as the prologue maintains. The chapters that follow demonstrate that the sign is indeed a 'sign' of American literature. After the electric sign was invented, it influenced Stephen Crane to become a nightlight impressionist and Theodore Dreiser to make the 'fire sign' his metaphor for the city. An actual Broadway sign might have inspired F. Scott Fitzgerald's The Great Gatsby. In Manhattan Transfer and U.S.A., John Dos Passos portrayed America as just a spectacular sign. William Faulkner's electric signs are full of sound and fury signifying modernity. The Last Tycoon was a sign of Fitzgerald's decline. The signs of noir can be traced to Poe's 'The Man of the Crowd.' Absence flickers in the neons of Raymond Chandler's Los Angeles. The death of God haunts the neon wilderness of Nelson Algren. Hitler's 'empire' was an non-intentional parody of Nathanael West's California. The beats reinvented Times Square in their own image. Jack Kerouac's search for the center of Saturday night was a quest for transcendence. This book will interest readers who want to learn more about the city, the history of advertising, electric lighting, nightlife, architecture, and semiotics. In contrast to other cultural studies, however, Signs of the Signs is primarily a work of literary criticism. Lovers of literary light will appreciate this book the most.