Showplace Of America

In cooperation with Western Reserve Historical Society Euclid Avenue, which runs through the heart of downtown Cleveland, was for 60 years one of the finest residential streets of any city in 19th century America. Showplace of America is the fascinating account of the rise and fall of this elegant promenade, including portrayals of the eminent architects who created its opulent residences and colorful details about the lives of the wealthy people who occupied them. The families who resided within this linear, four-mile neighborhood epitomized Midwestern grandeur in the second half of the 19th century. The 1893 Baedeker's travel guide to the United States labeled it "one of the most beautiful residence-streets in America," as others hailed it "Millionaires' Row," the finest avenue in the west, and the most beautiful street in the world." Modeled after the grand boulevards of Europe, this magnificent neighborhood was distinguished for the prominence of its architects as well as the families who lived there. Local architects Jonathan Goldsmith, Charles W. Heard, Levi T. Scofield, Charles F. Schweinfurth, and Coburn & Barnum and national firms Peabody & Stearns and McKim, Mead & White created houses that were stunning monuments to Cleveland and America's growing prosperity. Ironically, the tremendous success of Cleveland's industry and commerce, which had nurtured the rise of this grand avenue, fostered its fall. Downtown commerce expanded along the avenue at the sacrifice of its leading entrepreneurs' residential have. The houses were demolished as the avenue became what is today--a neglected urban thoroughfare. Photographs and illustrations from the archives of the Western Reserve Historical Society and other repositories are published here for the first time, documenting both the glory and decline of the "showplace of America."

The Cleveland Play House has mirrored the achievements and struggles of both the city of Cleveland and the American theatre over the past one hundred years. This book challenges the established history (often put forward by the theatre itself) and long-held assumptions concerning the creation of the institution and its legacy.

In 1950 Las Vegas saw a million tourists. In 1960 it attracted ten million. The city entered the fifties as a regional destination where prosperous postwar Americans could enjoy vices largely forbidden elsewhere, and it emerged in the sixties as a national hotspot, the glitzy resort city that lights up the American West today. Becoming America’s Playground chronicles the vice and the toil that gave Las Vegas its worldwide reputation in those transformative years. Las Vegas’s rise was no happy accident. After World War II, vacationing Americans traveled the country in record numbers, making tourism a top industry in such states as California and Florida. The Las Vegas Chamber of Commerce saw its chance and developed a plan to capitalize on the town’s burgeoning reputation for leisure. Las Vegas pinned its hopes for the future on Americans’ need for escape. Transforming a vice city financed largely by the mob into a family vacation spot was not easy. Hotel and casino publicists closely monitored media representations of the city and took every opportunity to stage images of good, clean fun for the public—posing even the atomic bomb tests conducted just miles away as an attraction. The racism and sexism common in the rest of the nation in the era prevailed in Las Vegas too. The wild success of Frank Sinatra’s Rat Pack performances at the Sands Hotel in 1960 demonstrated the city’s slow progress toward equality. Women couldn’t work as dealers in Las Vegas until the 1970s, yet they found more opportunities for well-paying jobs there than many American women could find elsewhere. Gragg shows how a place like the Las Vegas Strip—with its glitz and vast wealth and its wildly public consumption of vice—rose to prominence in the 1950s, a decade of Cold War anxiety and civil rights conflict. Becoming America’s Playground brings this pivotal decade in Las Vegas into sharp focus for the first time.

The American Progressive Era, which spanned from the 1880s to the 1920s, is generally regarded as a dynamic period of political reform and social activism. In Performing the Progressive Era, editors Max Shulman and Chris Westgate bring together top scholars in nineteenth- and twentieth-century theatre studies to examine the burst of diverse performance venues and styles of the time, revealing how they shaped national narratives surrounding immigration and urban life. Contributors analyze performances in urban centers (New York, Chicago, Cleveland) in comedy shows, melodramas, Broadway shows, operas, and others. They pay special attention to performances by and for those outside mainstream society: immigrants, the working-class, and bohemians, to name a few. Showcasing both lesser-known and famous productions, the essayists argue that the explosion of performance helped bring the Progressive Era into being, and defined its legacy in terms of gender, ethnicity, immigration, and even medical ethics.

"In the 1920s, a few Cleveland women perceived a need for reliable birth control. They believed that health and social service professionals denied women, especially poor and working-class women, critical health care information. Any Friend of the Movement tells the story of these women, their actions, and the organization they created - the direct forerunner of a modern Planned Parenthood affiliate. The disparate threads of this particular tale include the suicide of a pregnant woman, the gift of a bereaved inventor, smuggling contraceptive supplies across state lines, and sponsoring ice skating galas to fund the work." "Any Friend of the Movement breaks new ground in the history of birth control activism in North America. Meyer argues that private philanthropy and voluntary action on the part of clinics like the Maternal Health Association (MHA) and their clients vitalized the larger movement at its roots and pushed it forward."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Empire Builders tells the story of Oris P. and Mantis J. Sweringen, two brothers from Wooster, Ohio, in the late nineteenth and early twentieth centuries. Although they were born into abject poverty, Oris was an extraordinary visionary who, with the help of his devoted younger brother, amassed a vast fortune in real estate and railroad developments. Their major breakthrough came in 1913 with the establishment of Shaker Heights, an affluent garden suburb connected by a brand-new interurban railroad to the booming midwestern metropolis of Cleveland. The Van Sweringens' ascension after Shaker Heights was meteoric, and it culminated with the construction of the 52-story Terminal Tower in downtown Cleveland in 1927. However, the country's economy came crashing down after the 1929 stock market collapse, and their empire crumbled around them. Empire Builders is the first new biography of the Van Sweringen brothers in more than twenty years. In it, architectural photographer and local history author Lauren R. Pacini tells the remarkable story of the Van Sweringen brothers through words and images. This richly illustrated volume features more than 150 new photographs of the still-fabulous historic homes the brothers built throughout greater Cleveland. The foreword is written by John J. Grabowski.

Traces the history of the Hudson River School of American painters, shows works by Church, Cole, and Inness, and describes the background of each painting.

Drawing on historical documents and newspaper reports, this book provides a fascinating portrait of a diverse group of character actresses who left their stamp on Hollywood from the early sound era through the 1960s. The lives of 35 actresses are explored in detail. Some are familiar: Margaret Hamilton starred in dozens of films before and after her signature role as the Wicked Witch in The Wizard of Oz; Una Merkel nearly died when her mother committed suicide in 1945. Others are nearly forgotten: Maude Eburne owed her career to a spectacular fall on the Broadway stage in 1914; Greta Meyer, who played the quintessential German maid, came to Hollywood after years in New York’s Yiddish theater—though she wasn’t Jewish.