Every baby boomer in America knows who that masked man was. He was mysterious and mythic at the same time, the epitome of the American hero: compassionate, honest, patriotic, inventive, an unswerving champion of justice and fair play.

Every baby boomer in America knows who that masked man was. He was mysterious and mythic at the same time, the epitome of the American hero: compassionate, honest, patriotic, inventive, an unswerving champion of justice and fair play.

A fast-paced, madcap adventure from the always surprising raconteur, Avi! It's the spring of 1945 in Brooklyn, and while WWII rages in Europe, sixth grader Frankie Wattleson--inspired by the heroics of The Lone Ranger and other radio show idols--sets out to right the wrongs of the world. Frankie is so caught up in his superhero stories that he becomes convinced the tenant renting his brother's room is a mad scientist. Can Frankie and his trusty sidekick, Mario, save the world from an evil genius? Or will Frankie's mother pull the plug on their schemes before they can save the day?

During the reign of Louis XIV, a mysterious man was kept prisoner in Bastille. Who was he? The mysteries of 18th century France are explored in Paul Doherty's masterful novel, The Masked Man. Perfect for fans of C.J. Sansom and Susanna Gregory. Ralph Croft, an English rogue, is plucked from the dungeon of the Bastille to head an investigation to find the real identity of the infamous 'Masked Man'. But before he can discover the truth, he must face brutal imprisonment, threats and countless dangers... Will he live to complete the task? What readers are saying about Paul Doherty: 'Paul Doherty's books are a joy to read' 'The sounds and smells of the period seem to waft from the pages of [Paul Doherty's] books' 'Mr. Doherty's research is only topped by his imagination'

The fifties marks the moment when a heterosexual/homosexual dualism came to dominate U.S. culture's thinking about masculinity. The films of this era record how gender and sexuality did not easily come together in a normative manhood common to American men. Instead these films demonstrate the widely held perception of a crises of masculinity. Masked Men documents how movies of the fifties represented masculinity as a multiple masquerade. Hollywood's star system positioned the male actor as a professional performer and as a body intended to solicit the erotic interest of male and female viewers alike. Drawing on publicity, poster art, fan magazines, and the popular press as a means of following the links between fifties stars, their films, and the social tensions of the period, Cohan juxtaposes Hollywood's narratives of masculinity against the personae of leading men like Cary Grant, Humphrey Bogart, John Wayne, Charlton Heston, Yul Brynner, William Holden, Montgomery Clift, Marlon Brando, and Rock Hudson. Masked Men focuses on the gender and sexual masquerades that organized their performances of masculinity on and off screen.

A MAN SHE'D NEVER SEEN… His face was concealed by a mask…yet piercing blue eyesinexorably drew Jill Lawson into his arms. What came over her, she'dnever know—but a case of mistaken identity landed her in more thana little hot water, because now she was being framed for murder. Notto mention she'd made mad, passionate love with a stranger! A KISS SHE'D NEVER FORGET!Trying to establish her innocence proved a lot harder than Jillimagined, especially when she was so distracted by the memory of themystery man's kisses—kisses that were suspiciously similar toinvestigator Mac Cooper's. But was Mac set up, just as Jill was? In arace against time and a cunning adversary, could Mac and Jill unmaskthe real killer before it was too late…?

Tweety Bird was colored yellow because censors felt the original pink made the bird look nude. Betty Boop's dress was lengthened so that her garter didn't show. And in recent years, a segment of Mighty Mouse was dropped after protest groups claimed the mouse was actually sniffing cocaine, not flower petals. These changes and many others like them have been demanded by official censors or organized groups before the cartoons could be shown in theaters or on television. How the slightly risque gags in some silent cartoons were replaced by rigid standards in the sound film era is the first misadventure covered in this history of censorship in the animation industry. The perpetuation of racial stereotypes in many early cartoons is examined, as are the studios' efforts to stop producing such animation. This is followed by a look at many of the uncensored cartoons, such as Lenny Bruce's Thank You Mask Man and Ralph Bakshi's Fritz the Cat. The censorship of television cartoons is next covered, from the changes made in theatrical releases shown on television to the different standards that apply to small screen animation. The final chapter discusses the many animators who were blacklisted from the industry in the 1950s for alleged sympathies to the Communist Party.