Before they became household names, many would-be Hollywood stars began their careers as small-time actors in regional theatres and playhouses. Few of them earned much recognition based on their time in the footlights, but often the stage provided these Hollywood hopefuls with their first break in show business. Drawing on material from the J. Willis Sayre Collection, a nearly unbroken accumulation of theatrical programs from 1865 to 1955, this book chronicles the Seattle stage engagements of more than 30 silent film personalities. Such Hollywood giants as Douglas Fairbanks, Charlie Chaplin, Cecil B. DeMille, D.W. Griffith, and Buster Keaton, to name just a few, can trace their early careers through the Emerald City.

The purpose of this edited volume is to explore the contributions of women to European, Mexican, American and Indian film industries during the years 1900 to 1950, an important period that signified the rise and consolidation of media technologies. Their pioneering work as film stars, writers, directors, designers and producers as well as their endeavors to bridge the gap between the avant-garde and mass culture are significant aspects of this collection. This intersection will be carefully nuanced through their cinematographic production, performances and artistic creations. Other distinctive features pertain to the interconnection of gender roles and moral values with ways of looking, which paves the way for realigning social and aesthetic conventions of femininity. Based on this thematic and diverse sociocultural context, this study has an international scope, their main audiences being scholars and graduate students that pursue to advance interdisciplinary research in the field of feminist theory, film, gender, media and avant-garde studies. Likewise, historians, art and literature specialists will find the content appealing to the degree that intermedial and cross-cultural approaches are presented.

“I can lick any son-of-a-bitch in the world.” So boasted John L. Sullivan, the first modern heavyweight boxing champion of the world, a man who was the gold standard of American sport for more than a decade, and the first athlete to earn more than a million dollars. He had a big ego, big mouth, and bigger appetites. His womanizing, drunken escapades, and chronic police-blotter presence were godsends to a burgeoning newspaper industry. The larger-than-life boxer embodied the American Dream for late nineteenth-century immigrants as he rose from Boston’s Irish working class to become the most recognizable man in the nation. In the process, the “Boston Strong Boy” transformed boxing from outlawed bare-knuckle fighting into the gloved spectacle we know today. Strong Boy tells the story of America’s first sports superstar, a self-made man who personified the power and excesses of the Gilded Age. Everywhere John L. Sullivan went, his fists backed up his bravado. Sullivan’s epic brawls, such as his 75-round bout against Jake Kilrain, and his cross-country barnstorming tour in which he literally challenged all of America to a fight are recounted in vivid detail, as are his battles outside the ring with a troubled marriage, wild weight and fitness fluctuations, and raging alcoholism. Strong Boy gives readers ringside seats to the colorful tale of one of the country’s first Irish-American heroes and the birth of the American sports media and the country’s celebrity obsession with athletes.

There was a time when "American popular entertainment" referred only to radio and motion pictures. With the coming of talking pictures, Hollywood cashed in on the success of big-time network radio by bringing several of the public's favorite broadcast personalities and programs to the screen. The results, though occasionally successful, often proved conclusively that some things are better heard than seen. Concentrating primarily on radio's Golden Age (1926-1962), this lively history discusses the cinematic efforts of airwave stars Rudy Vallee, Amos 'n' Andy, Fred Allen, Joe Penner, Fibber McGee & Molly, Edgar Bergen, Lum & Abner, and many more. Also analyzed are the movie versions of such radio series as The Shadow, Dr. Christian and The Life of Riley. In addition, two recent films starring contemporary radio headliners Howard Stern and Garrison Keillor are given their due.

NEW YORK TIMES BESTSELLER From Jamie Ford, author of the beloved Hotel on the Corner of Bitter and Sweet, comes a much-anticipated second novel. Set against the backdrop of Depression-era Seattle, Songs of Willow Frost is a powerful tale of two souls—a boy with dreams for his future and a woman escaping her haunted past—both seeking love, hope, and forgiveness. Look for special features inside. Join the Random House Reader’s Circle for author chats and more. Twelve-year-old William Eng, a Chinese American boy, has lived at Seattle’s Sacred Heart Orphanage ever since his mother’s listless body was carried away from their small apartment five years ago. On his birthday—or rather, the day the nuns designate as his birthday—William and the other orphans are taken to the historical Moore Theatre, where William glimpses an actress on the silver screen who goes by the name of Willow Frost. Struck by her features, William is convinced that the movie star is his mother, Liu Song. Determined to find Willow and prove that his mother is still alive, William escapes from Sacred Heart with his friend Charlotte. The pair navigate the streets of Seattle, where they must not only survive but confront the mysteries of William’s past and his connection to the exotic film star. The story of Willow Frost, however, is far more complicated than the Hollywood fantasy William sees onscreen. Shifting between the Great Depression and the 1920s, Songs of Willow Frost takes readers on an emotional journey of discovery. Jamie Ford’s sweeping novel will resonate with anyone who has ever longed for the comforts of family and a place to call home. Praise for Songs of Willow Frost “If you liked Hotel on the Corner of Bitter and Sweet, you’re going to love Songs of Willow Frost. . . . tender, powerful, and deeply satisfying.”—Lisa Genova “[A] poignant tale of lost and found love.”—Tampa Bay Times “Arresting . . . [with] the kind of ending readers always hope for, but seldom get.”—The Dallas Morning News “[An] achingly tender story . . . a tale of nuance and emotion.”—The Providence Journal “Ford crafts [a] beautiful, tender tale of love transcending the sins people perpetrate on one another and shows how the strength of our primal relationships is the best part of our human nature.”—Great Falls Tribune “Remarkable . . . likely to appeal to readers who enjoy the multi-generational novels of Amy Tan.”—Bookreporter “Jamie Ford is a first-rate novelist, and with Songs of Willow Frost he takes a great leap forward and demonstrates the uncanny ability to move me to tears.”—Pat Conroy “With vivid detail, Jamie Ford brings to life Seattle’s Chinatown during the Depression and chronicles the high price those desperate times exacted from an orphaned boy and the woman he believes is his mother. Songs of Willow Frost is about innocence and the loss of it, about longing, about the power of remembered love.”—Nancy Horan, author of Loving Frank “Ford’s boundless compassion for the human spirit, in all its strengths and weaknesses, makes him one of our most unique and compelling storytellers.”—Helen Simonson, author of Major Pettigrew’s Last Stand

Theatre Library Association's Wall Award Finalist Silent film superstar Douglas Fairbanks was an absolute charmer. Irrepressibly vivacious, he spent his life leaping over and into things, from his early Broadway successes to his marriage to the great screen actress Mary Pickford to the way he made Hollywood his very own town. The inventor of the swashbuckler, he wasn't only an actor—he all but directed and produced his movies, and in founding United Artists with Pickford, Charlie Chaplin, and D. W. Griffith, he challenged the studio system. But listing his accomplishments is one thing and telling his story another. Tracey Goessel has made the latter her life's work, and with exclusive access to Fairbanks's love letters to Pickford, she brilliantly illuminates how Fairbanks conquered not just the entertainment world but the heart of perhaps the most famous woman in the world at the time. When Mary Pickford died, she was an alcoholic, self-imprisoned in her mansion, nearly alone, and largely forgotten. But she left behind a small box; in it, worn and refolded, were her letters from Douglas Fairbanks. Pickford and Fairbanks had ruled Hollywood as its first king and queen for a glorious decade. But the letters began long before, when they were both married to others, when revealing the affair would have caused a great scandal. Now these letters form the centerpiece of the first truly definitive biography of Hollywood's first king, the man who did his own stunts and built his own studio and formed a company that allowed artists to distribute their own works outside the studio system. But Goessel's research uncovered more: that Fairbanks's first film appearance was two years earlier than had been assumed; that his stories of how he got into theater, and then into films, were fabricated; that the Pickford-Fairbanks Studios had a specially constructed underground trench so that Fairbanks could jog in the nude; that Fairbanks himself insisted racist references be removed from his films' intertitles; and the true cause of Fairbanks's death. Fairbanks was the top male star of his generation, the maker of some of the greatest films of his era: The Thief of Bagdad, Robin Hood, The Mark of Zorro. He was fun, witty, engaging, creative, athletic, and a force to be reckoned with. He shaped our idea of the Hollywood hero, and Hollywood has never been the same since. His story, like his movies, is full of passion, bravado, romance, and desire. Here at last is his definitive biography, based on extensive and brand-new research into every aspect of his career, and written with fine understanding, wit, and verve.