This genealogy traces the family origins of the Theiss/Deiss/Tice/Dice family back to 1600 in Germany, their immigration to America in 1730, and the descendants of eight children. This two-volume set contains over 50,000 names, all indexed! Each family paragraph includes the following information when known: generation number, child number, name of the descendant, dates, name of spouse, parents of spouse, residence, burial, children, and biographical information. Some of the surnames in the index: Allen, Baeshore, Behney, Bennett, Bland, Bodkin, Bowers, Caplinger, Colaw, Dahmer, Dice, Dolly, Gerberich, Good, Hammer, Harman, Harper, Hedrick, Homa, Judy, Kile, Kilmer, Kimble, Kisamore, Lambert, Line, Lough, Mallowo, Miller, Nelson, Roberson, Ruddle, Sholly, Shuey, Sites, Smith, Thompson, Tice, Wagoner, Walmer, Warner, etc. There is a wealth of information in this massive genealogy!

After more than 15 years of research, this family can now trace their origins back to about 1600 in Germany. The immigrants arrived in 1737. Each family paragraph includes the following information when known: generation number, child number, name of descendant, dates, name of spouse, parents of spouse, residence, burial, children, and biographical notations. Some of the major surnames in the every-name index include: Batdorf, Butdorf, Dieffenbach, Fisher, Holstein, Irick, Kaser, Knoop, Lauer, Lower, Miller, Smith, Snyder, Spangler, and others. There is a wealth of information in this massive genealogy!

Matthys or Thys Janse Lanen Van Pelt immigrated from Liege, Belgium in 1663 to New Jersey. He married twice, and his sons used the surname of Thyssen. Descendants and relatives lived in New Jersey, New York, Maryland, Pennsylvania, Ohio and elsewhere.

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.